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The article discusses relevant, but so far little examined topic – architectural competitions interwar Lithuania (1918–1940). It is obvious that the culture of competitions was very noticeable and significant part of architectural processes. The majority of important public buildings, and even a significant part of less important projects was built with reference to competitions. The architectural competition as a means to achieve the best result was strongly supported by public policy, as well as by various public societies and private business. The main objective of this article, which is based on archival materials and studies of media of the time, is to reveal the characteristics of organization of competitions, to give a qualitative analysis of the phenomenon. The paper discuss various types of competitions, analyzes requirements, public transparence, the level of internationality, activities of competition commissions, the impact of social and professional environment of competition results. The text also discusses the implementation of competitive works, reveals the level of criticism which follows the process of architectural competition. Finally, the review is being completed with observations about political expectations of clients and the level of implementation of these aspirations. Santrauka Straipsnyje aptariama aktuali, tačiau iki šiol mažai nagrinėta tema – architektūriniai konkursai tarpukario (1918–1940) Lietuvoje. Akivaizdu, kad konkursinė kultūra buvo itin pastebima ir reikšminga tuomečių architektūros procesų dalis. Daugelis svarbiausių visuomeninės architektūros objektų, o neretai ir ne tokie svarbūs, buvo sukurti paskelbus konkursus. Konkursą kaip priemonę pasiekti geriausių rezultatų aktyviai palaikė valstybės politika, šią priemonę naudojo įvairios draugijos, privatus verslas. Tekste, remiantis archyvinės medžiagos bei tuometės spaudos studijomis, bandoma atskleisti būdingiausius konkursų organizavimo principus, pateikiama šio reiškinio kokybinė analizė: aptariami konkursų tipai, analizuojami sąlygų ypatumai, viešumas, tarptautiškumo lygmuo, konkursinių komisijų veikla, plačiosios bei profesinės visuomenės įtakos priimant rezultatus. Tekste taip pat aptariamos konkursinių darbų įgyvendinimo peripetijos, atkreipiamas dėmesys į šiuos procesus lydėsusią kritiką. Apžvalga baigiama pastebėjimais apie politinius užsakovų lūkesčius bei šių aspiracijų įgyvendinimą. Reikšminiai žodžiai:architektūrinis konkursas,tarpukaris,architektūros politika,Lietuva

The article analyses the building boom of Houses of Culture in Lithuanian SSR during the time of socialist modernism. The object of the paper is being analyzed with an attempt to reveal the tight relation between political, economic and architectural spheres. First of all research concentrates on questions of Soviet ideological and economic interests and the result of these interests –a regional planning scheme of Lithuania, which has been implemented through the principles of modernism, and especially Constantine's Doxiadis idea of "total architecture". Then the text analyses how these principles of mid-century modernism have been transferred through the prism of ideology and, in Lithuanian case, led to very painful social consequences - massive displacing of individual home-steads and transferring the inhabitants to the newly created settlements. The House of Culture is presented as the representative face of these political-economic objectives of rural modernization. The article also makes a suggestionthat these objects are an interesting and important part of modernist legacy of Lithuania, perfectly reflecting interconnections between international modernism and the ideology of the Soviets under the circumstances of local provincial life. Santrauka Straipsnyje analizuojamas buvusios Lietuvos SSR kultūros namų statybos bumas socialistinio modernizmo laikotarpiu. Darbo objektas tekste tiriamas siekiant atskleisti glaudžią politinių, ekonominių bei architektūrinių veiksnių sąveiką. Tekste nagrinėjama, kaip veikiant ideologiniams bei ekonominiams interesams formuojamas urbanistinis Lietuvos tinklas, kuris buvo įgyvendinamas pasinaudojant modernizmo ir ypač Konstantino Doksiadžio "totalinės architektūros" idėjomis. Toliau pristatoma, kaip šie amžiaus vidurio modernistiniai principai, perleisti per ideologijos prizmę, Lietuvoje įgavo itin skaudžias socialines pasekmes – masinį individualių gyventojų sodybų naikinimą ir gyventojų kėlimą į naujai kuriamas gyvenvietes. Kultūros namai tekste pateikiami kaip šios politinių ir ekonominių tikslų vedinos kaimo modernizacijos reprezentacinis veidas. Straipsnyje taip pat iškeliama mintis, kad kaimo modernizaciją lydėję objektai yra įdomus ir svarbus lietuviškojo XX a. architektūros palikimo fragmentas, puikiai atspindintis tarptautinių idėjų ir sovietinės ideologijos jungtį lokalioje Lietuvos provincijos terpėje. Reikšminiai žodžiai:kultūros namai,rajoninis planavimas,kultūrinio ir buitinio aptarnavimo sistema,socialistinis modernizmas,paveldas

In the global context, heritage of the built environment of the 20thc. is gradually included into the scope of work of a cultural heritage specialist. However, the process of inheritance of modernism meets the broad range of problematic issues of tangible and intangible nature. The article aims to review and assess similar problems in the Lithuanian context. Several decades after the restoration of independence, we are able to draw a conclusion that besides common problems of inheritance of the 20thcentury legacy, post-soviet context highlights some specific aspects of the issue: negative attitudes toward tangible values of the legacy and connotations with the occupation period. The paper suggests, that the stronger the objections of tangible nature, the more proactive the position of heritage experts has to be pointed towards intangible aspects, i.e. historical, cultural, social and other values. Santrauka Pasauliniame kontekste XX a. antrosios pusės statybinis palikimas vis plačiau įtraukiamas į paveldosaugininkų akiratį. Tačiau procesas susiduria su įvairialypėmis tiek materialaus, tiek nematerialaus pobūdžio kliūtimis. Straipsnyje siekiama apžvelgti ir įvertinti šią problematiką Lietuvoje. Nuo nepriklausomybės atkūrimo prabėgus keliems dešimtmečiams, jau galime daryti išvadas, kad šalia įprastų XX a. architektūros įpaveldinimo problemų, postsovietiniame kontekste išryškėja ir kai kurie specifiniai aspektai: negatyvus visuomenės požiūris į šio palikimo materialiąją vertę bei asociacijos su okupacijos laikotarpiu. Tekste keliama prielaida, kad kuo stipresni materialaus pobūdžio prieštaravimai, tuo aktyvesnė paveldo specialistų pozicija turi būti išreikšta nematerialiųjų aspektų – istorinių, kultūrinių, socialinių ir panašių verčių – atžvilgiu. Reikšminiai žodžiai:sovietinė architektūra,palikimas,modernizacija,politika,vertė,įpaveldinimas

The paper concentrates on architectural discourse of the interwar period (1918–1940) of Lithuania. The main objective of the paper is to represent the history of the Lithuanian architectural thought of the period through analysis of the interwar press. Due to a wide scope of the problem the paper is devoted to one of the major problems of architectural theory – relation of policy/power and space. Following publications in the press, a few dominant aspects of the problem were distinquished: representation of the state (as an exemplar element of global political ideology), and issues of social housing (as illustration of local, towards practical decisions oriented policy). It is discovered that the dominant theoretical position concerning the matters of spatial representation is discussions on "national style". While the socio-political discourse of Modern Movement mainly concentrates on discussions about "social housing colonies". Santrauka Straipsnis skirtas Lietuvos tarpukario laikotarpio (1918–1940) teorinio diskurso analizei. Tekste, remiantis periodikoje publikuotais straipsniais, skirtais architektūros temoms, siekiama pažvelgti į šio periodo architektūrinės minties palikimą. Dėmesio objektu pasirinkta viena iš svarbesnių architektūrinio diskurso temų – architektūros ir politikos sąsajos. Išskiriami keli to meto spaudoje dominavę architektūros ir politikos sąveikos aspektai: valstybės erdvinės reprezentacijos problematika (kaip globalios, ideologinės politikos apraiška) bei socialinio būsto problematika (kaip lokalios, į tiesioginius sprendimus orientuotos politikos apraiška). Nustatyta, kad reprezentacinėje plotmėje dominuojanti teorinė pozicija – "tautinio stiliaus" paieškos. Socialinei, politizuotai modernizmo teorijai būdingi aspektai daugiausiai reiškėsi menkiau teoretizuotose diskusijose apie "pigių būstų kolonijų" kūrimą. First Published Online: 22 May 2013 Reikšminiai žodžiai: tarpukaris, architektūros teorija, architektūros politika, tautinis stilius, pigus būstas, modernizmas.

The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]

The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]

The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]

The main objective of the article is to overlook the theories of national identity during the period of Lithuanian independence (1918–1939). The paper suggests that the so-called "national style" was among the core dimensions of Lithuanian cultural policy, which was intended to strengthen the feeling of independence after the liberation from the tsarist Russia. Despite the short period in time and quite integral political basement, one can distinguish a certain variety in theories and ways of expression of national identity in spatial terms. The first decade can be related with two principal approaches. The most popular way was to get one's inspiration from forms of vernacular (rural) dwelling. Traditional silhouette, layout and woodcarving were among the essential elements of the "national style", which was intended as an appropriate style for rural settlers as well as for a wide range of public representational buildings. Another source of inspiration was Baroque style with soft lines supposed to resemble the natural surroundings of Lithuanian landscape. Baroque was also a reference to Vilnius, the historical capital of Lithuania. During the 1930's, understanding of the "national style" gradually changed towards more sophisticated tendencies. The task was to involve the progress of modernization and to preserve the national character of forms and urban structure simultaneously. In the theoretical plane, we can find ideas quite close to regionalism, suggesting to examine the national aspects of psychology and also to cherish the respect towards the natural environment. However, the ideas put on the paper distinguished with quite utopian character. The possibilities to achieve the feeling of national identity in space through the monuments were much wider. [.]

During practically the entire development of Lithuanian architecture in the 20th century, one can observe open architectural politicisation as being one of the most important ideological ways of giving meaning to space. Themes of national romanticism that were exploited during the interwar period were followed by a feverish attempt during the Soviet period to create a "socialist city", and replaced by subsequent variants enabling the search for a national identity within the "union of nations". These tendencies may be associated both with the peripeteia of politics, and the principled disposition – especially with reference to the modern movement – of architecture in the 20th century, or to open politicisation. At the turn of the 21st century, however, one finds an inclination to erase the more distinguishing ideological boundaries. In architecture, the direct and unambiguous examples that give a political sense to space, and that are demonstrated in an explicit manner, are replaced by multifaceted phenomena manifesting themselves via secondary (latent) subsequences. The urbanistic texture of a city/town is transformed by encompassing ideas and interests that are obviously even contradictory in the sense of their ideological meaning. In assessing a major portion of the architecture of the Soviet period, we acknowledge that only the most general and most telling examples of an ideology, articulated in the simplest way (high-rise buildings from the Stalinist period, monumental. [to full text]

During practically the entire development of Lithuanian architecture in the 20th century, one can observe open architectural politicisation as being one of the most important ideological ways of giving meaning to space. Themes of national romanticism that were exploited during the interwar period were followed by a feverish attempt during the Soviet period to create a "socialist city", and replaced by subsequent variants enabling the search for a national identity within the "union of nations". These tendencies may be associated both with the peripeteia of politics, and the principled disposition – especially with reference to the modern movement – of architecture in the 20th century, or to open politicisation. At the turn of the 21st century, however, one finds an inclination to erase the more distinguishing ideological boundaries. In architecture, the direct and unambiguous examples that give a political sense to space, and that are demonstrated in an explicit manner, are replaced by multifaceted phenomena manifesting themselves via secondary (latent) subsequences. The urbanistic texture of a city/town is transformed by encompassing ideas and interests that are obviously even contradictory in the sense of their ideological meaning. In assessing a major portion of the architecture of the Soviet period, we acknowledge that only the most general and most telling examples of an ideology, articulated in the simplest way (high-rise buildings from the Stalinist period, monumental. [to full text]

During practically the entire development of Lithuanian architecture in the 20th century, one can observe open architectural politicisation as being one of the most important ideological ways of giving meaning to space. Themes of national romanticism that were exploited during the interwar period were followed by a feverish attempt during the Soviet period to create a "socialist city", and replaced by subsequent variants enabling the search for a national identity within the "union of nations". These tendencies may be associated both with the peripeteia of politics, and the principled disposition – especially with reference to the modern movement – of architecture in the 20th century, or to open politicisation. At the turn of the 21st century, however, one finds an inclination to erase the more distinguishing ideological boundaries. In architecture, the direct and unambiguous examples that give a political sense to space, and that are demonstrated in an explicit manner, are replaced by multifaceted phenomena manifesting themselves via secondary (latent) subsequences. The urbanistic texture of a city/town is transformed by encompassing ideas and interests that are obviously even contradictory in the sense of their ideological meaning. In assessing a major portion of the architecture of the Soviet period, we acknowledge that only the most general and most telling examples of an ideology, articulated in the simplest way (high-rise buildings from the Stalinist period, monumental. [to full text]

During practically the entire development of Lithuanian architecture in the 20th century, one can observe open architectural politicisation as being one of the most important ideological ways of giving meaning to space. Themes of national romanticism that were exploited during the interwar period were followed by a feverish attempt during the Soviet period to create a "socialist city", and replaced by subsequent variants enabling the search for a national identity within the "union of nations". These tendencies may be associated both with the peripeteia of politics, and the principled disposition – especially with reference to the modern movement – of architecture in the 20th century, or to open politicisation. At the turn of the 21st century, however, one finds an inclination to erase the more distinguishing ideological boundaries. In architecture, the direct and unambiguous examples that give a political sense to space, and that are demonstrated in an explicit manner, are replaced by multifaceted phenomena manifesting themselves via secondary (latent) subsequences. The urbanistic texture of a city/town is transformed by encompassing ideas and interests that are obviously even contradictory in the sense of their ideological meaning. In assessing a major portion of the architecture of the Soviet period, we acknowledge that only the most general and most telling examples of an ideology, articulated in the simplest way (high-rise buildings from the Stalinist period, monumental. [to full text]

The paper analyses the Lithuanian architecture of the soviet period through the prism of stylistic development and history of architectural ideas. The main task of the work is to determine the heritage values of the soviet period from the point of view of architectural history. Before going into deeper analysis of separate stylistic aspects some key problems of the soviet time heritage evaluation are discussed. Particular attention is given to the need of separation of the soviet time architectural history from the political history as well as to the problem of integration of the soviet heritage into contemporary city life. Three main approaches on the architecture of the soviet period are pointed out: socialist realism, soviet industrial modernism and plurality of stylistic attitudes during the last decades of the soviet period. The paper follows an assumption that some characteristic buildings of each architectural outlook should be saved in order to have an example of authentic way of development in the Lithuanian architecture during the 20thcentury. Stilistinės sovietmečio architektūros vertinimo prielaidos Santrauka Apžvelgiama Lietuvos XX a. antrosios pusės (sovietmečio) architektūros raida per stilistikos ir architektūros idėjų istorijos prizmę, taip siekiant įvardyti šio laikotarpio architektūrinės vertės prielaidas. Prieš nagrinėjant stilistinius aspektus, atkreipiamas dėmesys į tai, kad sovietmečio architektūros vertinimas neturėtų būti siejamas su laikotarpio politiniais vertinimais, ir į tai kad XX a. architektūros tapsmas paveldo objektu ir integravimas į šiuolaikinį miestą yra svarbi, bet problemiška šiuolaikinės miestų raidos dalis. Remiamasi prielaida, kad sovietmečio laikotarpio architektūros raidoje galima išskirti tris pagrindinius požiūrio į architektūrą būdus: socialistinis realizmas, industrinis sovietmečio modernizmas ir įvairialypės XX a. antrosios pusės stilistiniųestetinių paieškų apraiškos. Laikomasi prielaidos, kad kiekvienas iš šių požiūrių bei stilistinės šiuos požiūrius įgyvendinančios priemonės turėtų būti išsaugotos kaip autentiškas Lietuvos XX a. architektūros raidos kelias. Reišminiai žodžiai: sovietmečio architektūra, architektūros istorija, paveldas, socialistinis realizmas, industrinis sovietmečio modernizmas, vėlyvasis modernizmas. First Published Online: 22 May 2013

The paper analyses the Lithuanian architecture of the soviet period through the prism of stylistic development and history of architectural ideas. The main task of the work is to determine the heritage values of the soviet period from the point of view of architectural history. Before going into deeper analysis of separate stylistic aspects some key problems of the soviet time heritage evaluation are discussed. Particular attention is given to the need of separation of the soviet time architectural history from the political history as well as to the problem of integration of the soviet heritage into contemporary city life. Three main ap- proaches on the architecture of the soviet period are pointed out: socialist realism, soviet industrial modernism and plurality of stylistic attitudes during the last decades of the soviet period. The paper follows an assumption that some characteristic buildings of each architectural outlook should be saved in order to have an example of authentic way of development in the Lithuanian architecture during the 20th century.

The paper analyses the Lithuanian architecture of the soviet period through the prism of stylistic development and history of architectural ideas. The main task of the work is to determine the heritage values of the soviet period from the point of view of architectural history. Before going into deeper analysis of separate stylistic aspects some key problems of the soviet time heritage evaluation are discussed. Particular attention is given to the need of separation of the soviet time architectural history from the political history as well as to the problem of integration of the soviet heritage into contemporary city life. Three main ap- proaches on the architecture of the soviet period are pointed out: socialist realism, soviet industrial modernism and plurality of stylistic attitudes during the last decades of the soviet period. The paper follows an assumption that some characteristic buildings of each architectural outlook should be saved in order to have an example of authentic way of development in the Lithuanian architecture during the 20th century.