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The article discusses the first Lithuanian art historical publication by proffessor and art historian Joseph Saunders, who read it in Vilnius University in November 1815. The article titled "Knowledge about Szymon Czechovicz's Life and Creations" is considered to be the beginning of historiographical research in the Grand Duchy of Lithuania. Similarly to the first art historian Giorgio Vasari and his "Lives of the Most Eminent Painters, Sculptors, and Architects" (published in 1550), Saunders reminds his readers of a forgotten painter (who made multiple portraits and religious scenes), and underlines his accomplishments and talent. Following the Vasarian tradition, Saunders brings attention to Czechovicz's life, his character, and his approach to art. Much like Vasari, Saunders is interested in the artist's soul, virtues and morale, and is emphasizing their importance in his philosophic reflections about art and artists. By comparing Saunders' article with the scheme of the "Lives" by Vasari, the paper suggests that Vasari could have been a model art historian, and argues that his methods of analysis were applied by Saunders in the 19th century. [ABSTRACT FROM AUTHOR]

The article examines the concepts and practices of ecology in the construction of the contemporary individual house, which is considered to be one of the most polluting. The paper presents an emic perspective on the owners of houses and architects. This work continues the studies of environmental anthropologists in seeking solutions to environmental problems. An analysis of the emic and etic perspectives could contribute to broadening the concept of ecology and help to select more environmentally friendly practices in construction. The work also offers a hypothetical image of an individual house which corresponds with the holistic concept of ecology. [ABSTRACT FROM AUTHOR]

The building of "Lietkoopsajunga" (The Union Of Cooperatives of Lithuania) is an example of modernist architecture in Lithuania. It is valuable by it's architecture as well as it's works of art, made by famous artists of those days. Lively comments of J. Šeibokas and A. Kmieliauskas endue the genuine value to the paper. The paper reveales correlation between the art objects, the surrounding architectural ambience and the potential "observer". The works of art are analyzed by their location in the interior space, compositional structure, symbolical meaning, etc. The author identifies wether the art objects integrate or contrast to the architecture. The role of light as an important agent is also emphasized. Conclusively, the graphical scheme of analysis is introduced. [ABSTRACT FROM AUTHOR]

The paper is dedicated to the famous Lithuanian interwar architect, painter, set designer, teacher Vladimir Dubenecky (1888-1932). Russian-born artist who lived and worked in Kaunas (in 1919-1932), has left for Lithuania significant heritage of creative work. One of the unique features of V. Dubenecky's creative biography was that, being not a Lithuanian, he became the first seeker for the Lithuanian national style in architecture and interior design. The part of V. Dubenecky's projects, which reflects search for the national style in the interior design, is discussed in the paper. Three public interiors designed by V. Dubenecky are selected for a review (Karmėlava Church (1919), Frumkinai Store (1922) and "Lietuva" hotel (also named "Metropolis" hotel) (1925) as well as their interaction with the national style which was expressed in the Lithuanian interwar architecture. Representativeness, as one of the most characteristic conceptual aspirations in public interior, is also discussed. [ABSTRACT FROM AUTHOR]

The paper is dedicated to contemporary tendencies in artistic lighting. The tendencies are disclosed through lighting of both urban holistic specific architectural and engineering objects, and analysis of lighting tool tendencies is proposed. The paper deals with an idea that contemporary lighting integrates new functions into architecture - different types of art and communication. Tools of contemporary lighting are related to scientific and technical progress and new opportunities. An idea is proposed that due to profound planning of lighting, the light, form and technology might be used in the process of creating urban lighting. In this process a great role belongs to urban aesthetics, media and ecology. A conclusion is drawn, that contemporary lighting integrates new functions into architecture; the priorities of tendencies in contemporary artistic urban lighting should be given in complex: combining aesthetical and economic subjects. [ABSTRACT FROM AUTHOR]

The paper presents and analyses in detail the content and significance of the new definition of architecture "as the art and science of designing the environment (space)" for contemporary architecturology and architectural practice. It discusses in greater detail the social and ecological tasks of architecture in contemporary society as well as the responsibility of the architect and new research trends in architecturology. The paper also focuses on the importance of regionality trend in the context of modern globalization and touches upon the questions of architects' professional training specialization. [ABSTRACT FROM AUTHOR]

Recently, alongside other phenomena, Renaissance of resort of initial forms in contemporary architecture is also observed. This process is determined by opposition to deconstructive breaking, complexity, padding. Expression of initial forms of minimalism are formed by such values as simplicity but not complexity; elegance moderation but not arrogance; spirituality but not pragmatism; essentiality but not particularity; concentration but not scatter. This scale of values determines purposes and priorities of architectural expression: "more" is sought with "less", perfection is aimed by simple means, spirituality and poetry are tried to be found in pragmatism and rationality. Resort of initial forms often evokes controversial discussions within society. Despite that even opponents do not deny their influence and impact, because initial forms enable to approach actual values, essence, whereas pluralism of opinions is publicly expressed and spontaneously is a feature of a democratic society. In the paper various aspects and areas of morphology of initial forms in contemporary architecture are discussed, marginal and distinctive cases reflecting a vast range of purposes and priorities are distinguished. It is aimed to reveal the essential aspects of morphology of initial forms and their phenomenon by the example of the building "Black Cube" in Vilnius. [ABSTRACT FROM AUTHOR]

Over the recent decade, the number of architectural competitions organised in Lithuania has been continuously growing. Analysis and inventory of the competitions reveal the essential features of the period, qualitative and dynamic changes in this field, and at the same time may be useful for improvement of the competition organisation system in the nearest future. The paper deals with the legislation changes that influence the competitions as well as introduces quantitative and typological analysis of the competitions of 1999-2009 comparing it with that of other periods. Achievements of the Lithuanian architects at international competitions, participation of foreign architects at creative contests of Lithuania are described. New manifestations of architectural criticism of competitions, the theme of plagiarism, gaps in competition organization, "commercialization", the tendency of strengthening pragmatic ambitions are described. [ABSTRACT FROM AUTHOR]

The paper is designed to reveal the aesthetics of artificial lighting and its influence on the architecture of the 20th century. The main topics discussed are electric lighting, which appeard in our history at the end of the 19th century, and the technical development of lighting till the middle of the 20th century. Connections of artificial lighting with visual arts, its influence on advertisement, building architecture and the whole city are analysed. An idea is proposed that although lighting by nature was purely functional, very soon it acquired symbolic ambitions to represent architecture. In modern times architects understood that lighting was both a technological development and a symbol of a new era, when there appeared an independent field of creation - lighting architecture. [ABSTRACT FROM AUTHOR]

The paper deals with the main architectural competitions of the soviet period (1945-1990) in Lithuania. Referring to particular examples, efforts are made to identify development regularities of competitions at different stages of the soviet period, find out a relationship with the general architectural situation, discuss changes, to make a comparison with competitions of other historical epochs as well as to define their influence on the architecture and architects in Lithuania of that time. Peculiarities of competitions related to urbanistic projects, buildings and monuments representing both the early and "mature" socialism are introduced. Without attempting to list and examine in detail each creative competition of this era, efforts are made to perceive the essential principles of the very competition system of the soviet period. Problematicity related to "dead" projects, non-transparency of competitions and disregard of copyright typical to the Soviet times are discussed. [ABSTRACT FROM AUTHOR]

Urban solutions in Vilnius were mostly of a practical rather than aestethical character. After World War II architects of urban design, whose activity used to change substantly historically settled cities, became more active. In Lithuania the conception of heritage developed gradually lagging behind dominating European tendencies; therefore, Vilnius city has been strongly influenced by individual creative works. The most obvious materialized conception of that kind is the idea of "architectural hills". Currently this conception is widely criticized, and at the same time new restraints protecting the old town are set. These restraints often contradict the development of the city, which is inevitable bearing in mind the status of Vilnius city (the capital) and the size of administrated territory. Due to objective reasons political decisions and the activity of energetic private investors have a strong influence on the development of the city. In the chain an investor-administrator-professional there exists uneven proportion of participation thus spoiling the final result. The paper presents the main contradiction between the city development and heritage supporters and ways of solving it. [ABSTRACT FROM AUTHOR]

Most Lithuanian towns developed spontaneously without any special authors' urban projects. Urban solutions in Vilnius were mainly of a practical rather than aesthetical character. After the World War II architects and urbanists whose work substantially changed historically formed towns, became more active. The conception of monument protection (heritage) in Lithuania varied gradually along with lagging behind the tendencies that dominated in Europe; therefore, the results of authors' works are conspicuous in Vilnius city. The most conspicuous realized conception is an idea of "architectural hills". Presently this realized conception is strongly criticized. Alongside new regulations that protect the Old Town are underdevelopment. These regulations often do not correspond to the development of the city which is unavoidable considering the status of Vilnius city (the capital) and the size of administrated territory. Contradictory opinions supporting urban development and heritage as well as ways of solving the problems are presented in the paper. [ABSTRACT FROM AUTHOR]

The article analyses the development of the old city of Klaipėda in the 16th-18th centuries. This part of Klaipėda was unique in the Baltic region because of a regular street network the beginnings of which could be dated by the 16th century. Archeological and dendrochronological data, accumulated through some decades, allows to cast a new light on the urbanization issues and evaluate the dynamics of the formation of the city's cultural layers. Dendrochronological data allows to presume that oak-tree buildings started in the 16th century, and brick constructions could be dated by the end of the 17th century and the beginning of the 18th century. This qualitative construction change can be traced in all cultural layers of the old city of Klaipėda; in addition, it creates favourable conditions to date the archeological data and to investigate the process of urbanization. Researches, undertaken till the end of the 20th century, show that this part of Klaipėda attracted interest and attention of many archeologists, historians, and architects. A disputable issue is the original place of the old city; there are some presumptions that at the beginning of the 16th century it could have been transferred because of the modernization of the castle's defence system. Nevertheless, archeological data allows to claim that the city started in the 16th century; according to V. Žulkus, it started with the present day Tiltų and Turgaus streets. Iconographic, historical and archeological material as well as dendrochronological data allow to make a new hypothesis that Klaipėda's development was not spontaneous, as it demonstrates certain features typical of the Renaissance city planning. A regular Street network of the old city contrasts strikingly with Fridrich outskirts where a street network is in a way chaotic and reflects the features of the medieval city planning. [ABSTRACT FROM AUTHOR]

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