呂富珣/LYU Fuxun

1 立陶宛大公國建筑

13世紀中葉，明道加斯（Mindaugas, 約1200-1263）建立了統(tǒng)一的立陶宛大公國，其早期的疆域涵蓋了當代立陶宛東部和白俄羅斯西北部地區(qū)。很快，大公國的領(lǐng)地便擴張到當代立陶宛全域、白羅斯公國以及烏克蘭、羅斯公國和波蘭的部分領(lǐng)地。早在基輔羅斯公國時期，立陶宛大公國的許多城市就已經(jīng)成為當時的經(jīng)濟、政治、軍事和文化中心。

一般來說，13世紀出現(xiàn)的一些木制城堡，被看作是立陶宛大公國建筑活動的濫觴。當時這些城堡的周圍已經(jīng)出現(xiàn)了許多固定的村落。該階段建筑與城市的主要特征就是軍事防御性。城防體系的建立把陡峭的河岸與山坡等自然屏障與人工構(gòu)筑物充分地結(jié)合在一起。內(nèi)城以及整個城池都被溝壕、土堤以及木制的堡壘環(huán)繞起來。這種防御體系的建立是與當時抵御外敵侵略的戰(zhàn)術(shù)相適應的。長期以來，御敵的現(xiàn)實需要促成了新型城防體系的出現(xiàn)，并在15世紀初開始有了石砌的城堡，沿城墻建造了多角形或圓形平面的石塔。15-16世紀，私人木制城堡和石砌城堡的建設(shè)得到了廣泛的推廣，一般都建在自然的或人工堆砌的高地上面，周圍設(shè)有水溝、厚重的城墻和塔樓，并開始逐漸轉(zhuǎn)化成城堡-宮殿建筑群，進而使之具備了軍事防衛(wèi)和公共活動兩種功能。與此同時，修道院、禮拜堂、私人府邸也開始在城堡中出現(xiàn)。烏克蘭現(xiàn)存一座立陶宛大公國時期的城堡——盧茨基城堡（Луцкий замок，圖 1），是14世紀開始建造的。如今它是烏克蘭七大遺跡之一。

與西歐國家的長期交往，對立陶宛防御工程的發(fā)展具有不同尋常的意義。同時，西歐建筑中的羅馬式和哥特式風格在立陶宛建筑中得到推廣，并在此基礎(chǔ)上逐漸演變成了獨特的立陶宛哥特風格，形象變得更加宏偉壯麗、活潑生動。

城防工作的重要性在很大程度上影響了立陶宛中世紀城市的形象。為了確保城防的安全，沿著城墻外側(cè)布滿了防御性設(shè)施：塔樓、溝壕和水渠。連接郊野地區(qū)的道路延伸到城門、經(jīng)過城門進入城市并成為城市的主干路。它們通過環(huán)形道路連成整體，構(gòu)成環(huán)形加放射線的城市路網(wǎng)結(jié)構(gòu)。14-16世紀上半葉，隨著城市數(shù)量的不斷增長，一些新型的城市建筑——市政廳、禮拜堂、教堂、集市等開始出現(xiàn)。這時的城市一般具有兩個公共中心：大公的城堡和集貿(mào)市場。在一些獲得自治權(quán)的小城市也建設(shè)了市政廳廣場。隨著手工業(yè)和貿(mào)易的繁榮，城市的工商業(yè)區(qū)域得到擴張，其規(guī)劃結(jié)構(gòu)更為合理，道路一般也進行了鋪裝。集貿(mào)廣場的周邊以及臨近街道布置了手工藝者和商人的商鋪與住宅。在一些城鎮(zhèn)的集貿(mào)廣場上還建設(shè)了小旅店和小酒館。除了大公府邸和宗教設(shè)施以外，城區(qū)的房子一般都是單層的木構(gòu)建筑。

貴族莊園的建設(shè)規(guī)模不一。一些大型莊園不僅具有大量的居住設(shè)施，還增加了一些生產(chǎn)設(shè)施，如水磨等。中小貴族的府邸一般大都是木造的；而大貴族的府邸則建有宮殿-城堡建筑群，并且使用了石材和磚，其規(guī)劃設(shè)計也更為復雜一些，有些大型府邸中甚至出現(xiàn)了花園庭院。

地方市鎮(zhèn)在立陶宛大公國居住體系中占有獨特的地位。作為城市和鄉(xiāng)村之間的過渡形態(tài)，這些地方市鎮(zhèn)把農(nóng)村生活和城市生活結(jié)合在一起。15世紀上半葉，由于貿(mào)易的需要，在一些大公貴族所在城池的附近出現(xiàn)了第一批地方市鎮(zhèn)。有些市鎮(zhèn)的建設(shè)是與大公城堡的建設(shè)同時開展的，有些是在原有城堡附近逐漸形成的，還有一些則是在大公分封給修道院的領(lǐng)地附近建設(shè)的。隨著貿(mào)易活動的擴張，驛道上也出現(xiàn)了一些市鎮(zhèn)。這些市鎮(zhèn)逐漸成為城市之間的貿(mào)易與手工業(yè)中心。有些城鎮(zhèn)有300戶的規(guī)模，到16世紀甚至達到1500位居民的規(guī)模。

早在14世紀初就已經(jīng)形成了木構(gòu)教堂的基本形制：十字型平面，單個或3個穹頂，南、北、西三側(cè)設(shè)有門廊。穹頂是空間構(gòu)圖不可或缺的主要元素，具體形式根據(jù)各地不同的傳統(tǒng)而定，從半球形穹頂?shù)窖笫[頂都有。立陶宛大公國時期的木構(gòu)教堂一般是作為石砌教堂建成以前的臨時建筑使用的。與俄羅斯的方形祭壇不同，立陶宛教堂的祭壇是五邊形的，這也是立陶宛傳統(tǒng)教堂的特性之一。后來，隨著巴洛克建筑在立陶宛的繁榮，天主教和希臘天主教式的教堂形制也得到推廣，采用矩形平面，內(nèi)設(shè)五邊形祭壇，雙坡屋頂。這一時期的石砌東正教教堂則保留了古代俄羅斯教堂的傳統(tǒng)，但是在結(jié)構(gòu)和形式上明顯受到了哥特建筑的影響。哥特建筑對立陶宛建筑的影響從15世紀初一直持續(xù)到16世紀下半葉。15世紀以前立陶宛僅有6座天主教教堂，15世紀新建了將近50座，以木構(gòu)為主。隨著16世紀中葉宗教改革運動的興起，開始了新教教堂的建設(shè)。宗教建筑開始具有文藝復興建筑的某些特點，并一直持續(xù)到17世紀上半葉。

16世紀，隨著國際市場對立陶宛原材料需求的增長，立陶宛經(jīng)濟開始走向繁榮。貿(mào)易和手工業(yè)的發(fā)展導致了城市數(shù)量的增長以及住宅、公共與行政建筑的大量建設(shè)。隨著私人城堡的建設(shè)，文藝復興風格開始對立陶宛建筑產(chǎn)生影響，其規(guī)整對稱的空間規(guī)劃構(gòu)圖備受推崇。影響主要發(fā)生在兩個方面：對于大公階層和部分大貴族而言，有來自意大利本土的建筑工匠為他們服務；與此同時，與普魯士、荷蘭的經(jīng)濟文化交流為立陶宛式北歐文藝復興風格的確立創(chuàng)造了條件，這一傾向在城市居住建筑中表現(xiàn)得尤為突出。維爾紐斯的城墻是早期文藝復興風格的范例之一，始建于1503-1522年，當時維爾紐斯正面臨韃靼人入侵的威脅，直至17世紀初方才全部建成。城墻采用哥特式磚砌工藝，城門頂樓檐口的裝飾主題具有鮮明的北歐文藝復興風格特征。19世紀初期，城墻被拆毀,僅保留下一段城墻和一座銅質(zhì)的城門（圖2）。

1 盧茨基城堡，14世紀/Lutskiy Castle, 14th century（圖片來源/Source: https://travels-ukraine.com/wp-content/uploads/2017/08/0_13f134_21f18897_orig.jpg）

2 阿烏施羅斯城門，維爾紐斯，16世紀/Auschros Gate,Vilnius, 16th century（圖片來源/Source: https://avatars.mds.yandex.net/get-pdb/477388/3d045be2-db65-4b55-b716-fb319542d06a/s1200）

通過城市建筑可以發(fā)現(xiàn)哥特式到文藝復興風格的演變歷程。16世紀，在建筑的結(jié)構(gòu)、砌筑工藝、規(guī)劃布局、高聳的裝飾山墻等方面長期保留了哥特式傳統(tǒng)，而文藝復興元素則首先出現(xiàn)在一些細部裝飾上面。16世紀下半葉的立陶宛建筑一般具有相對較大的體量，宮殿大都設(shè)有裝飾性的高大頂樓。該階段的城堡和封建主的宮殿仍舊具有防衛(wèi)的功能，但已經(jīng)沒有中世紀城堡的那種戰(zhàn)略意義。矩形庭院的兩側(cè)或三側(cè)布置住宅和商業(yè)設(shè)施，其他方向則建有高高的磚砌城墻。庭院四角設(shè)有圓形或多邊形的高塔。不同宗教教派的紛爭迫使天主教徒和新教徒在建造教堂時運用了巨大的圍墻和防御裝置。天主教教堂通常是單廳式或三廳式，也有多廳式的，有時還附設(shè)耳堂；建筑立面光滑平整或者裝飾著拱形飾帶。

1 Architecture of the Grand Duchy of Lithuania

In the mid-13th century, Mindaugas (c.1200–1263) established the unified Grand Duchy of Lithuania; its early borders included parts of today's eastern Lithuania and north-western Belarus.Subsequently, the Grand Duchy of Lithuania rapidly expanded to include all of modern Lithuania, in addition to parts of Belarus, Ukraine, Kievan Rus,and Poland. In the early period of Kievan Rus, many cities of the Grand Duchy of Lithuania had become economic, political, military, and cultural centres.

Generally, the wooden castles, which emerged in the 13th century, were seen as the genesis of the construction activities of the Grand Duchy of Lithuania. During this period, many fixed settlements had already appeared in the areas surrounding these castles. The primary characteristics of the architecture and cities of this period were their military defence characteristics. The establishment of urban defence systems fully integrated natural defences, such as rivers and hills, in addition to artificial structures.The inner city, in addition to the city fortifications as a whole, would be surrounded by moats, earthen embankments, and wooden forts. These types of defence systems were adapted to complement defence strategies against external attacks. For a long period,the reality of defence necessitated the formation of a new type of urban defence system. At the beginning of the 15th century, stone castles began to be constructed, and polygonal or round stone towers were constructed along city walls. In the 15th and 16th centuries, private wooden and stone castles were broadly constructed, and would typically be built on natural or artificially elevated ground, and surrounded by moats, thick walls, and towers. These structures gradually evolved into castle-palace complexes and acquired the dual capabilities of military defences and public activities. At the same time, monasteries,chapels, and private residences began to appear in castles. Lutskiy Castle (Луцкий замок, Fig.1), a Grand Duchy of Lithuania-era castle that currently exists in Ukraine, was constructed at the start of the 14th century; it is now one of the Seven Wonders of Ukraine.

Long-term contact with western European countries is of significant importance to the development of Lithuanian defence projects. At the same time, Romanesque and Gothic styles in Western architecture have been widely applied to Lithuanian architecture, and the unique Lithuanian Gothic style gradually evolved from this basis, forming a more impressive, lively, and vivid architectural style.

The importance of urban defence projects greatly influenced the form of medieval Lithuanian cities. To guarantee the security of the city, defensive facilities were placed along the outsides of city walls;these included towers, moats, and canals. Roads that connected rural areas extended to city gates, passed through city gates into cities, and became the main thoroughfares. They used circular roads to form complete systems and formed urban road networks by linking these round roads with linear roads radiating outward. In the first half of the 14th to 16th centuries,with the continuous growth in the number of cities,new forms of urban architecture began to emerge,including city halls, chapels, churches, and markets.Cities generally had two public centres: dukes' castles and markets. These small autonomous cities also established city hall squares. With the rise of the handicrafts industry and other forms of trade, cities'commercial districts expanded, their structural plans became more reasonable, and roads were generally paved. Handicraft artisans' and merchants' residences and shops were situated in the vicinity of markets, and along roads surrounding these markets. Furthermore,small inns and hotels were constructed in these urban markets. Apart from the Duchy's residential buildings and religious structures, most houses within urban areas were single-storey wooden structures.

The scale of construction of aristocratic manor varied; some large-scale manors had not only a large number of residential rooms but also production facilities, such as water mills. Residential buildings in small- and medium-sized estates were typically wooden, whereas large-scale aristocratic residences were typically palace-castle compounds, constructed with stone and brick; these buildings were typically more complex in terms of planning and design. A number of large-scale residences even included garden courtyards.

Local municipalities occupied a unique status in the residential system of the Grand Duchy of Lithuania. As a transitional state between the city and countryside, these local municipalities combined rural life with urban life. In the first half of the 15th century,as a result of demand for trade, the first wave of local municipalities emerged in areas surrounding cities belonging to the Grand Duchy. Some municipalities were constructed at the same time as the Grand Duchy's castles; some gradually formed around existing castles. Others were built near lands that were conferred to the monasteries by the Grand Duke. With the expansion of trade activities, some municipalities also emerged along post roads. These municipalities gradually formed trade and handicraft industry centres between cities. Some municipalities included as many as 300 residents, growing in scale to have as many as 1,500 residents by the 16th century.

As early as the start of the 14th century, the basic form of wooden churches had been generally established: a cross-shaped layout, one or three domes, and three porches, each of which stood on the south, north, and west. Domes were indispensable spatial elements of churches, and their specific shapes were determined by different local traditions, ranging from hemispherical to onion-shaped, pointed domes.Typically, wooden churches built during the period of the Grand Duchy of Lithuania were merely temporary structures to be used before the construction of stone churches. Unlike the square-shaped altars used in Russian churches, Lithuanian churches had pentagonal altars; this is one of the unique characteristics of traditional Lithuanian churches. Subsequently, with the rise of Baroque architecture in Lithuania, Catholic and Greek Catholic styles became widely applied in churches, with rectangular layouts, pentagonal altars, and double-pitched roofs. In this period, stonebuilt Orthodox churches retained the traditions of ancient Russian churches but were clearly influenced in structure and style by Gothic architecture. Gothic architecture cast influence on Lithuanian architecture from the 15th to the late 16th centuries. Prior to the 15th century, Lithuania had only six Catholic churches. Nearly 50 Catholic churches, primarily wooden ones, were built in Lithuania during the 15th century. With the emergence of religious reformation movements in the 16th century, Protestant churches began to be built. At this point, religious architecture began to display elements of Renaissance architecture,a trend that continued until the early 17th century.

從16世紀末開始，在大公國范圍內(nèi)開展了教堂和修道院的建設(shè)活動。許多從經(jīng)濟和政治衰敗中重新振興的城市開始大量建造宮殿。巴洛克也在16世紀末-18世紀中期的立陶宛建筑中得到推廣，并逐漸成為主流建筑風格。立陶宛大公國的巴洛克建筑經(jīng)歷了三個階段：早期（16世紀末-17世紀上半葉）、成熟期（17世紀下半葉-1730年代，以白俄羅斯式為主）和晚期（1730-1780年代，以維爾紐斯式為主）。早期巴洛克階段有許多來自意大利的建筑工匠或者在羅馬接受過專門培訓的當?shù)毓そ吃诰S爾紐斯從事建造活動。巴洛克的最早標志出現(xiàn)在維爾紐斯大學建筑群。1579年，立陶宛大公應耶穌教會和羅馬教皇格里高利13世（Gregorius PP.XIII, 1502-1585）的請求建立了立陶宛大公國的第一所高等教育機構(gòu)——維爾紐斯大學。1584-1603年間，耶穌會教士在這里建造了一座頗具文藝復興精神的3層拱廊建筑，同時運用了早期巴洛克造型元素（圖3）。拱廊在19世紀被封閉，直至1923年才重新開放了底層的拱廊。在其建立后的300多年間，維爾紐斯大學建造了大量風格各異的校園建筑，其校舍范圍幾乎擴張到老城區(qū)的大多數(shù)街坊，包括13組院落、圖書館、天文臺、神學院、教堂和鐘樓等。維爾紐斯式巴洛克是在17-18世紀間逐漸形成的一套具有自己鮮明特色的建筑體系。不同于白俄羅斯式巴洛克嚴整、沉靜的建筑形象，維爾紐斯巴洛克顯得更加輕盈、自由。當維爾紐斯已經(jīng)開始流行巴洛克的時候，立陶宛大公國其他城市里還在重復著文藝復興風格，甚至哥特式。

在巴洛克成熟期，由于與俄羅斯和瑞典的戰(zhàn)爭（1655-1660），立陶宛的國力衰落，但統(tǒng)治階層為了加強與西歐的關(guān)系，開始大量建造紀念性教堂與宮殿，1668-1676年扎奧爾（Я.Заор）在維爾紐斯建造的圣彼得與圣保羅教堂（圖4）便是其中的代表作。羅馬巴洛克甚至威尼斯巴洛克在整個立陶宛開始流行起來。

3 維爾紐斯大學的拱廊建筑，1584-1603年/The arcades of Vilnius University, 1584-1603（圖片來源/Source: https://upload.wikimedia.org/wikipedia/commons/4/4c/Skargi1.jpg）

4 圣彼得與圣保羅教堂，維爾紐斯，1668-1676年/St. Peter and St. Paul's Church, Vilnius, 1668-1676（圖片來源/Source:https://avatars.mds.yandex.net/get-pdb/251121/9a433483-0b2b-4d63-a002-6231ccb5dc9f/s1200?webp=false）

5 圣心耶穌教堂，維爾紐斯，1913-1920年代/Church of the Sacred Heart of Jesus, Vilnius, 1913-1920（圖片來源/Source:http://im3.turbina.ru/photos.4/2/3/5/0/9/2490532/big.photo/kostel-serdtsa-Iisusa.jpg）

對于立陶宛晚期巴洛克來說，1735-1765這30年是一個重要階段。當時國家的經(jīng)濟得到提升，農(nóng)業(yè)與手工業(yè)得到了很好的發(fā)展，與其他國家之間的貿(mào)易也得到擴大。該階段的巴洛克建筑具有輕巧的外形與優(yōu)雅的細部，尤其是門窗的處理更具特色，并且開始使用洛可可的裝飾主題對建筑室內(nèi)及外墻進行裝飾。

18世紀末期，立陶宛建筑開始從巴洛克轉(zhuǎn)向古典主義。1795年，隨著波蘭立陶宛王國的解體，立陶宛被并入俄羅斯，在生活的各個領(lǐng)域都開始了俄羅斯化。19世紀初期的立陶宛建筑深受俄羅斯建筑的影響，主要表現(xiàn)為晚期古典主義。從1830年代開始，與俄羅斯以及周邊國家類似，浪漫主義取代古典主義成為建筑主流。50年過后，折衷主義開始走上歷史舞臺。

2 第二次世界大戰(zhàn)以前的立陶宛建筑

19世紀西歐國家發(fā)生的科學技術(shù)革命，推動了金屬結(jié)構(gòu)、混凝土與鋼筋混凝土在建筑中的廣泛應用，促進了新的建筑語言以及空間結(jié)構(gòu)形式的出現(xiàn)。這一切深深地觸動了立陶宛建筑界。1913年在維爾紐斯開始興建圣心耶穌教堂（Костел св. Сердца Иисуса，圖5，維烏利斯基斯，А.Вивульскис）的時候，就采用了鋼筋混凝土結(jié)構(gòu)。這也是世界上最早運用鋼筋混凝土結(jié)構(gòu)的宗教建筑之一。第一次世界大戰(zhàn)結(jié)束后，立陶宛經(jīng)濟陷入崩潰，建筑業(yè)基本停滯，大戰(zhàn)前建筑界對新風格的試驗性探索也停頓下來。1920年代初，立陶宛首都維爾紐斯及1/3左右的國土被波蘭占領(lǐng)，考納斯成為立陶宛臨時首都，直至第二次世界大戰(zhàn)。

該階段的立陶宛建筑大致可以分為兩個發(fā)展階段。

首先是1920年代至1930年代初——歷史風格占統(tǒng)治地位的時期：民族主義和浪漫主義盛行，俄羅斯新古典主義繼續(xù)發(fā)酵，這一點與其他波羅的海國家大體一致。該階段的代表人物是松加伊拉（М.Сонгайла ，1874-1941），其代表作品是新古典主義風格的考納斯立陶宛銀行大樓（1928，圖6）。

其次，1930年代至1940年代初——立陶宛現(xiàn)代建筑新趨向逐漸形成的時期：西方的前衛(wèi)建筑思想被廣為接受，古典主義建筑傳統(tǒng)開始遭到拋棄。從西歐國家留學歸來的年輕建筑師與藝術(shù)家成為該階段的創(chuàng)作主力軍。隨著國際交流的擴大，西方技術(shù)革命浪潮催生出來的嶄新藝術(shù)思想在立陶宛得以生根發(fā)芽，并以前衛(wèi)建筑思潮為代表，推動了立陶宛建筑文化的發(fā)展。1932年建成的考納斯郵政總局大樓是該階段的代表作品，采用了全新的現(xiàn)代構(gòu)圖手法，拒絕傳統(tǒng)裝飾主題。除此之外，1938年落成的考納斯試驗研究所大樓（蘭德斯別爾基斯-雅姆卡里尼斯，В.Ландсбергис-Жямкальнис），現(xiàn)考納斯工學院化工系大樓（圖7），和工業(yè)貿(mào)易及手工業(yè)大廈（蘭德斯別爾基斯-雅姆卡里尼斯，В.Ландсбергис-Жямкальнис，現(xiàn)考納斯公共圖書館，圖8）被視為立陶宛理性主義建筑的代表作。前者還一直被看作是把新觀念、新技術(shù)與民族傳統(tǒng)巧妙結(jié)合在一起的一個范例。

In the 16th century, as international market demand for Lithuanian raw materials grew, Lithuania's economy began to prosper. The development of trade and handicrafts industries led to an increasing number of cities, including large-scale construction of residences, in addition to public and administrative buildings. Along with the construction of private castles, the Renaissance style began to influence Lithuanian architecture. Regular and symmetrical spatial planning was greatly respected. This influence primarily occurred in the following two manners.First, with respect to the Grand Duchy and some high-level aristocrats, architectural masters from Italy had come to serve them. Second, economic and cultural exchanges with Prussia and the Netherlands had created conditions for the establishment of the Lithuanian Nordic Renaissance style; this tendency was especially apparent in urban residential architecture. The city wall of Vilnius, constructed between 1503 and 1522, is a classic example of the early Renaissance style. Built at a time when Vilnius faced invasion by the Tartars, the wall was not completed until the 17th century. Gothic style brickwork was used for the city wall, and decorative motifs on the top of city gates exhibited distinct Nordic Renaissance stylistic characteristics. At the start of the 19th century, the city wall was demolished;only one section of the city wall and a bronze city gate were preserved (Fig. 2).

By observing urban architecture, one can reveal the process of evolution from the Gothic style to the Renaissance style. In the 16th century,Gothic traditions had long been observed in the structure, masonry, planning, and gable decoration of architecture, although Renaissance elements first appeared in some decorative components at this time.In the latter half of the 16th century, Lithuanian buildings were typically large, and most palaces had large, decorative garrets. Castles and lords' palaces still had defensive capabilities, but they lacked the strategic importance that they had during the medieval era.Residential and commercial facilities were located on either two or three sides of rectangular courtyards,whereas the other sides would have tall, stone walls.Furthermore, round or polygonal towers were constructed in the four corners of these courtyards.Disputes between religious sects forced the Catholic and Protestant churches to build large walls and other defensive measures when constructing churches.Catholic churches typically adopted a single- or triplehall layout, although multi-hall layouts also existed.They also occasionally included transepts; building fa?ades were either smooth or decorated with arched bands.

Beginning in the end of the 16th century,church and monastery construction activities began within the Grand Duchy. Many cities recovered from the economic collapse and began to construct a large number of palaces. Between the end of the 16th century to the middle of the 18th century,the Baroque style was widely applied in Lithuanian architecture, gradually becoming the mainstream.During the time of the Grand Duchy of Lithuania,Baroque architecture experienced three periods: the early period (late 16th century to early 17th century),mature (late 17th century to the 1830s; mainly the Belarusian style), and late periods (1830s–1880s;mainly Vilnius style). During the early Baroque period, many Italian architects, or local craftsmen who had received training in Rome, conducted architectural work in Vilnius. The earliest marks of Baroque architecture are apparent in the Vilnius University complex. In 1579, the Grand Duchy of Lithuania accepted the request of the Jesuits and of Pope Gregory XIII to establish the first institute of higher education in the Grand Duchy, Vilnius University. Between 1584 and 1603, the Jesuits built a three-storey arcade with Renaissance-style and early Baroque elements at the university (Fig. 3). The arcade was closed in the 19th century, and its ground floor was only reopened to the public in 1923. In the 300 years since its opening, Vilnius University has constructed a large number of campus buildings of various styles; its school buildings have expanded to most parts of the old city, and include 13 groups of courtyards, libraries, observatories, seminaries,churches, and clock towers. In the 17th and 18th centuries, the Vilnius Baroque style began to develop its own set of distinct and defining architectural systems. Distinct from Belarusian Baroque's strict,placid architectural image, Vilnius Baroque looked distinctly lighter and freer. While Baroque began to become popular in Vilnius, other cities in the Grand Duchy of Lithuania were still using Renaissance or even Gothic styles.

During the mature Baroque period, the national power of Lithuania greatly deteriorated owing to the war between Russia and Sweden (1655–1660).However, the ruling class began constructing a large number of memorial churches and palaces to strengthen their relationship with Western Europe,most representative of which is the Church of St. Peter and St. Paul, built in Vilnius between 1668 and 1676(J. Zaor, Fig. 4). During this time, the Roman Baroque and even Venetian Baroque styles became popular throughout Lithuania.

The 30 years between 1735 and 1765 were an important stage of the late Baroque period of Lithuania. Lithuania's national economy was growing; the agricultural and handicrafts industries were experiencing healthy development; and trade with other countries greatly expanded. Baroque architecture had a light appearance and elegant details; especially, doors and windows were treated with a unique style. Rococo decorative themes began to be applied to interior architecture and exterior wall ornaments.

Beginning in the end of the 18th century,Lithuanian architecture began to shift from the Baroque style to classicism. In 1795, with the dissolution of the Polish-Lithuanian Commonwealth,Lithuania was annexed by Russia, and all areas of life became Russianised. At the start of the 19th century,Lithuanian architecture was deeply influenced by Russian architecture, which was primarily manifested in the late classical style. Beginning in the 1830s, as in Russia and other neighbouring countries, Romanticism replaced classicism as the main architectural style. Fifty years later, eclecticism emerged as a new architectural style.

1930年代末，立陶宛的建設(shè)活動逐漸開始繁榮，建造了許多新型的現(xiàn)代建筑，諸如學校、銀行、醫(yī)院、住宅樓等，但建筑創(chuàng)作與實踐主要集中在考納斯和其他一些中心城市。對新建筑趨勢的熱衷也成為建筑界的主流共識。

整個1930年代，可以看作是立陶宛建筑發(fā)展的一個重要轉(zhuǎn)折時期。它充滿了對新建筑趨勢的向往，以及為之所做出的不懈努力與探索。建筑創(chuàng)作思想發(fā)生了明顯轉(zhuǎn)變，并從根本上改變了傳統(tǒng)建筑一統(tǒng)天下的局面。這一切，為立陶宛建筑的后續(xù)發(fā)展奠定了堅實的基礎(chǔ)。

3 立陶宛蘇維埃社會主義共和國建筑

3.1 融入蘇聯(lián)建筑的大家庭

1940年代，立陶宛蘇維埃社會主義共和國成立，政治、社會、經(jīng)濟改革隨即全面展開。但建筑界的融合比較緩慢，因為雙方的創(chuàng)作觀念有著較大的差異：立陶宛建筑正在追逐西歐的早期現(xiàn)代主義建筑思潮，而此時的蘇聯(lián)建筑則已經(jīng)開始轉(zhuǎn)向復古主義。值得欣慰的是，隨著土地國有化運動的展開，在城市規(guī)劃與大型居住點設(shè)計等方面為立陶宛建筑師提供了新的創(chuàng)作天地。1941-1944年立陶宛被德軍占領(lǐng)，建設(shè)活動基本停滯，許多城市受到巨大破壞。戰(zhàn)后，人們積極地開展了重建工作，并開始了編制城市發(fā)展總體規(guī)劃的工作。按照蘇聯(lián)當時的規(guī)劃理論，城市被嚴格劃分成不同分區(qū)，尤其強調(diào)工業(yè)區(qū)與居住區(qū)的分隔；同時，交通、綠化、舊城改造等問題也成為關(guān)注的重點。大規(guī)模工業(yè)區(qū)的規(guī)劃建設(shè)，為國家工業(yè)化的實現(xiàn)以及立陶宛工業(yè)建筑學派的形成發(fā)揮了積極的作用。伴隨著工業(yè)區(qū)的建設(shè)，與之配套的工人居住新村以及一些新城的建設(shè)也相繼展開。戰(zhàn)爭期間慘遭破壞的一些重要文物建筑也開始得到修復，如維爾紐斯的象征——上城堡中的格基米納斯塔（башня Гедиминаса Верхнего замка，圖 9）。

當時蘇聯(lián)建筑中的復古主義傾向?qū)τ诹⑻胀鸾ㄖ焷碚f是一件很難接受的事情。但是，大量來自蘇聯(lián)其他加盟共和國的建筑師在立陶宛的創(chuàng)作逐漸影響并最終改變了他們。立陶宛建筑從此深深地打上了蘇聯(lián)建筑的烙印。

3.2 城市建設(shè)

早在1956年，立陶宛就在蘇聯(lián)率先開始了區(qū)域規(guī)劃的編制工作。其原因在于工業(yè)的飛速發(fā)展導致城市化水平的迅速提高；農(nóng)業(yè)集體化導致農(nóng)莊村鎮(zhèn)建設(shè)的大規(guī)模展開。最早的區(qū)域規(guī)劃是為考納斯編制的，當時正在建設(shè)考納斯水電站。1960年代末基本確立了統(tǒng)一規(guī)劃設(shè)置大型居民點、生產(chǎn)中心與文化中心系統(tǒng)的布局原則，并在此基礎(chǔ)上確立了一系列城市建設(shè)方針：優(yōu)先發(fā)展區(qū)域中心城市，繼續(xù)發(fā)展工業(yè)中心城市，限制維爾紐斯、考納斯等大型城市的無序增長。1960年代還進行了農(nóng)業(yè)區(qū)域規(guī)劃方法的研究，并在1967年完成了立陶宛農(nóng)村區(qū)域發(fā)展規(guī)劃。同一年還完成了立陶宛全境內(nèi)的區(qū)域發(fā)展遠景規(guī)劃（至1980年）。

維爾紐斯成為關(guān)注的重點，并于1964年專門組織了大規(guī)模的城市中心區(qū)改造規(guī)劃競賽。在此基礎(chǔ)上完成了維爾紐斯總體發(fā)展規(guī)劃（至1980年）。根據(jù)總體規(guī)劃，城區(qū)將向北和西北方向發(fā)展，1980年規(guī)劃人口42.5萬人。當然，現(xiàn)實的情況是1974年就提前達到了規(guī)劃發(fā)展目標，1980年的城市人口數(shù)量已經(jīng)達到50萬人。為了疏解城市中心區(qū)的交通壓力，規(guī)劃建議增加中心區(qū)周圍的干路，在尼亞里斯河（Река Нярис）上新建一些橋梁和城區(qū)高架橋。規(guī)劃還確定了舊城區(qū)的改造原則：漸進發(fā)展，集中建設(shè)新型的城市綜合體。按此原則，維爾紐斯陸續(xù)建設(shè)了一些大型商貿(mào)中心、行政辦公大樓、能容納兩萬人的大學生村、大型醫(yī)療中心、立陶宛科學院的科學城以及諸多新型居住區(qū)。

6 立陶宛銀行大樓，考納斯，1928年/Bank of Lithuania,Kaunas, 1928（圖片來源/Source: http://www.lb.lt/uploads/gallery/images/1500x900_ratio/40_imp_36ddf22536b95a00 560e7af55b447c7e.jpg）

7 試驗研究所大樓，考納斯，1938年/Research Laboratory，Kaunas, 1938（圖片來源/Source: http://i.imgur.com/Cyy9nLn.jpg）

8 工業(yè)貿(mào)易及手工業(yè)大廈，考納斯，1938年/Chamber of Commerce, Industry and Crafts, 1938（圖片來源/Source: http://d2me0fuzw8a1c5.cloudfront.net/files/img1/1200/21.jpg）

在尼亞里斯河的右岸興建了新的城市公共服務中心和立陶宛共和國革命博物館。新建的藝術(shù)展覽宮、國立歌劇舞劇院、立陶宛蘇維埃社會主義共和國最高蘇維埃大廈、婚禮宮等建筑為維爾紐斯市中心增添了新的色彩。1960年代的立陶宛建筑具有一個鮮明的特征，那就是建立在工業(yè)化建筑基礎(chǔ)上的標準結(jié)構(gòu)構(gòu)件與建筑材料、以及標準化設(shè)計方案的廣泛運用。個性化的設(shè)計不復存在，建筑師的主要精力投入到解決建筑的功能問題、尋找合理構(gòu)圖表現(xiàn)手段、充分運用裝配式工業(yè)化構(gòu)件的藝術(shù)潛力等方面上來。

戰(zhàn)后初期居住區(qū)的規(guī)劃設(shè)計基本上是全蘇通用式：周邊布局、軸線構(gòu)圖、對稱式組團布置。最初建設(shè)的住宅樓也是按照當時蘇聯(lián)通用的標準設(shè)計完成的。1960年代以后，居住區(qū)一般強調(diào)平面布局的相對合理、人車道路盡可能分隔、公共建筑穿插布置、建筑小品豐富活潑，住宅樓基本是標準化大板裝配式，并注重居住區(qū)與周圍自然環(huán)境的融合。

大型工業(yè)設(shè)施的建設(shè)常常占據(jù)大量的城市土地，在很大程度上影響并決定了一些城市的規(guī)劃結(jié)構(gòu)與城市風貌，許多城市的邊界也不斷得到擴張。

歷史名城改造工作也受到廣泛重視。維爾紐斯、考納斯等城市專門制定了歷史中心區(qū)的修復與振興規(guī)劃，總計61個城市被列入立陶宛政府保護的名單。

2 Lithuanian Architecture prior to the Second World War

The scientific and technological revolution that occurred in Western Europe in the 19th century promoted the widespread application of metal structures, concrete, and reinforced concrete in architecture, in addition to promoting the emergence of a new architectural language and new forms of spatial structure. These events deeply impacted Lithuanian architecture. In 1913, the construction of the Church of the Sacred Heart of Jesus in Vilnius(designed by A.Vivulskis, А. Вивульскис, Fig. 5)used reinforced concrete structures. This represents one of the earliest examples of reinforced concrete structures being used in church architecture. After the end of the First World War, Lithuania's economy collapsed and construction basically halted, along with the experimental exploration of new architectural styles that had existed prior to the war. During the early 20th century, about a third of Lithuania's proper,including Vilnius, Lithuania's capital, was occupied by Poland; Kaunas served as Lithuania's temporary capital until the Second World War.

The development of Lithuanian architecture in this period can generally be divided into two stages.

First, between the 1920s and the early 1930s,a historical architectural style was prevalent.Democracy and Romanticism flourished, and Russian Neoclassicism continued to ferment; this situation was shared with other Baltic States. A representative figure of this period was Mykolas Songaila (М.Сонгайла, 1874–1941), whose representative work is the Neoclassical building Bank of Lithuania in Kaunas (1928, Fig. 6).

The second stage occurred between the 1930s and the early 1940s, when a new trend of modern Lithuanian architecture began to take shape. Western avant-garde architecture was widely accepted,and the traditions of classical architecture began to be abandoned. Young architects and students returning from academic exchanges in Western European countries were the driving creative force of this period. With the expansion of international contacts, new artistic ideas inspired by the Western technological revolution began to take root in Lithuania. As represented by avant-garde architectural concepts, these promoted the development of Lithuanian architectural culture. The Kaunas Central Post Office, built in 1932, is a representative work of this period; it adopted completely new modern composition techniques, and rejected traditional decorative themes. In addition, the Kaunas Research Laboratory (Vytautas Landsbergis-?emkalnis,В. Ландсбергис-Жямкальнис, 1893–1993;currently the Department of Engineering at the Kaunas College of Engineering), completed in 1938, and the Chamber of Commerce, Industry and Crafts (Vytautas Landsbergis-?emkalnis, currently the Kaunas Public Library, Fig. 8) are viewed as representative works of Lithuanian rationalist architecture. The laboratory these has always been seen as an example of the skilful combination of new concepts and technologies in line with national traditions.

At the end of the 1930s, Lithuanian construction activity gradually accelerated, and many new modern buildings were constructed, including schools, banks,hospitals, and residences. However, these buildings were generally located in Kaunas and other central cities. Enthusiasm for these new architectural trends also became widespread in the architectural world.

The entirety of the 1930s can be seen as an important transformational period in the development of Lithuanian architecture. This period is characterised by an enthusiasm for new architectural trends,and unremitting efforts towards and explorations of these trends. A distinct transformation of the thinking behind architectural creation occurred,which fundamentally altered the situation in which traditional architecture was dominant. This laid a firm foundation for the subsequent development of Lithuanian architecture.

3 Architecture of the Lithuanian Soviet Socialist Republic

3.1 Incorporation of Soviet Architecture

In the 1940s, after the Lithuanian Soviet Socialist Republic established, political, social, and economic reforms were fully implemented. However,integration in the architectural world took place relatively slowly, because the creative concepts of the two parties exhibited relatively large differences.At this time, Lithuanian architecture was following Western European early modernist architectural trends, whereas Soviet architecture had already begun to shift towards Revivalism. With the implementation of land nationalisation, Lithuanian architects were provided with new creative opportunities in the form of urban planning and the design of large-scale residential projects. From 1941 to 1944, Lithuania was occupied by Germany, during which period construction activities basically came to a halt, and many cities suffered significant damage. After the war, reconstruction efforts were actively undertaken,and preparation for urban development master plans was begun. According to Soviet planning concepts at the time, cities were strictly divided into separate zones, which particularly emphasised the separation of industrial and residential zones. Transportation,green space, and the transformation of old cities were important topics. The planning and construction of large-scale industrial zones played an active role in achieving national industrialisation and in the formation of Lithuania's industrial architectural school. The construction of residential districts for industrial workers and of some new cities accompanied the construction of the aforementioned industrial zones. During this period, some important cultural structures, which were damaged during WWII, also began to be restored, including the symbol of Vilnius, the Gediminas' Tower of the Upper Castle(башня Гедиминаса Верхнего замка, Fig. 9).The Revivalist tendencies of Soviet architecture at this time were not well received by Lithuanian architects.However, the large number of works of architects from other Soviet Republics gradually influenced and finally transformed the thinking of Lithuanian architects. As a result, Soviet architecture left a distinct imprint on Lithuanian architecture.

3.3 公共建筑

立陶宛公共建筑的發(fā)展不僅鮮明地反映了社會進程的變遷，而且也映射了人們精神文化與審美價值的進步。城市以及各類居民點中公共服務設(shè)施的布局充分考慮了居民生活服務分級保障系統(tǒng)的建立：在不同步行范圍內(nèi)必須配置相應種類和規(guī)模的公共服務設(shè)施，以確保市民生活的最大便利。

公共建筑被分成兩類：大規(guī)模建設(shè)的和單獨設(shè)計建造的。與整個蘇聯(lián)一致，立陶宛大規(guī)模建設(shè)的公共建筑基本上是按照各地方建筑師完成的通用標準設(shè)計進行的，包括幼教設(shè)施、學校、文化館、電影院、商貿(mào)中心等。

維爾紐斯城市建設(shè)設(shè)計研究院大樓（赫羅馬烏斯卡斯設(shè)計，Э.Хломаускас，1961，圖10）是一座單獨設(shè)計建造的公共建筑，造型簡潔大方，同時還具有一定的紀念性。這座衛(wèi)國戰(zhàn)爭后全蘇聯(lián)第一幢專門為設(shè)計院設(shè)計建造的大樓獲得了1962年蘇聯(lián)青年建筑師作品巡回展的一等獎。該階段的代表性作品還包括維爾紐斯的《維爾紐斯》電影院 （卡斯別拉維丘斯設(shè)計，Й.Касперавичюс，1964）、 立陶宛作曲家大廈（切卡納烏斯卡斯設(shè)計，В.Чеканаускас，1966）等。

立陶宛公共建筑在1960-1970年代逐漸形成了較為成熟的設(shè)計理念，它建立在現(xiàn)實主義的基礎(chǔ)之上，構(gòu)圖樸素，手法靈活。在新型公共建筑設(shè)計方面涌現(xiàn)出了許多成功的作品，如：維爾紐斯的體育宮（赫羅馬烏斯卡斯設(shè)計，1964，圖11）；藝術(shù)展覽宮（切卡納烏斯卡斯設(shè)計，1967，圖12），具有雕塑感強烈的空間體型構(gòu)圖，并與老城區(qū)原有建筑環(huán)境建立了和諧的關(guān)系，獲得專家與廣大市民的普遍肯定與贊揚；國立臨床醫(yī)院（赫羅馬烏斯卡斯，1967）；國立歌劇舞劇院；婚禮宮；生活服務綜合體（納斯維基斯設(shè)計А.Насвитис，1975）；立陶宛國立科學院話劇院改造以及瓦利吉寧卡依（Валькининкай）的國立兒童療養(yǎng)院（赫羅馬烏斯卡斯設(shè)計，1970）；考納斯的政治教育大廈（扎布列尼斯，А.Забуленис，1974，圖 13）等。

1974年，國立歌劇舞劇院（布丘杰設(shè)計，Н.Бучюте，圖14）在維爾紐斯市中心落成。劇院所處位置十分重要，因而在城市規(guī)劃方面具有獨特的意義。劇院以其統(tǒng)領(lǐng)全局的建筑體量和簡潔明快的建筑形象對城市中心區(qū)建筑風貌的形成發(fā)揮了舉足輕重的作用。劇院沒有采用傳統(tǒng)的中心對稱布局，觀眾廳偏向內(nèi)庭的一側(cè)，附屬用房根據(jù)需要布置在舞臺兩側(cè)。休息廳、舞臺和觀眾廳組成建筑的主要空間，采用鋼筋混凝土、鋼桁架和懸掛式鋁合金吊頂。立面上大量使用的玻璃幕墻對建筑雄偉莊重性格的刻畫發(fā)揮了積極的作用。休息廳內(nèi)設(shè)有創(chuàng)意獨特的照明裝置，樓座出挑的渾厚體量形成豐富的韻律。

維爾紐斯婚禮宮（巴拉維卡斯設(shè)計，Г.Баравикас，1974，圖15）也具有獨特的外部造型和出色的內(nèi)部空間組織。它坐落在一個歷史悠久的公園之中，通過自由靈活的平面布局與公園的自然環(huán)境取得良好的協(xié)調(diào)關(guān)系。建筑兩層高，活潑的體型構(gòu)成有趣的韻律。莊重大方的室外臺階把參加婚禮慶典的人們直接從廣場引入二層的儀式大廳。室內(nèi)空間的布局根據(jù)婚禮儀式的需要圍繞中央大廳展開，許多廳堂的室內(nèi)都使用了彩色玻璃進行裝飾。

1978年建成的立陶宛農(nóng)業(yè)經(jīng)濟研究所大樓（切卡納烏斯卡斯設(shè)計）也是當時的代表作之一。建筑所處地段起伏不平，因而采用曲折的平面布局。內(nèi)部空間根據(jù)功能要求成組布置。禮堂兩側(cè)的墻面上鋪滿壁畫（壁畫的創(chuàng)作者因此而獲得了1982年的蘇聯(lián)國家獎金）。整個建筑呈現(xiàn)出了對地方文化傳統(tǒng)的尊重、對自然環(huán)境的尊重、對城市文脈的尊重以及最終——對人的尊重。

9上城堡中的格基米納斯塔，維爾紐斯/Gediminas Tower of the Upper Castle, Vilnius（圖片來源/Source: https://a.travel-assets.com/findyours-php/viewfinder/images/res60/130000/130627-Vilnius-And-Vicinity.jpg）

11體育宮，維爾紐斯，1964年/Concert and Sports Hall,Vilnius, 1964（圖片來源/Source: https://www.obzor.lt/images/news/6/2014_12_11/pic3.jpg）

12藝術(shù)展覽宮，維爾紐斯，1967年/Art Exhibition House,Vilnius, 1967（圖片來源/Source: http://projectbaltia.com/wp-content/uploads/2018/04/img_7522.jpg）

13政治教育大廈，考納斯，1974年/House of Political Education,Kaunas, 1974（圖片來源/Source: https://img-fotki.yandex.ru/get/32234/192537469.6d/0_1adfc2_e3664167_orig.jpg）

1966-1969年設(shè)計、1980年建成的立陶宛國立科學院話劇院改造（納斯維基斯兄弟設(shè)計，А.和В.Насвитис，圖16）工程在把現(xiàn)代建筑形象融入歷史文脈方面取得了令人欣喜的成功。平面呈不對稱型，沿街邊深處的內(nèi)院展開。精心營造的室內(nèi)過渡空間、舒適的休息角落、功能合理的觀眾廳空間布局、多種綜合藝術(shù)形式的有效運用，共同形成有機的劇院整體藝術(shù)氛圍。劇院的設(shè)計者榮獲了1983年的蘇聯(lián)國家獎。

3.2 Urban Construction

As early as 1956, Lithuania began preparation for regional planning prior to the Soviet Union's corresponding efforts. The reason for this was that the rapid development of Lithuanian industry led to fastpaced increases in urbanisation levels. Agricultural collectivisation led to the large-scale development of agricultural towns. The earliest regional planning project was drawn up for Kaunas; at this time,the Kaunas Hydroelectric Power Plant was being constructed. At the end of the 1960s, the principles for the layout of systems of large-scale residential zones, production centres, and cultural centres had been established in a unified plan, which served as the basis for establishing a series of urban construction guidelines. Priority was given to the development of regional central cities, followed by the development of industrial central cities; meanwhile, the disorderly growth of large cities, such as Vilnius and Kaunas, was restricted. Research on agricultural district planning techniques was also conducted during the 1960s, and the nation-wide rural area development plan was completed in 1967. In the same year, the long-term regional development plan for Lithuania was also completed (this plan extended to 1980).

At this point, Vilnius became the focus of attention.In 1964, a large-scale city centre transformation planning competition was organised. It was on this basis that the overall Vilnius development plan was completed(this plan extended to 1980). According to the overall plan, the urban area was to be developed towards the north and northwest; the 1980 population of Vilnius would be 425,000 according to this plan. In reality, the development objectives of this plan were met early, by 1974. By 1980, Vilnius's population had already reached 500,000. To ease transportation pressures in the city centre, the plan recommended adding trunk roads in areas surrounding the city centre and constructing new bridges and urban overpasses along the Neris River. The plan also specified principles for the transformation of the old town district: progressive development, and the concentrated construction of modern urban complexes.According to these principles, Vilnius successively constructed several large-scale shopping centres,administrative office buildings, a university student village capable of housing 20,000 people, a large-scale medical centre, the scientific research centre of the Lithuanian Academy of Sciences, and many modern residential districts.

Along the right bank of the Neris River, a new urban public service centre and a new building housing the National Museum of Lithuania were constructed. New constructions in Vilnius's city centre added a new colour to the city; these included the Art Exhibition Palace, National Opera and Ballet Theatre, Supreme Soviet Building of the Soviet Socialist Republic of Lithuania, and Wedding Palace.In the 1960s, Lithuanian architecture had a distinct character in the form of its use of standard structural components and materials based on industrial architecture, as well as the wide application of standardised design plans. Individualised designs no longer existed. Architects focused their energy on resolving functional architectural problems, and searching for appropriate structural compositions, and on fully realising the artistic potential of prefabricated industrial components.

The planning and design of residential districts in the early post-WWII period basically adopted a Soviet style with regard to the layout of adjacent areas, axis composition, and use of a symmetrical group layout.The residential buildings, which were first constructed during this period, followed the contemporary Soviet standard design. After the 1960s, residential districts tended to emphasise reasonable building layouts,the separability of pedestrian and vehicle traffic, the arrangement of public buildings, and the richness and liveliness of architectural features. Nonetheless,residential buildings were basically assembled from standardised modules, and emphasised the integration of residential areas with their surrounding natural environment.

The construction of large-scale industrial facilities often occupies large volumes of urban land, and greatly affects and determines the structural plans and appearance of cities; as a result, the borders of many cities expand unendingly.

The transformation of historical cities attracted wide attention. Vilnius and Kaunas established dedicated restoration and revitalisation plans for their historic city centres, and a total of 61 cities were included in the Lithuanian government's protection list.

3.3 Public Architecture

The development of public architecture in Lithuania is a vivid reflection of the progress of not only social transformation but also of people's cultural spirit and aesthetic values. The layout of public service facilities in cities and all types of residential areas carefully considered the establishment of a hierarchical system guaranteeing resident services.Public service facilities of appropriate type and scale had to be arranged within different walking distances to guarantee maximised convenience for urban residents.

Public buildings were divided into two categories: large-scale and individually designed buildings. Consistent with the entire Soviet Union,Lithuanian construction of large-scale public buildings was basically executed according to the common standard designs, which were used by architects throughout different localities; such buildings included education facilities, cultural centres, cinemas, and shopping centres.

The Vilnius City Construction Design Institute Building (Eduardas Chlomauskas, Э.Хломаускас,1961, Fig. 10) was an individually designed public building. It had a simple and elegant design, and also a certain commemorative quality. This was the first post-WWII building constructed exclusively for a design institute and was awarded the top prize from the Soviet Young Architects Exhibition Tour in 1962.Representative works of this period include Vilnius's Vilnius Cinema (J. Kasperavi?ius, Й.Касперавичюс,1964) and the Lithuanian Composers' House (Vytautas ?ekanauskas, В.Чеканаускас, 1966).

Between 1960 and 1970, Lithuanian public

architecture gradually formed relatively mature design concepts, and on the basis of realism, it established simple composition and flexible methods. The design of modern public buildings produced several successful works, such as the Vilnius Concerts and Sports Hall (Eduardas Chlomauskas, 1964, Fig. 11)and the Art Exhibition House (Vytautas ?ekanauskas,1967; Fig. 12). These buildings had a strong sense of spatial composition and formed natural relationships with the existing built environment of the old city,gaining approval and praise of experts and residents.Other representative buildings include the National Clinical Hospital (Eduardas Chlomauskas, 1967),National Opera and Ballet Theatre, Wedding Palace,Domestic Service Complex (Algimantas Nasvytis ,1975), renovated Lithuanian National Drama Theatre,National Children's Care Centre in Valkininkai(Eduardas Chlomauskas, 1970), and Kaunas House of Political Education (A.Zabulionis, А.Забуленис,1974, Fig. 13).

14國立歌劇舞劇院，維爾紐斯，1974年/National Opera and Ballet Theatre, Vilnius, 1974（圖片來源/Source: https://i04.fotocdn.net/s21/173/public_pin_l/29/2534415532.jpg）

15婚禮宮，維爾紐斯，1974年/Palace of Weddings , Vilnius,1974（圖片來源/Source: https://mediasole.ru/data/images/455/455266/12.jpg）

16立陶宛國立話劇院改造，維爾紐斯，1980年/The renovated Lithuanian National Drama Theatre, Vilnius, 1980（圖片來源/Source: http://tvnaujienos.lt/images/bignews/lndt.jpg）

17國立革命博物館，維爾紐斯，1980年/Museum of the Revolution, Vilnius, 1980（圖片來源/Source: http://provilnius.info/wp-content/gallery/muzei/galerija_0.jpg）

18通訊機構(gòu)綜合體大廈，維爾紐斯，1981年/Communications Agency Complex Building, Vilnius, 1981（圖片來源/Source:http://img4.tourbina.ru/photos.4/3/0/4/4/4/1244403/big.photo/Sovetskaya-arkhitektura-v.jpg）

19立陶宛蘇維埃社會主義共和國最高蘇維埃大廈，維爾紐斯，1982年/Parliament of the Supreme Council of the LSSR,Vilnius, 1982（圖片來源/Source: https://ua.news/wpcontent/uploads/2017/06/Литоввский-парламент.jpg）

立陶宛建筑素來具有追求個性、融合自然的特征，這一點在維爾紐斯的立陶宛國民經(jīng)濟成果展覽館（斯塔休里斯設(shè)計，Э.Стасюлис，1980）上得到了鮮明的體現(xiàn)。

1980年建成的國立革命博物館（巴拉維卡斯，圖17）對塑造尼亞里斯河右岸的城市景觀發(fā)揮了積極的作用。非對稱的自由平面在滿足功能需求的同時，也契合了建筑所處的復雜地形。建筑通過厚重的體量、富有韻律的節(jié)奏、活潑的整體構(gòu)圖，成功地與周圍的自然景觀融為一體。

1981年在維爾紐斯老城區(qū)落成的通訊機構(gòu)綜合體大廈（謝伊博卡斯設(shè)計，Ю.Шейбокас，圖18）在探索新與舊的結(jié)合方面向前邁出了堅實的一步——運用裝配式整體鋼筋混凝土構(gòu)件形成具有浮雕效果的外部空間構(gòu)圖，在營造獨具藝術(shù)表現(xiàn)力的造型的同時，力求在體量、尺度、韻律等方面與所處的歷史街區(qū)有機地融合為一個整體。

城市綜合體方面的代表作是立陶宛蘇維埃社會主義共和國最高蘇維埃大廈（納斯維基斯兄弟設(shè)計，1982，圖19）、立陶宛工會蘇維埃委員會大廈（馬祖拉斯設(shè)計，Ч.Мазурас，1982，圖20）和財政部大樓三座建筑組成的建筑群。

對于大規(guī)模建設(shè)的公共建筑來說，學校是一個重要的類型。早在1958年立陶宛建筑界就開始了對學校標準化設(shè)計的研究。從1960年起，學校建筑的布局開始走向分散式：全校的公用設(shè)施與教學部分分開布置，即便是教學部分也根據(jù)學生年齡的不同進行分區(qū)。這種布局結(jié)構(gòu)的變化與當時教學大綱的調(diào)整相關(guān)。校園里增加了勞動教育設(shè)施、課外小組活動場地、食堂、以及室內(nèi)體育場。到了1970年代末期，隨著教學大綱的再一次調(diào)整，學校建筑的規(guī)劃設(shè)計又發(fā)生了新的變化，增加了許多專用教室與輔助設(shè)施。與學校建筑類似，百貨商場等商業(yè)建筑也廣泛應用了標準設(shè)計進行建設(shè)。

分布在風景名勝區(qū)的療養(yǎng)建筑在立陶宛現(xiàn)代建筑中占有獨特的地位。創(chuàng)造舒適方便的休息、健身、康復條件，也是立陶宛城市規(guī)劃與建筑設(shè)計所著力解決的課題之一。為此，1965年專門制訂了立陶宛休閑旅游區(qū)發(fā)展總體規(guī)劃，對休閑、康復、旅游布局做出整體安排，為所有風景名勝區(qū)制訂了總體規(guī)劃。風景名勝區(qū)獨特的自然環(huán)境，不同的療養(yǎng)功能要求，為建筑師獨特個性的發(fā)揮提供了充分的條件。在療養(yǎng)建筑的創(chuàng)作中表現(xiàn)出了深入挖掘地方傳統(tǒng)建筑造型特征以及現(xiàn)代浪漫主義形象兩種傾向。療養(yǎng)建筑的代表作有帕蘭加（Паланга）的立陶宛科學院療養(yǎng)院（迪秋斯，В.Дичюс和德魯斯金卡伊，Друскининкай設(shè)計）的礦泉療養(yǎng)院（施林斯卡斯兄弟設(shè)計，А和 Р.Шилинскас，圖21）等。

紀念性建筑在立陶宛具有悠久的傳統(tǒng)，前蘇聯(lián)時期完成了許多紀念性建筑與設(shè)施的建設(shè)。這些設(shè)施一般都根據(jù)地形的特點采取自由的規(guī)劃布局，為了突出紀念性主題和營造特定的氣氛，大量運用了各種綜合藝術(shù)表現(xiàn)手段。這方面的代表作包括：比爾丘比亞伊（Пирчупяй）村莊的紀念設(shè)施（卡波柳納斯設(shè)計，В.Габрюнас，1960，圖22）、科里施卡里尼斯（Крижкальнис）的解放者紀念碑（卡波柳納斯設(shè)計，1972）、考納斯的被法西斯迫害者紀念綜合體（維柳斯設(shè)計，В.Велюс，1981，圖 23）等。后者榮獲了1985年的蘇聯(lián)國家獎。

In 1974, the National Opera and Ballet Theatre(Elena Nijol? Bu?iūt?, 1930–2010, Fig. 14) was constructed in the centre of Vilnius. The theatre's location was extremely important, bearing a unique significance for urban planning. With its architectural mass and simple, elegant design, the theatre played a critical role in the formation of architectural style in the city centre. The theatre did not use a traditional centre-point symmetrical layout, and the auditorium was closer to one side of the theatre's inner court, with attachments being arranged on either side of the stage according to necessity. The lounge, stage, and auditorium formed the main space of the building; materials used included reinforced concrete, steel trusses, and a suspended aluminium ceiling. The extensive use of glass curtaining in the building's fa?ade played an important role in forming the building's majestic quality. The creative and unique lighting fixtures of the lounge and the impressive mass of the building formed a rich rhythm.

Vilnius's Palace of Weddings (Gediminas Baravykas, 1974, Fig. 15) also has a unique exterior form and a striking interior spatial composition. It is located in a historic park, and its free and flexible layout forms a well-coordinated relationship with the park's natural environment. The building is two storeys tall, and its lively shape creates an interesting rhythm. Its weighty exterior steps directly introduce attendees to the ceremony hall on the building's second storey, and the structure of interior space is centred on the needs of wedding ceremonies. The interiors of many of its rooms are adorned with colourful glass decorations.

The Lithuanian Institute of Agrarian Economics,built in 1978 (Vytautas ?ekanauskas), is another representative work of this period. The location of this building has a sloped ground, and so, an oblique layout was used in its design. The interior space of the building is arranged according to functional necessities, and the walls on either side of the auditorium are adorned with frescoes (the painters of these frescoes was awarded the 1982 USSR State Prize for their work). The entire building demonstrated respect for local cultural traditions, in addition to respect for the natural environment and urban context, and most importantly, for people.

The renovation of the Lithuanian National Drama Theatre was designed between 1966 and 1969, and construction was completed in 1980(Nasvytis Brothers , A. Nasvytis and V. Nasvytis,Fig. 16); the project integrated modern architectural form into a historical context and succeeded in winning the admiration of the people. Designed with an asymmetrical layout, it extends along the street into a deep inner courtyard. An indoor transition space was carefully designed, including nooks for resting and a functionally appropriate auditorium spatial layout. It effectively applies a variety of comprehensive artistic forms, together creating an organic and artistic theatre atmosphere.The theatre's designer was awarded the USSR State Prize for their work in 1983.

Lithuanian architecture has always been characterised by a pursuit of individuality and the integration of natural characteristics; this is clearly manifested in Vilnius's National Exhibition of Lithuanian Economic Achievements (E. Stasiulis, 1980).

The Museum of the Revolution, constructed in 1980 (Elena Nijol? Bu?iūt?, Fig. 17), played an important role in shaping the urban landscape along the right bank of the Neris River. Its asymmetrical and free layout aimed to fulfil functional requirements,while also conforming to the complex topography of the location. The heavy mass of the building establishes a steady rhythm and a lively composition,thereby integrating the building with its surrounding natural environment.

In 1981, the Communications Agency Complex Building was completed in Vilnius's old town (J.?eibokas, Fig. 18). This building represented a step forward in the exploration of combining old and new,and applied a prefabricated assembly-style, reinforced concrete monolithic structure to produce an embossed effect in its exterior spatial composition. Apart from expressing a unique artistic form, the building integrates organically into its neighbourhood through its mass, scale, and rhythm.

The representative work of Vilnius as a whole is the building complex including the Parliament of the Supreme Council of the LSSR (Nasvytis Brothers,1982, Fig. 19), Lithuanian Union Soviet Council Building (Ch.Mazuras, Ч.Мазурас, 1982, Fig. 20),and Ministry of Finance Building.

Schools are an important type of large-scale public building construction. As early as 1958, Lithuania's architects began to research the standardisation of school design. Beginning in 1960, the layout of school buildings shifted towards a decentralised style. Public and teaching facilities were separately arranged throughout the schools, and teaching facilities were further separated according to students' ages. This change in layout was related to the academic restructuring taking place at the time.Inside school campuses, labour education facilities were added, in addition to spaces for extracurricular activities, cafeterias, and indoor gymnasiums. By the end of the 1970s, with the next round of academic reforms, the planning design of school buildings underwent another round of changes, in which many specialised classrooms and supplementary teaching facilities were added. Similar to school buildings, standardised designs were also broadly applied to the construction of commercial spaces,such as shopping centres.

20立陶宛工會蘇維埃委員會大廈，維爾紐斯，1982年/Lithuanian Union Soviet Council Building, Vilnius, 1982（圖片來源/Source:http://forum.awd.ru/gallery/image.php?mode=thumbnail&album_id=51837&image_id=1901293）

21德魯斯金卡伊，礦泉療養(yǎng)院/Druskinkay, Spa Sanatorium（圖片來源/Source: http://knia.ru/wp-content/uploads/2016/12/AKVAPARK-2400x1524_c.jpg）

22比爾丘比亞伊村莊的紀念設(shè)施，1960年/Memorial facilities in the village of Bir Chubiai, 1960（圖片來源/Source: https://static.panoramio.com.storage.googleapis.com/photos/large/24165048.jpg）

23被法西斯迫害者紀念綜合體，考納斯，1981年/Fascist Memorial Complex, Kaunas, 1981（圖片來源/Source:http://shegby.ru/upload/gallery/55f059e1f29ef.jpeg）

24日爾姆納伊居住區(qū)總平面，維爾紐斯，1968年/The site plan of the residential area of ?irmūnai, 1968（圖片來源/Source:http://totalarch.ru/sites/default/files/gha_ussr/ussr_55_70_3/

25ussr_575_2.png）日爾姆納伊居住區(qū)，維爾紐斯，1968年/The ?irmūnai Residential Area, Vilnius, 1968（圖片來源/Source: http://www.etoretro.ru/data/media/4768/14853539674db.jpg）

26日爾姆納伊居住區(qū)公共服務設(shè)施，維爾紐斯，1968年/Public service facilities in the residential area of ?irmūnai,Vilnius, 1968（圖片來源/Source: https://pastvu.com/_p/a/g/n/7/gn7c28o2mmfuiyzdyq.jpg）

27拉茲基納伊居住區(qū)總平面，維爾紐斯，1964-1973年/The site plan of the residential area of Lazdynai, Vilnius, 1964-1973（圖片來源/Source: http://totalarch.ru/sites/default/files/gha_ussr/ussr_55_70_1/ussr_495_2.png）

28 拉茲基納伊居住區(qū)，維爾紐斯，1964-1973年/The residential area of Lazdynai, Vilnius , 1964-1973（圖片來源/Source: http://inosmi.by/wp-content/uploads/2017/05/depositphotos_10585936-stock-photo-vilnius-lazdynai-district-view-from.jpg http://d2me0fuzw8a1c5.cloudfront.net https://img-fotki.yandex.ru）

3.4 居住建筑

與蘇聯(lián)其他加盟共和國類似，1960-1970年代立陶宛的居住設(shè)施主要是以工業(yè)化大板住宅實現(xiàn)的。當時的生產(chǎn)建設(shè)能力一度達到了每年76萬m2（使用面積）的程度。根據(jù)1958年頒布的全蘇居住建筑設(shè)計規(guī)范，經(jīng)濟型多層住宅樓的建設(shè)必須使用標準化的通用設(shè)計來完成。為了節(jié)省用地，大城市嚴格控制低層住宅的建設(shè)，優(yōu)先選擇的是9-12層裝配型大板住宅。立陶宛建筑師們在嚴苛的規(guī)范條例約束下，充分挖掘各種設(shè)計潛力，力爭為民眾設(shè)計出條件相對舒適的住宅建筑。1960年在維爾紐斯紅軍大街上建成的第十街坊就是立陶宛建筑師在這方面取得的最初成果，設(shè)計獲得了蘇聯(lián)建協(xié)一等獎。小區(qū)全部由5層的裝配型大板住宅構(gòu)成，功能分區(qū)合理，原本枯燥的工業(yè)化住宅被施以絢麗繽紛的色彩，與周圍豐富多變的自然景觀相映成趣，極大地提升了居住環(huán)境的品質(zhì)。這種做法在當時蘇聯(lián)千城一面的居住區(qū)建設(shè)中成為獨樹一幟的亮點。

1962-1969年建設(shè)的維爾紐斯日爾姆納伊（Жирмунай）居住區(qū)的設(shè)計者們（卡斯別拉維切涅，Б.Касперавичене，圖24-26），進一步發(fā)揮立陶宛建筑師在工業(yè)化居住區(qū)設(shè)計建設(shè)中的探索精神，以其頗受廣大群眾喜愛的創(chuàng)作獲得了1967年的蘇聯(lián)建協(xié)一等獎和1968年的蘇聯(lián)國家獎，這也是大規(guī)模住宅建設(shè)項目首次獲此國家級榮譽。居住區(qū)全部由5層和9層的工業(yè)化裝配型大板式住宅建成，通用標準化設(shè)計，期間穿插布置公共服務設(shè)施。該居住區(qū)的建設(shè)在蘇聯(lián)第一次成功地解決了標準化住宅與周圍自然景觀之間的關(guān)系問題。

同期建設(shè)的維爾紐斯拉茲基納伊（Лаздинай）居住區(qū)（切卡納烏斯卡斯等，1964-1973，圖27-35）的成功標志著蘇聯(lián)城市建設(shè)水平向前邁出了堅實的第一步。居住區(qū)占地1.28km2，由4個居住小區(qū)組成。建設(shè)中采用了14個型號的5層、9層、12層工業(yè)化裝配型大板住宅以及后來的16層整體裝配式住宅，均為通用標準化設(shè)計。公共建筑采用了通用鋼筋混凝土結(jié)構(gòu)和工業(yè)化裝配式構(gòu)件。居住區(qū)的空間規(guī)劃力求在標準化住宅與周圍豐富多彩的自然森林景觀之間建立共生和諧的協(xié)調(diào)關(guān)系；路網(wǎng)規(guī)劃完全實現(xiàn)人車分流，步行路網(wǎng)可以便捷地把區(qū)內(nèi)公共生活服務設(shè)施聯(lián)系成一個有機整體。居住區(qū)的建設(shè)獲得了社會的廣泛好評，并首次榮獲了1974年的列寧獎。

Rehabilitation care buildings located in scenic areas occupy a unique status in modern Lithuanian architecture. By creating comfortable and convenient conditions for rest, health, and recovery, these facilities are a focus of Lithuanian urban planning and architectural design. In this regard, a dedicated and comprehensive plan for the development of a leisure and tourism area was formulated in 1965. The plan defined the layout of health and tourism facilities and established a master plan for scenic areas. The unique natural environments of scenic areas and various functional requirements for rehabilitation provided architects with opportunities to apply the individuality to their work. There were tendencies to use local traditional architectural forms and modern Romantic style in the creation of rehabilitation facilities.Representative works include the Lithuanian Academy of Sciences Rehabilitation Hospital in Palanga (designed by V.Dicius) and Spa Sanatorium of Druskininkay (Shilinskas Brothers, A.Shilinskas and R.Shilinskas, Fig. 21).

Monument architecture has a long history in Lithuania; during the Soviet era, a large number of memorial buildings and facilities were constructed.These buildings typically adopted a free planning layout, which varied according to the terrain and often applied a variety of artistic techniques to highlight the commemorative theme with a unique atmosphere. Representative works include the Memorial facilities in the village of Bir Chubiai(Пирчупяй, V. Gabrunas, 1960, Fig. 22), Kry?kalnis Liberation Monument (V. Gabrunas, 1972), and Kaunas Fascist Memorial Complex (Vytautas Vielius;1981, Fig. 23). The last of these monuments was awarded the 1985 USSR State Prize.

3.4 Residential Architecture

Similar to other Soviet republics in the 1960s and 1970s, Lithuanian residential buildings were primarily constructed as large-scale industrial residential complexes. At the time, the production capacity for such dwellings reached 760,000m2per year (usage area). According to the All-Soviet Residential Building Design Code published in 1958, the construction of economical multi-storey residential buildings must be completed with the use of standardised designs. To reduce land use, large cities strictly controlled the construction of lowrise residential buildings, and preference was given to large-scale residential complexes of 9–12 storeys.Given these strict regulations, Lithuanian architects explored the potentials of a variety of designs and worked vigorously to design residential buildings for the public that met these conditions. In 1960,the Tenth Neighbourhood constructed on Red Army Avenue became the earliest success of Lithuanian architects in this regard and was awarded the first prize of the Soviet Association of Construction.The community consisted of large-scale five-storey residential buildings, a reasonable functional zoning,and the previous dull industrial residences were adorned with bright colours, which contrasted elegantly with the rich and varied natural landscape surrounding the community, thereby greatly improving the quality of the residential environment.This technique became a unique highlight of residential construction that was uniformly applied throughout Soviet cities.

The designers that constructed the ?irmūnai residential district in Vilnius (B. Kasperavi?ien?, Fig.24–26) advanced the exploratory spirit of Lithuanian architects in the design of industrial residential areas;this work was widely admired, and its designers were awarded the first prize of the Soviet Association of Construction in 1967, and the USSR State Prize in 1968. This was also the first instance in which a largescale residential project was awarded this national award. The residential district was composed of industrial large-scale residential buildings of five and nine storeys, applied standardised designs, and was interspersed with public service facilities. The construction of this residential district represents the Soviet Union's first success in resolving the problem of the relationships between standardised residential buildings and their surrounding natural environments.

The success of the Lazdynai residential district constructed in Vilnius at the same time (Vytautas ?ekanauskas et al, 1964–1973, Fig. 27–35)represented an important step forward in the quality of Soviet urban construction. The residential district was 128 hectares in size and composed of four residential neighbourhoods. Construction of the district made use of 14 types of five-, nine-, and twelve-storey, industrially prefabricated, assemblytype, large-scale residential buildings, and later,16-storeyed prefabricated residential buildings;all of these buildings used standardised designs.Public buildings used standardised reinforced concrete structures and industrial, prefabricated components. The spatial plan of the residential district strove to establish a pleasant and symbiotic relationship between the standardised residences and the natural forested environment of their surroundings. The road network plan for the district achieved a complete separation of pedestrian and vehicular traffic. The pedestrian road network conveniently connected public service facilities into a complete and organic system. The construction of this residential district received widespread approval from society and was awarded the 1974 Lenin Prize(this was also a first).

It is much more difficult to build an industrial residential district in a built-up urban area than in the previous case. The Calnecia (Кальнечай) residential district of Kaunas (Gintaras Steponavi?ius, 1973–1982, Fig. 36) was awarded the 1983 Soviet Council of Ministers Award and provided a successful experience in this regard.

Between 1946 and 1985, Lithuania constructed residences totalling 4.6 million square metres in area, and completely resolved the problem of urban housing. These achievements are directly related to the general promotion of industrialised prefabricated residential construction.

3.5 Industrial Architecture

Industrial architecture occupies an important status in modern Lithuanian architecture. From 1961 to 1973, a total of 80 large-scale firms and 72 factories were newly built, renovated, or expanded;these included extremely large enterprises, such as the Lithuanian National Hydroelectric Power Plant.Beginning in the mid-1960s, the design concepts regarding industrial architecture in the Soviet Union began to change. Industrial facilities were no longer seen only as parts of the production line but as places where workers needed to spend relatively long hours, meaning that these structures needed to satisfy necessary work conditions but should also emphasise the optimisation and beautification of the work environment. In addition, the coordination of industrial facilities, urban environments, and natural scenery began to receive attention. Together with the master plan, Lithuania's central and large cities also established comprehensive plans for the development of industrial zones. The guiding ideology of these plans was as follows: to integrate organically the construction of industrial zones, urban spatial environments, and natural landscapes. Representative works in this field include the Lithuanian National Hydropower Station (1959, Fig. 37) and Kaunas Industrial Hub (1964; recipient of the 1971 Soviet Council of Ministers Award). Beginning in the 1980s,the construction of industrial buildings began to place greater emphasis on richness of form and lively architectural styles. Examples are the Kaunas Radio Scientific Research Base, with construction beginning in 1982, Alcohol Consortium Experimental Living Base in Panev??ys (1983), and Vilnius Fuel Instrument Factory (1984–1986).

29-32 拉茲基納伊居住區(qū)，維爾紐斯，1964-1973年/The residential area of Lazdynai, Vilnius , 1964-1973（圖片來源/Source: http://inosmi.by/wp-content/uploads/2017/05/depositphotos_10585936-stock-photo-vilnius-lazdynai-district-view-from.jpg http://d2me0fuzw8a1c5.cloudfront.net https://img-fotki.yandex.ru）

33 拉茲基納伊居住區(qū)，維爾紐斯，1964-1973年/The residential area of Lazdynai, Vilnius, 1964-1973（圖片來源/Source: http://inosmi.by/wp-content/uploads/2017/05/depositphotos_10585936-stock-photo-vilnius-lazdynai-district-view-from.jpg http://d2me0fuzw8a1c5.cloudfront.net https://img-fotki.yandex.ru）

34 拉茲基納伊居住區(qū)公共服務設(shè)施，維爾紐斯，1964-1973年/Public service facilities in the residential area of Lazdynai, Vilnius,1964-1973（圖片來源/Source: http://d2me0fuzw8a1c5.cloudfront.net/files/img/9269/54.jpg）

在地形平整的城市建成區(qū)興建工業(yè)化居住區(qū)相比前面的案例而言要困難得多。榮獲1983年蘇聯(lián)部長會議獎的考納斯卡里涅恰伊（Кальнечай）居住區(qū)（斯捷波納維丘斯設(shè)計，А.Степонавичюс，1973-1982，圖36）在這方面提供了成功的經(jīng)驗。

1946-1985年，立陶宛總計建設(shè)了460萬m2的住宅，充分地解決了城市居住問題。這些成績的取得，與工業(yè)化裝配式住宅建設(shè)方式的全面推廣有著直接的關(guān)系。

3.5 工業(yè)建筑

工業(yè)建筑在立陶宛現(xiàn)代建筑中占有相當重要的地位。1961-1973年間總計新建、改建和擴建了80座大型企業(yè)和72座工廠，其中包括特大型企業(yè)，如立陶宛國家水電站等。從1960年代中期開始，蘇聯(lián)工業(yè)建筑的設(shè)計觀念開始發(fā)生轉(zhuǎn)變：工業(yè)設(shè)施不只是被看作放置生產(chǎn)線的場所，也被看作是工人需要較長時間在此進行工作的場所，因而在創(chuàng)造必須的工作條件的同時，還應該重視工作環(huán)境的優(yōu)化美化。除此之外，工業(yè)設(shè)施與城市環(huán)境以及自然景觀之間的協(xié)調(diào)也開始獲得重視。與總體規(guī)劃相配合，立陶宛的所有中心城市和大城市都制定了專門的工業(yè)區(qū)發(fā)展總體規(guī)劃。其指導思想是：力爭把工業(yè)區(qū)的建設(shè)與城市空間環(huán)境以及自然景觀有機地結(jié)合在一起。這方面的代表作包括立陶宛國家水電站（1959，圖37）、考納斯的工業(yè)樞紐（1964，獲得1971年的蘇聯(lián)部長會議獎）等。從1980年代開始，工業(yè)建筑的建設(shè)開始更加重視塑造豐富、活潑的建筑形象。如1982年開始興建的考納斯無線電廠科研基地、帕涅維施基（Паневежкий）的酒精聯(lián)合體實驗生活基地（1983）、維爾紐斯的燃料儀器廠（1984-1986）等。

3.6 小結(jié)

蘇維埃社會主義共和國時期的立陶宛建筑與蘇聯(lián)其他加盟共和國的建筑類似，都具有比較鮮明的思想特征。40多年的建筑發(fā)展歷程表明，立陶宛建筑師始終把改善社會生活品質(zhì)、提高社會形象、宣傳社會理想作為己任，在解決城市建設(shè)規(guī)劃、大型公共建筑設(shè)計以及工業(yè)化住宅推廣等問題的過程中，充分發(fā)揮地方民族傳統(tǒng)、地域景觀特色的作用，努力創(chuàng)造了屬于立陶宛民族的、同時又不乏時代特征的立陶宛現(xiàn)代建筑。

4 蘇聯(lián)解體后的立陶宛共和國建筑

1990年代初，蘇聯(lián)的社會和政治發(fā)生了翻天覆地的變化。立陶宛于1990年宣布脫離蘇聯(lián)獨立。從而進入了一個嶄新的歷史發(fā)展時期。

蘇聯(lián)解體后，原各加盟共和國的社會、政治、經(jīng)濟生活都陷入了跌宕起伏的休克和震蕩之中。由于前蘇聯(lián)經(jīng)濟是基于大一統(tǒng)的蘇聯(lián)全域而進行布局的，所以獨立后的各共和國都必須逐步建立和完善自己的經(jīng)濟體系，這個過程并不是一蹴而就的。立陶宛也不例外。在艱難的復興民族文化、去蘇聯(lián)化的過程中，建筑活動基本上處于停滯狀態(tài)。直到進入21世紀之后，建設(shè)活動才逐漸得以恢復。

如前文所述，在第二次世界大戰(zhàn)以前立陶宛建筑與西歐建筑基本是同步發(fā)展的，當時的早期現(xiàn)代主義建筑思潮已經(jīng)廣為立陶宛建筑界所接受。這為當代立陶宛建筑回歸西歐建筑主流奠定了堅實的基礎(chǔ)。從本期《世界建筑》推介的作品看，題材各異，體量不一，但基本反映了當代立陶宛建筑的面貌。在這里，我們既可以領(lǐng)略現(xiàn)代主義風格的延續(xù)，也可以目睹歷史主義題材的涌動；既可以欣賞地方材料與建筑傳統(tǒng)的弘揚，也可以感受立陶宛當代社會生活的脈動。感謝《世界建筑》雜志社的同仁為我們大家提供了這期專輯，使我們得以近距離地凝視立陶宛建筑的前世今生。在此也祝愿立陶宛建筑的未來更加美好?！?/p>

3.6 Conclusions

During the period of the Lithuanian Soviet Socialist Republic, Lithuanian architecture had much in common with that of other republics of the Soviet Union, although each nation exhibited relatively distinct ideological traits. The 40 years of architectural development that occurred over this period showed that Lithuanian architects took responsibility for improving quality of social life and social image, as well as spreading ideal community.They played an active role in resolving such issues as urban construction planning, large-scale public building design, and promotion of industrial housing projects. Lithuanian architects used folk traditions of the region and characteristics of the local landscape to create modern and contemporary Lithuanian architecture of Lithuanian people.

35拉茲基納伊居住區(qū)公共服務設(shè)施，維爾紐斯，1964-1973年/Public service facilities in the residential area of Lazdynai,Vilnius, 1964-1973（圖片來源/Source: http://50000.lt/vilniuslivin/wp-content/uploads/20130608-vilniausfontanai-90.jpg）

36卡里涅恰伊居住區(qū)，考納斯，1973-1982年/The residential area of Calnecia, Vilnius, 1973-1982（圖片來源/Source:http://pics2.pokazuha.ru/p217/4/a/9863503ua4.jpg）

37立陶宛國家水電站，考納斯/Lithuania National Hydropower Station, Kaunas（圖片來源/Source: https://www.vz.lt/apps/pbcsi.dll/bilde?Site=VZ&Date=20160905&Category=ARTICLE&ArtNo=905009998&Ref=PH&Item=5&NewTbl=1&maxW=1 500&AlignV=center&lastupdate=823）

4 Architecture in the Republic of Lithuania Following the Collapse of the Soviet Union

In the early 1990s, significant social and political changes occurred in the former Soviet Union. Lithuania declared departure and restored its independence as a sovereign state in 1990, thereby entering a new period of historical development.

After the dissolution of the Soviet Union,the social, political, and economic lives of former Soviet socialist republics endured a period of turbulence. The former Soviet economy had been planned according to the unification of the entire Soviet Union, and as such, each republic needed to establish and complete its own economic system after gaining independence. Such processes take some time to complete, and Lithuania was no exception. Throughout the difficult process of revitalising Lithuanian culture and casting off"Sovietisation", architectural activities had basically halted; construction did not gradually recommence until the 21st century.

As described above, prior to the WWII, Lithuanian architecture had developed basically in step with Western European architecture. At the time, the architectural concepts of early modernism had been broadly accepted among Lithuanian architects. This history laid a firm foundation for contemporary Lithuanian architecture to return to the mainstream of Western European architecture.

Considering of the works promoted in the June issue of World Architecture, although the themes and architectural masses of the works vary,they basically reflect the image of contemporary Lithuanian architecture. Here, we can enjoy the continuation of the modernist style, and witness the resurgence of historical themes. We can at once revel in the promotion of local materials and architectural traditions with appreciation of the undulations of contemporary Lithuanian social life. We would like to take this opportunity to thank World Architecture for providing us with this period's collection, which has allowed us to observe the past and present of Lithuanian architecture. We wish a bright future for Lithuanian architecture. □

參考文獻/References

[1]Баршаускас И.,Чербуленас К.,Зубовас В.Архитектура Литвы ХVI-начала XIX вв.//Всеобщая историяархитектуры.-Т.7.- М.:Стройиздат, 1969.

[2]Будрейка Э.С. Архитектура Советской Литвы. Ленинград. Стройиздат, 1971.

[3]Минкявичюс Й.К. Архитектура Советской Литвы. М.:Стройиздат, 1987.

[4]Саваренская Т. Ф., Швидковский Д. О., Петров Ф.А. История градостроительного искусства. М.:Стройиздат, 1989.