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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th-century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomena of architecture criticism are explored using the theoretical framework of W. Attoe from his book "Architecture and Critical Imagination" (1978). The results of the research brought several understandings. Despite the common belief among professionals that architects should be predominantly the creators of architecture criticism, architects by profession make up only half or less of the total number of texts in the specialized press. The dominating types of architectural criticism are normative and descriptive (excluding the texts that would describe the context of an architectural idea or particular building). There are very few examples of interpretative criticism encountered (except in the thematic group of criticism around interior design). Further discussion of prevalent thematic groups led to the conclusion that architectural criticism in Soviet Lithuania alongside the official "politically allowed criticism" has been using disguised forms of texts. There has been an underlying narrative to promote modernist or simply, new architecture principles using photography with little to no text, indirect speech, and other forms of non-explicit communication. One of the wider goals of this paper is to initiate wider research into the subject of architectural criticism of Soviet Lithuania and also validate the existence of the neglected phenomena using the specific material of professional and academic architectural publications. [ABSTRACT FROM AUTHOR]

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]

Modern architecture in Soviet Lithuania (1944-1990) is outstanding in the context of former Soviet Union. İt is distinguished for its contextual approach, link with the local tradition and regard to the natural environment. The paper discusses the premises under which modern Lithuania architecture was founded after World War II. The study is based on in-depth semi-structured interviews with the most influential architects, active at that time. The paper reveals: how the architects active at that time understand the phenomenon of architecture; their basic principles of architectural design; and the position of an architect in the society. [ABSTRACT FROM AUTHOR]

Lithuania, as a part of the former Soviet Union, has a long‐standing history of perceived equality for women in the workplace. Women played an equal role in economic production as it was a constitutional expectation that all citizens had both a right and an obligation to work. Consequently, at the time of independence in 1990 the levels of participation of women in the workplace including at managerial and professional levels were much higher than other western European countries. In architecture, women achieved parity in terms of numbers, but this equality did not transfer into all aspects of economic activity. Drawing on qualitative survey and interview data from 31 Lithuanian women architects, our findings show, despite the historical emphasis on equality, the existence of a "critical mass" of women in the profession and the adoption of EU gender equality policy, the position of women remains poor with clear evidence of sex discrimination, harassment, and lack of opportunities for career advancement. [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 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]

The field of contemporary Lithuanian architecture is influenced by architects from different periods with different attitudes. This is manifested by increasing miscommunication between generations of architects and a crisis of values. Various tensions in the community of architects triggered the idea to look to the past and examine the self-awareness of professional architects in Soviet society. In this study, we delved into their understanding of the architect's mission, role, status, and significance in society through their expectations, powers, impact, and perceived responsibility. This study is based on semi-structured in-depth interviews with 9prominent and influential architects who received their professional education in post-war Lithuania and were actively working in the Soviet period (1955–1990) and later. In general, Lithuanian architects managed to withstand Soviet doctrine and remained loyal to Western cultural values. The study's findings reveal five components of the architect's self-awareness, which define the dual scope of this field, where architects perform their direct professional tasks and where they express themselves as people of culture. The self-awareness crisis becomes prominent in the main axis of the architect's choice of art creator vs. service provider, where Lithuanian modernists position themselves as artist–creator', leading to frustration regarding the current reality. [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]