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strictly hierarchical network, guided by the principle of development from the centre to the periphery and best revealed through an examination of regional planning, the functional zoning, and the urbanisation of rural areas. This paper presents a vast environmental-territorial transformation of rural Lithuania under the Soviet occupation period in 1940-1990, during which the forced collectivisation of agriculture resulted in new territorial development. As a reaction to functionalist approach, the regionalist trends were started to be manifested in late 1970s.

Based on archival and published sources (documents, leters, memoirs and contemporary press), this artcle is focused on the Jewish architects, constructon engineers and contractors who actvely partcipated in constructon of modern Kaunas in 1919–1939.

Bevartant buvusio architektūros muziejaus archyvus, akis užkliuvo už pavienių brėžinių, kuriuose buvo pavaizduoti išskirtinai modernūs daugiabučiai namai ir butai. Juk tai tikrasis Existenzminimum, pagalvojau. Tai, ko aš taip ieškojau tarpukario Kauno ir Vilniaus architektūroje, ir neradau. Ne tik planai, bet ir pati brėžinio estetika, vaizdavimo būdas buvo modernistiniai. Keli brėžiniai buvo pavadinti „darbininkų kolonija“, o jų datos rodė keturiasdešimtuosius. Bet tai buvo jau komunistiniai keturiasdešimtieji. Parūpo išsiaiškinti kas, kam ir kokiomis aplinkybėmis padarė šiuos brėžinius? Ar jie buvo realizuoti? Kokie apskritai architektūriniai sumanymai pasirodė Vilniuje pirmosios sovietinės okupacijos laikotarpiu? „Greitu laiku visoje šalyje užvirs grandiozinė socialistinė statyba“, – žadėta paskutiniame žurnalo Savivaldybė numeryje 1940 m. liepą. Iš tiesų per pirmuosius pirmosios sovietinės okupacijos mėnesius Lietuvoje buvo pertvarkytas architektūros valdymas, atlikta projektavimo darbų centralizacija, o architektai ir statybų inžinieriai suvaryti į valstybinius projektavimo institutus. Nors ir nebuvo paaiškinta, kuo socialistinė statyba skyrėsi nuo iki tol buvusios, tačiau naują kryptį gerai atskleidžia projektavimo įstaigų „LTSR Pramprojektas“ ir „LTSR Komprojektas“ uždaviniai – pramonės įmonių projektavimas (spartus industrializavimas) ir spartus gyvenamojo fondo – visų pirma namų darbininkams – didinimas.

Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius’ Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania., RIHA Journal, 2019: Special Issue "Prekäre Vergangenheit? Barockforschung im östlichen Mitteleuropa unter den Bedingungen des Sozialismus"

Vlado Švipo (1900-1965) asmenybė Lietuvos mokslininkams yra žinoma, tačiau jo veikla Lietuvoje tarpukariu ir likimas pokariu dažniausiai pristatomi fragmentiškai, pabrėžiant tik vieną ar kitą jo veiklos sritį, kurių būta nemažai. Išsamią Švipo biografiją parengė Giedrė Jankevičiūtė4, skirtinguose kontekstuose jį minėjo Vaidas Petrulis, Lijana Šatavičiūtė (Natalevičienė), Regina Lakačauskaitė-Kaminskienė ir kiti. Tačiau platesnei auditorijai Švipas beveik nepažįstamas, nes - paradoksas - nepastatė beveik jokio žymesnio modernistinio pastato. Kadangi Švipas atsiminimų nepaliko, jo palikimas yra išblaškytas arba neišlikęs, šią biografinę apybraižą tenka dėlioti iš archyvinių ir spaudos nuotrupų, jo paties darbų ir informacijos, gautos bendraujant su JAV gyvenančia dukterimi Raminta Švipaite-Šinkiene.

Remiantis pirmosios pokario architektų modernistų kartos, vadinamos „lietuviškojo modernizmo mokyklos“ tėvais, Vytauto Edmundo Čekanausko, Vytauto Brėdikio, Algimanto ir Vytauto Nasvyčių, Algimanto Mačiulio, Justino Šeiboko atsiminimais, straipsnyje nagrinėjama, kas laikytina kultūrine rezistencija vėlyvojo sovietmečio (1955–1990) Lietuvos architektūroje, kodėl ir kaip buvo sukonstruotas kultūrinės rezistencijos architektūroje naratyvas ir kiek tai susiję su dabar atsirandančiais tyliojo modernizmo pasakojimais? The paper discusses the idea of ‘cultural resistance’ or ‘quiet modernism’ by analysing the records (in the form of interviews, papers and books) of the first generation of the post-WWII Lithuanian modernist architects (Vytautas Edmundas Čekanauskas, Vytautas Brėdikis, Algimantas and Vytautas Nasvytis, Algimantas Mačiulis, and Justinas Šeibokas), also known as the founders of the ‘Lithuanian school of modernism’. This generation of architects emerged in the late 1950s, when it started criticising the Stalinist architecture, realising important public objects in city centres, and occupying increasingly prominent positions in academia and the world of architecture, which eventually led to the formation of a particular cultural elite. This story of success might seem unrelated to the notion of ‘cultural resistance’ (or ‘quiet modernism’) often mentioned by the architects themselves. The paper concludes with the analysis of the evolution of and the ‘grand narrative’ behind this architect group that shared the same values and employed certain ‘quiet motifs’. The research also focuses on analysing how this myth has been reconstructed after the 1990. In conclusion, the paper argues that the notions of compromise, adaptation, and subversive opportunism—rather than ‘cultural resistance’—are more appropriate to describe the architectural and urban practices of the aforementioned generation of architects.

Vilnius presents itself today as the easternmost and northernmost European city of the Baroque, and the Baroque heritage played an important role in 1994 when the historic centre of Vilnius was inscribed on the UNESCO World Heritage List. Throughout the twentieth century, the Vilnius Baroque attracted the attention of artists and scholars. However, the approaches to research into this field differed both in terms of methodology and in relation to their political aims. The lively intellectual debate on Vilnius’ Baroque art and architecture that went on in the inter-war period was followed by a time of rather vague and unproductive research during the Soviet period, and it flourished again after the restoration of Lithuanian independence in 1990. The first part of this article gives an overview of the main debates on and interpretive models of Baroque architecture in Vilnius before the Soviet occupation. The second part explores the Soviet reinterpretation of Baroque art and architecture and the various techniques that were used to create new values of this heritage for the then new Socialist society of Lithuania.

In 2016 UNESCO World Heritage Committee Session inscribed the works of Le Corbusier on the World Heritage List.1 It must have been the moment of triumph for many lovers of the Modern Movement and people who initiated preservation programs for modern architecture. With key works of Mies van der Rohe, Walter Gropius and other masters on the World heritage list we can be sure that Modern Movement became an established cultural heritage. What about the socialist modernism? It already had its momentum few years ago with lectures, books, conferences and exhibitions. These events testify to the need to understand and consider Socialist pasts not as a “lost”, which is better ignored, but rather as a distinctive phenomenon that is still affecting us, exploring which can at least in part explain our present. And many of my colleagues ask why socialist modernism did not make it to the world heritage list. We can speculate that it might be because of the poor value of the socialist modernism, or, to put it in other words, because socialist modernism did not produce any World class architectural icons? Or maybe the reason is a less influential community, which did not make enough effort to prepare an outstanding nomination? As a good provocation I would like to mention a book Belyaevo Forever (Strelka, 2014) by Polish researcher Kuba Snopek, who tried to put a Moscow mass housing area Belyaevo on the UNESCO world heritage list and discussed the values of generic architecture. However, it is so far a research project.

Vėlyvajame sovietiniame laikotarpyje įvairėjančios būsto formos skatina atkreipti dėmesį į menininkų būstų įvairovę gyvenamosios erdvės standartizavimo kontekste, kaip į kūrybinio elito privilegiją. Kadangi menininkai galėjo pretenduoti į papildomą būsto plotą (motyvuotą kūrybinės studijos poreikiu), tai lėmė nestandartines gyvenamąsias ir kūrybines erdves, kurios išsiskyrė kasdienio apgyvendinimo aplinkoje. Nuo 1962 m., kaip visoje Sovietų sąjungoje buvo atnaujinta kooperatinių butų statybos galimybė, kūrybinės organizacijos taip pat turėjo galimybę burtis į būsto kooperatyvus ir inicijuoti statybas. Būtent kūrybinių studijų privilegija sudarė sąlygas projektuoti namus ir butus pagal individualius projektus (skirtingai nuo masinių standartizuotų projektų), pasižyminčius architektūriniu išskirtinumu bei nestandartiniais būstais. Šiame straipsnyje analizuojami du atvejai: Kompozitorių kotedžų gyvenvietė su perklausų sale Vilniuje, Žvėryne (architektas Vytautas Edmundas Čekanauskas, 1960-1966) ir Dailininkų sąjungos kooperatyvo „Menas“ sublokuotų namų kvartalas Vilniuje, Antakalnyje (architektas Algimantas Mačiulis, 1967-1970), kurie gyvenamosios erdvės standartizavimo kontekste yra išskirtiniai savo socialine ir architektūrine prigimtimi. Kiti, smulkesni atvejai taip pat aptariami, išryškinant kūrybinio elito architektūrines ir socialines privilegijas gyvenamosios erdvės atžvilgiu.

In 1922-1939 in the Vilnius region, at that time - in the Republic of Poland, there was a state system of protection of monuments: law, institution and officials. In this work, this system of monument protection is analyzed using theories of authorized heritage discourse and critical discourse analysis. The dissertation examines the Polish system of monument protection as the consolidation of authorized heritage discourse. Here, as elsewhere in Europe, this discourse was based on the materiality of heritage, innate value, the transmission of national and social values, and the supremacy of (male) experts. The paper discusses the sources of power: political / institutional, professional and based on nationality, religion, social stratum or gender, which allowed the dominance of this discourse in interwar Vilnius. The practice of protection of monuments in the Vilnius region is discussed through the process of listing of monuments, practices of protection of architecture, nature, urban scale monuments, archeology and movable objects. The idea of regionalism and the photography of Jan Bułhak are analyzed as a means of consolidating the authorized Polish heritage discourse. All this allows us to conclude that the state policy on the protection of monuments reflected and was focused not on the actual situation at the time, but on the aspiration - the vision of Vilnius (region) as a redout of Polishness. The Vilnius region was not as Polish as it was created visually and in writing. Today, such an aspiration and vision of the protection of monuments is perceived in historiography as an actual situation of the protection of monuments in interwar Vilnius.

In 1922-1939 in the Vilnius region, at that time - in the Republic of Poland, there was a state system of protection of monuments: law, institution and officials. In this work, this system of monument protection is analyzed using theories of authorized heritage discourse and critical discourse analysis. The dissertation examines the Polish system of monument protection as the consolidation of authorized heritage discourse. Here, as elsewhere in Europe, this discourse was based on the materiality of heritage, innate value, the transmission of national and social values, and the supremacy of (male) experts. The paper discusses the sources of power: political / institutional, professional and based on nationality, religion, social stratum or gender, which allowed the dominance of this discourse in interwar Vilnius. The practice of protection of monuments in the Vilnius region is discussed through the process of listing of monuments, practices of protection of architecture, nature, urban scale monuments, archeology and movable objects. The idea of regionalism and the photography of Jan Bułhak are analyzed as a means of consolidating the authorized Polish heritage discourse. All this allows us to conclude that the state policy on the protection of monuments reflected and was focused not on the actual situation at the time, but on the aspiration - the vision of Vilnius (region) as a redout of Polishness. The Vilnius region was not as Polish as it was created visually and in writing. Today, such an aspiration and vision of the protection of monuments is perceived in historiography as an actual situation of the protection of monuments in interwar Vilnius.

This dissertation aims to extend the research on the urban, architectural and artistic environment and everyday life of the Soviet era by focusing on collective gardens as a little-studied aspect of Lithuanian urban space and culture. The thesis hypothesises that the mass spread of collective gardening in Lithuania formed a phenomenon similar to the so-called "kitchen culture" of the Soviet era - collective gardens were a space of specific cultural and social practices that transcended the boundaries of official ideology. The aim of this study is to investigate the phenomenon of collective gardens in Lithuania, the preconditions for its emergence and its development from 1944 to the restoration of independence in 1990-1991.

The heritage protection system in Soviet Lithuania was considered particularly successful and advanced. However Lithuanian historiography has not yet examined how and why certain urban heritage concepts and protection systems developed. This dissertation explores the research problem in chronological order (1956–1992) and analyses in detail not only the ideas of urban conservation and value but also their expression in planning documents and the influence of practical factors on urban heritage concept. Local processes have been compared to international trends. Three levels of context have been defined: USSR, socialist countries and international / Western heritage protection. It has been revealed that Lithuanian achievements in urban conservation were well known in the USSR however they were influential in neighbouring countries to a much lesser extent than was claimed. Though the Lithuanian approach generally corresponded to international trends, they were loosely interpreted in practice. In Lithuania, two separate, even isolated models of protection and urban values were applied respectively on urban monuments of local and republican level. It has been concluded that neither urban heritage concept, nor its values were ever established and this is possibly the reason why after the restoration of Lithuanian independence this system lost its effectiveness.

Architektūros vietoženklių statyba – vienas ryškiausių visuotinių miestokūros reiškinių, kuris Vakaruose stebimas ir nagrinėjamas jau daugiau nei dešimtmetį. Tačiau į urbanistinėje aplinkoje išsiskiriančius architektūros objektus dar dažnai žvelgiama pro pusės amžiaus teorijų prizmę. Pirmojoje tokio pobūdžio disertacijoje pasiūlytas miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių tyrimo modelis, kuris leidžia išsiaiškinti miesto įvaizdį formuojančių šiuolaikinės architektūros vietoženklių reikšmę. Teoriniai aspektai čia yra suderinti su praktiniais. Metodologiniu pagrindu čia tapo R.Barthes išplėtoti teksto analizės principai, akcentuojantys prasminį – giluminį – kūrinio lygmenį. 1990–2010 m. pastatyti Vilniaus, Kauno ir Klaipėdos įvaizdį formuojantys šiuolaikinės architektūros vietoženkliai čia traktuojami kaip vizualus tekstas. Remiantis sukurtuoju tyrimo modeliu buvo išsiaiškintos urbanistinėje aplinkoje vietoženklius išskiriančios fizinės, estetinės ir kitos funkcijos bei išskirtinės dislokacijos ypatybės. Architektų bei eilinių Vilniaus, Kauno ir Klaipėdos miestiečių sociologinė apklausa (buvo apklausti 363 skirtingo amžiaus ir išsilavinimo asmenys) leido sukurti miestų įvaizdžiui svarbių šiuolaikinės architektūros vietoženklių reikšmės atvaizdus, kuriuos sudaro 9 būdingos vertės. Matematinės statistikos priemonėmis atlikta šių verčių dažnio koreliacija su vietoženklius urbanistinėje aplinkoje išskiriančiomis ypatybėmis padėjo surasti patikimus... [toliau žr. visą tekstą] In the global urban development, the construction of new architectural landmarks is one of the most prominent phenomena, which has been widely observed and analyzed in Western Europe for more than a decade. However, in urban areas, distinctive architectural objects are still often viewed through the prism of the half-century theories. The key innovation proposed in the thesis is a construction of the research model that helps to explore the meaning of the contemporary architectural landmarks important for the city image. The theoretical aspects in the dissertation are in line with the practical ones. Methodological basis there were the text analysis principles developed by R. Barthes, emphasizing meaningful level of an object. From 1990 to 2010, built in Vilnius, Kaunas and Klaipėda image forming modern architecture landmarks here treated as a visual text. The research model reveals aesthetic, physical and some other features of contemporary architectural landmarks (exceptional location, distinctive function), distinguishing them in the urban context. In total, 363 respondents of citizens and architects groups were interviewed in the sociological survey and it led to the creation of The images of meaning, which consist of nine key values. In order to process the data of the survey and to find the correlation between the contemporary architectural landmarks’ values frequency and aesthetic, physical, and the distinctive function, the exceptional location characteristics... [to full text]