Can space be political and if so, how?

Can space be political and if so, how?

By looking at one public and one residential development in Lithuania from each of the periods 1953 – 1991 and 1991 – 2016, before and after the fall of Soviet Union, can it be determined that space is political?

Student name: Kotryna Navickaite Student number: 150462051 Module: ARC2024: About Architecture: Cities, Cultures and Spaces (2016/2017) Newcastle University

In Rethinking Architecture Jameson says: “I have come to think that no work of art or culture can set out to be political once and for all, no matter how ostentatiously it labels itself as such, for there can never be any guarantee it will be used the way it demands.”1 How true is this claim? A good way of examining it would be in a culture that has experienced political change to see weather the architecture can really ever be inherently political. This will be done looking at residential and public architecture in Lithuania before and after the fall of Soviet Union recognizing the intended political aims of the four developments and determining weather they were actually achieved. Firstly, the period before independence will be discussed (1953 - 1990). The political aims for architecture generally at that time will be discussed followed by looking at how it manifested in one public and one residential development, Palace of Matrimony and Lazdynai neighbourhood respectively. Lastly the period after independence will be discussed in a similar manner, first the general political aims for architecture and then how they manifested in the public Swedbank building in Vilnius and the residential Black House Blues.

The relationship between architecture and politics in the Soviet Union was not always constant, however, early on it was actively deployed as a means of trying to create the ideal socialist society and the ideal socialist citizen. During the rule of Stalin, in a more hierarchical society architecture was trying to create monumental buildings with quite literal embellishments which would “pull upwards” the masses and hence create the perfect man, looking at him from above.2 However, when Khrushchev overtook power, quite extensive changes came to both the organization of the Soviet society, and to the architecture. He reinstated a more truly socialist policy of the party and the importance of the welfare and development of the individual was re-established.3 For public architecture it meant that useful public spaces like hospitals, kindergartens and parks were prioritized rather than large monumental buildings.4 Regarding residential buildings, the massive housing shortages in still present in 1953 as a result of WWII were finally being addressed, creating a link between the ideological aims of the party and popular interests5. They were all to be standardized preferably prefabricated flats for cheaper construction and to be more in line with socialist idea of equality. 6

“Start industrialization”: A poster of Nikita Khrushchev encouraging industrialization.

The apartment blocks behind him show that housing was an important part of it. 6

1

Jameson, Fredric, 1997, “Is Space Political?”, Rethinking Architecture: A Reader in Cultural Theory, ed. Neil Leach. London/New York: Routledge,. p. 245.

2 Bown, Matthew Cullerne and Brandon Taylor. 1993. Art Of The Soviets. 1st ed. Manchester: Manchester University Press. p.

44 3 Varga-Harris, Christine. 2015. Stories Of House And Home. 1st ed. New York: Cornell University Press. p. 9 4 Stronski, Paul and Project Muse. 2010. Tashkent: Forging A Soviet City, 1930-1966 (Central Eurasia In Context). 1st ed.

University of Pittsburgh Press. p. 202, 203 5 Varga-Harris, op. cit., p. 9 6 Novikov, Felix. 2017. Image. Accessed January 26. http://www.archfondas.lt/leidiniu/en/alf-02/dmarija-dremaite-and-vaidaspetrulis-modernism-soviet-lithuania-rise-and-fall-utopia.

2

Vilnius’ Palace of Matrimony is a good example of a public building trying to convey its ideological stance quite clearly. When the communist party was established in Russia, it was immediately announced that only registered civil marriage was legally approved 7 and the marriage was to be performed in buildings designed for that purpose.8 A ceremony was encouraged and for that Palaces of Matrimony were built as a substitution for the Church. The Palace in Vilnius was finished in 1974 by the architect Gediminas Baravykas and was situated in an old park on a former Lutheran graveyard9, further emphasizing its opposition to religion.

The aim of this type of building was to offer an alternative to religious ceremony without sacrificing the seriousness, solemnity and formality of the venue. On ground floor was the Civil Registry Division of Vilnius with its archives as well as the national Civil Registry archives and a photo laboratory, while the two halls of matrimony were on first floor to which a grand flight of stairs were leading straight from outside. The halls were double height spaces for a more solemn feeling, with a cherry coloured interior, large embellishments by the “altars” and stained glass windows. The marriage ceremony in this space was to become like a “civil sacrament”.10 11

Plan of the Palace of Matrimony.

1. Halls of the wedding ceremony 2. Nook for the photographer.

3. Place to prepare champagne 4. Photography halls.

5. Waiting room.

6. Guest waiting room.

7. Room for the groom.

8. Room for the bride.

9. Registration room.

10. Telephones.

11. Cloak room.

12. Mirrors.

13. Toilets 14. Hallway for the procession out of the halls.

7

Blackman, Charles F. 1980. "The Civil Sacrament: Law And Practice Of Soviet Weddings". The American Journal Of Comparative Law 28 (4). doi:10.2307/839706. p.560 8 ibid., p. 561 9 Tranavičiūtė, Brigita. 2017. "Vilniaus Miesto Santuokų Rūmai". Architektūros Ir Urbanistikos Tyrimų Centras. Accessed January 21. http://www.autc.lt/lt/architekturos-objektai/1888.

10 Blackman op. cit., p. 572 11 „Statyba ir architektūra“ nr.4, p. 2,. 1975. Image. http://www.autc.lt/lt/architekturos-objektai/1888.

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Exterior of the Palace of Matrimony.

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Exterior of the Palace of Matrimony.

12 13

Navickaite, Kotryna. Exterior of the Palace of Matrimony. December 25, 2016, Vilnius. ibid.

4

Marriage halls: The parallel between configuration of space in a Church and here is visible with the “altar”, the embellishments behind it and the effect of entering to a double height space from a singe height space.

14 15

Interior of the Palace of Matrimony: The parallel with a Church interior is further emphasized by the stained glass windows.

The political aim for the Palace of Matrimony in Vilnius can be considered as both achieved and not quite. Before its erection, the only places to get legally married in Lithuania were simple offices, for which reason people still went to church for the ceremony. The architect of the Palace of Matrimony wanted to provide a non religious alternative as a battle against religion. For that he used architectural means to create an emotional experience of the space, similar to a Church. Anticipation was created entering the Palace walking up the grand stairs, and into a low ceiling lobby. The configuration of the space invited to walk further inside resulting with a culmination in the double height hall. People did use these Palaces of Matrimony, and after Vilnius, numerous were constructed other parts of Lithuania.16 However the construction of Palaces of Matrimony did not kill religion in Lithuania and people still went to church. This was mainly because it was associated with national identity, and it was the only place where Soviet propaganda did not reach. Hence people went to church not only because of religious reasons, but also for political reasons, to show resistance.17 Therefore, it is apparent that although the Palace of Matrimony did become a widely used building and contributing to people behaving in line with Soviet values, it failed to create a communist atheist utopia.

14

Petrulis, V. 2015. Interjero Fragmentas. Image. http://www.autc.lt/lt/architekturos-objektai/1888. ibid.

16 Drėmaitė, Marija. 2014. "Naujųjų Apeigų Dramaturgija – Santuokų Ir Laidotuvių Rūmai Sovietų Lietuvoje". Accessed January 22 15Min.Lt. http://www.15min.lt/naujiena/aktualu/istorija/naujuju-apeigu-dramaturgija-santuoku-ir-laidotuviu-rumaisovietu-lietuvoje-582-397890.

17 "Arūnas Streikus. Sovietų Valdžios Antibažnytinės Politikos Padariniai Šiandien". 2013. Accessed January 22 Bernardinai.Lt. http://www.bernardinai.lt/straipsnis/2013-01-28-arunas-streikus-sovietu-valdzios-antibaznytines-politikos-padariniaisiandien/94346.

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The housing scheme/neighbourhood of Lazdynai built in Vilnius in 1969 (Vytautas Čekanauskas, Vytautas Brėdikis, Vytautas Kazimieras Balčiūnas, Gediminas Valiuškis) is interesting in the sense that it had dual political aims. There were two factors affecting that, one was the overall Soviet Ideology and the other was the Lithuanian architects’ trying to have their own take on the standard layout of a Soviet Dwelling. According to Soviet part line, the flats were going to reflect the ideal Soviet citizen and ideal Soviet life as well as being cheap and quick to build. Hence they were prefabricated, according to the standard of residential housing at that time, and already furnished leaving little space for individuality.18 However, the architects of Lazdynai used the available technology and techniques and tried to respond to the hilly site, Vilnius as well as taking inspiration from some of previously built mass housing projects in the West trying to oppose the dull appearance of most new neighbourhoods at that time. One example of that is Vällingby in Stockholm. As was the standard from the 1950’s in the Soviet Union the neighbourhood was made of several micro neighbourhoods, in this case four, each with their own kindergarten, school, store etc. However, instead of using the standard Soviet five storey block, the architects designed a kind of stepped terraced blocks of five and nine storeys, following the lines of the hills 19 as well as tall 12 story monolithic blocs. This way Lazdynai was going to differ from other neighbourhoods with its own original features.

Lazdynai masterplan: 1: Neighbourhood centre 2: Micro neighbourhood centre 3: Schools 4: Kindergartens

20

18

ibid., p. 36,37 Drėmaitė, Marija and Vaidas Petrulis. n.d. "D_Marija Drėmaitė And Vaidas Petrulis. Modernism In Soviet Lithuania: The Rise And Fall Of Utopia | Architektūros Leidinių Fondas". Archfondas.Lt. Accessed January 20. http://www.archfondas.lt/leidiniu/en/alf-02/dmarija-dremaite-and-vaidas-petrulis-modernism-soviet-lithuania-rise-and-fallutopia.

20 ibid. image: 1969 19

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21

Vällingby on top and a model of Lazdynai on bottom

Construction of Lazdynai and the neighbourhood in 1975 22

21

Dremaite, Petrulis, op. cit., Stockholm suburb Vällingby, 1953, Model of the Lazdynai residential district, 1966 Bakunaite, Gintare. 2015. Image. http://www.delfi.lt/multimedija/tada-ir-dabar/tada-ir-dabar-sovietmecio-rojus-nemokamasbustas-visiems.d?id=68482244.

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Lazdynai in 2016 and a statue from the Soviet times, showing the glorified status of builders. The graffiti on it perhaps shows the people’s current opinions of it.

23

Navickaite op cit Lazdynai exterior

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Below: One of the former communal buildings.

Above: Courtyard in Lazdynai 24

In the case of Lazdynai, the political aims of the Soviet Union can be said to have been realized to a greater extent than the Lithuanian architects’ opposition. Instead of becoming a symbol of opposition from the Lithuanian architects, it became another source of propaganda from the Soviet Union about the technical advancement and modernity of their architecture.25 The architects were even given the Lenin prize which was one of the most prestigious awards in the country.26 However for the new residents, the neighbourhood had some kind of symbolism of Western Modernism and better housing.27 One of the architects also expressed, that the neighbourhood has “everything” except from a Church, which was eventually built in 1990, right after the fall of the Soviet Union.28 Jameson wrote in Rethinking Architecture about political space, and he was thinking about weather irony in architecture is possible.

“Is it possible, as Venturi suggests, to replicate the city fabric, to reproduce its logic, and yet maintain that minimal distance that is called irony and that allows you to dissociate your self ever so slightly, but ever so absolutely, from that status quo? If so, it is clearly that minimal distance that would allow your building to qualify as art rather than construction”29 Then he goes on saying that since the differences are so small, it might not always be possible to recognize this irony for what it is, and the building will just become a part of what already has been built. It could be argued that this is the case of Lazdynai, where there was an intended irony and criticism in the buildings, which was massively misunderstood by the up keepers by the status quo and use as propaganda. Now, more than 20 years after independence there are several redevelopment projects planned for Lazdynai, both for the communal areas and for new housing30 to revive the now old and unattractive neighbourhood, where its meaning might just change again.

24

Navickaite op. cit Lazdynai Communal Spaces Drėmaitė, Petrulis op. cit.

26 Leitanaitė, Rūta. 2012. "Naujienos - Architektusajunga.Lt". Accessed January 26 Architektusajunga.Lt. http://www.architektusajunga.lt/naujienos/vilnius-tankeja-gyvenimu.

27 Drėmaitė, Petrulis op. cit.

28 Juškėnas, Tomas. 2012. "Žvilgsnis Į Istoriją: Kaip Lazdynai Tapo Sostinės Pasididžiavimu?". Accessed January 28 Alfa.Lt. http://www.alfa.lt/straipsnis/15058638/zvilgsnis-i-istorija-kaip-lazdynai-tapo-sostines-pasididziavimu.

29 Jameson, op. cit., p. 246 30 Leitanaitė op. cit.

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When Lithuania regained its independence, many changes came to the organization of society of which one important one was economy. Namely the economy had the biggest impact on the development of built environment in the country. Suddenly the main force behind execution of buildings was not the state, but the private person and the corporations.

Furthermore, changes had to be made to move away from the principles of collective planning.

Architects now had significantly more freedom. However many did not know what to do with this freedom, new materials were available, technologies and especially a new way of thinking therefore time to adjust was needed to the new system.31 In this process a great amount of architecture was produced, both good and bad. Hence, the years since 1990 in Lithuanian architecture has been characterized by trying to find its identity and trying somehow find its place in the modern world.32 One of the most successful public buildings erected after Lithuanian independence is the Swedbank building in Vilnius – a symbol of the new free economy. Even if it perhaps does not have an intentional political agenda of its own, nonetheless it has clear features showing what kind of philosophy or ideology it came from. First of all, it is situated on the left bank of the river Neris in a developing commercial, political and recreational neighbourhood in central Vilnius, making the building quite visible and noticed. The architect Andrius Ambrasas wanted, in opposition to the regular enclosed bank building, to include in the design of Swedbank, space for the public to use as well – a large terrace with a view of the river and Vilnius city centre and a café open for everyone. 33 As a symbol of openness he situated all the conference rooms towards the atrium with glass walls. It can be argued that similarly to a Soviet monument promoting socialism, Swedbank in Vilnius is also a kind of a democratic monument showing directly the power and importance of private businesses in a democratic country. However, the building also acknowledges that its power comes from the people, and without their interest the bank would simply not exist. Finally, it is the manifestation of the wish of Lithuanian architects to use new, previously prohibited or unavailable materials like timber and stainless steel as well as creating an international architecture explicitly referencing for example Scandinavian style.34

"Lazdynuose Iškils Naujas Gyvenamųjų Namų Kvartalas - Statyba Ir Architektūra". 2016. Statyba Ir Architektūra. Accessed January 26 http://sa.lt/lazdynuose-iskils-naujas-gyvenamuju-namu-kvartalas/.

31 Jučiūtė, Edita and Eglė Kirliauskaitė. 2016. "Šiuolaikinė Lietuvos Architektūra: Siekiant Aukščiausios Kokybės".

Bernardinai.Lt. accessed January 29 http://www.bernardinai.lt/straipsnis/2016-12-23-siuolaikine-lietuvos-architektura-siekiantauksciausios-kokybes/153160.

32 Šiupšinskas, Matas and Julija Reklaitė. "Šiuolaikinė Architektūra Lietuvoje (Contemporary Architecture In Lithuania)".

Lietuvos Kultūros Institutas. Accessed February 1. http://lithuanianculture.lt/menosakos/architektura/.

33 ibid., p. 17 34 Swedbank. 2013. Ebook. 1st ed. Darnios Pletros Akademija. http://dpakademija.lt/stor/uploads/2013/07/Swedbank-bukletasLT_28_FINAL.pdf. p. 18, 21

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Plans and elevations of Swedbank.

35 Swedbank. 2013. Ebook. 1st ed. Darnios Pletros Akademija. http://dpakademija.lt/stor/uploads/2013/07/Swedbank-bukletasLT_28_FINAL.pdf. p. 9, 10, 18

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38

39

Swedbank in Vilnius exterior.

37

40

42

41

38

Swedbank interior.

39 40

36

Swedbank. 2013. Ebook. 1st ed. Darnios Pletros Akademija. http://dpakademija.lt/stor/uploads/2013/07/Swedbank-bukletasLT_28_FINAL.pdf. p.15 37 ibid p. 16 38 Navickaite op. cit Swedbank in Vilnius 39 ibid.

40 ibid.

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Swedbank building in Vilnius was to a great extent successful in showing that the building is democratic, that it respects its employees, customers and the inhabitants of Vilnius generally. Even though it has an almost monumental presence in the city, it is considerate towards its surroundings, the river and the modern part of the city. However not only the physical building is considerate, but it is also shown by the numerous projects of social responsibility that the bank undertakes in the countries of operation concerning amongst others working conditions, human rights and environmental impacts.41 One example in Lithuania is the initiation of the project “Green City” where since 2005 around 10 000 trees have been planted in cities and towns by the employees of Swedbank for a greener and better environment.42 The restaurant and especially the terrace are popular, the terrace because it is unique in Vilnius, and because of its views. It is used during the day by both people working nearby as well as passers by as a relaxation space in the city.43 Lastly, by using new materials, and referencing a certain type of culture in the building, the architect showed in which direction Lithuania is looking.

Hence it could be said although the space itself wasn’t intended to bear any direct political meaning, its very existence wouldn’t be possible without the current political system in Lithuania. Also, the indented message of openness, transparency and democracy, seems to have resonated with the people of Vilnius.

In terms of residential buildings in Lithuania after the independence that changed the most was the rapid development of private separate dwellings of which an especially interesting one is the Black House Blues. During the Soviet Times, architecture of separate dwellings almost did not exist 44 and as stated earlier the possibilities of individualizing a dwelling were minimal. It is visible from the drastic development of the private dwelling architecture 45 that people did feel a need for individualized dwellings, a place of their own which reflects their personality. ”A man and his wife always loved to listen to the blues. A lot of blues. Loud - most of the times. And there could be no better place for their obsession than a forest. So, they built a black house there. With a white soul inside. The house that blues” 46

The quote above is the architect describing the couple who commissioned the house. They have their own unique habits, their own needs hence they need a house which could give them that.

The Soviets’ policy was that by creating a certain kind of architecture, they would also create a certain type of person, which from the previous examples can be said that both worked and did 41

Jackson, Amanda. 2016. Detailed Sustainability Report. PDF. 1st ed. https://www.swedbank.com/idc/groups/public/@i/@sbg/@gs/@ir/documents/financial/cid_1972624.pdf.

42 "Aplinkosauginė „Swedbank“ Iniciatyva Virto Eglynu Trakų Nacionaliniame Parke". 2010. Gamta.Lrytas.Lt. Accessed February 3, http://gamta.lrytas.lt/-12729666601271678451-aplinkosaugin%C4%97-swedbank-iniciatyva-virto-eglynutrak%C5%B3-nacionaliniame-parke.htm.

43 Trinkūnaitė, Sandra. 2011. "Banko Terasoje Vilniečiai Eina Ne Tik Atsipūsti, Bet Ir Papietauti". Zmones.Lrytas.Lt. Accessed February 1, http://zmones.lrytas.lt/-13127044191311122827-banko-terasoje-vilnie%C4%8Diai-eina-ne-tik-atsip%C5%ABstibet-ir-papietauti.htm.

44 Šiupšinskas, Reklaitė. op. cit.

45 ibid.

46 "Black House Blues / ARCHISPEKTRAS". 2014. Archdaily. Accessed January 28, http://www.archdaily.com/599671/blackhouse-blues-studija-archispektras/.

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not work. However, when the possibility was there, it can be observed especially in Lithuania, that a certain kind of people started creating a certain type of architecture according to who they are. In the movie “Playtime” by Jacques Tati 47 one can see that even though the architecture lays the foundations for creating a certain type of citizen and it indeed does look like it has succeeded, at night in the jazz club the true chaotic human nature still comes out. Hence the freedom of democracy in Lithuania has allowed this human nature of self expression to emerge in its citizens.

48

Black House Blues

47

Playtime. 1967. Film. Paris: Jaques Tati.

All photos on page from: Gardauskaitė, Indrė. 2015. "176 Kv.M. Namas Kulautuvoje, Kuriame Vyrauja Bliuzo Dvasia Ir Pušyno Kvapas". Manonamai.Lt. Accessed February 4. http://www.manonamai.lt/mano-namai/namai/176-kvm-namaskulautuvoje-kuriame-vyrauja-bliuzo-dvasia-ir-pusyno-kvapas.d?id=68353578.

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Finally, can it be concluded that space is political from the examples discussed in the essay? Space is perhaps a result of politics, but if it is political itself depends on the activities taking place there. Jameson talked about how it was one thing to build a building for a purpose, maybe to try to make people behave in a certain way, or become a certain person, however, it isn’t guaranteed that they in fact will do so,49 in which case the political aim of that building failed to become reality. Hence we can say that sometimes, yes, space can be political as we have seen on the Palace of Matrimony in Vilnius, which was used according to the intended plan, as well as the Swedbank building. However, in the case of Lazdynai, there were different meanings intended for the neighbourhood upon its construction, which makes it much harder to deduce what meaning it actually had. This has also changed over time, because the redevelopment of the neighbourhood must inevitably mean something different the society of today. Hence perhaps it is possible to say that the space becomes political by the inhabitation of people with certain political views. If the Palace of Matrimony was suddenly abandoned, and no actions were taking place there, would it still be a political space?

49

Jameson, op. cit., p. 245

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References „Statyba ir architektūra“ nr.4, p. 2,. 1975. Image. http://www.autc.lt/lt/architekturos-objektai/1888.

"Aplinkosauginė „Swedbank“ Iniciatyva Virto Eglynu Trakų Nacionaliniame Parke". 2010. Gamta.Lrytas.Lt. Accessed February 3, http://gamta.lrytas.lt/-12729666601271678451-aplinkosaugin%C4%97-swedbankiniciatyva-virto-eglynu-trak%C5%B3-nacionaliniame-parke.htm.

"Arūnas Streikus. Sovietų Valdžios Antibažnytinės Politikos Padariniai Šiandien". 2013. Bernardinai.Lt. Accessed January 22 http://www.bernardinai.lt/straipsnis/2013-01-28-arunas-streikus-sovietu-valdzios-antibaznytinespolitikos-padariniai-siandien/94346 Bakunaite, Gintare. 2015. Image. http://www.delfi.lt/multimedija/tada-ir-dabar/tada-ir-dabar-sovietmecio-rojusnemokamas-bustas-visiems.d?id=68482244.

"Black House Blues / ARCHISPEKTRAS". 2014. Archdaily. Accessed January 28, http://www.archdaily.com/599671/black-house-blues-studija-archispektras/.

Blackman, Charles F. 1980. "The Civil Sacrament: Law And Practice Of Soviet Weddings". The American Journal Of Comparative Law 28 (4): 560. doi:10.2307/839706.

Bown, Matthew Cullerne and Brandon Taylor. 1993. Art Of The Soviets. 1st ed. Manchester: Manchester University Press.

Drėmaitė, Marija. 2014. "Naujųjų Apeigų Dramaturgija – Santuokų Ir Laidotuvių Rūmai Sovietų Lietuvoje". 15Min.Lt. Accessed January 22 http://www.15min.lt/naujiena/aktualu/istorija/naujuju-apeigudramaturgija-santuoku-ir-laidotuviu-rumai-sovietu-lietuvoje-582-397890.

Drėmaitė, Marija and Vaidas Petrulis. 2017. "D_Marija Drėmaitė And Vaidas Petrulis. Modernism In Soviet Lithuania: The Rise And Fall Of Utopia | Architektūros Leidinių Fondas". Archfondas.Lt. Accessed January 20. http://www.archfondas.lt/leidiniu/en/alf-02/dmarija-dremaite-and-vaidas-petrulis-modernism-sovietlithuania-rise-and-fall-utopia Gardauskaitė, Indrė. 2015. "176 Kv.M. Namas Kulautuvoje, Kuriame Vyrauja Bliuzo Dvasia Ir Pušyno Kvapas".

Manonamai.Lt. Accessed February 4. http://www.manonamai.lt/mano-namai/namai/176-kvm-namaskulautuvoje-kuriame-vyrauja-bliuzo-dvasia-ir-pusyno-kvapas.d?id=68353578.

Jackson, Amanda. 2016. Detailed Sustainability Report. Ebook. 1st ed. https://www.swedbank.com/idc/groups/public/@i/@sbg/@gs/@ir/documents/financial/cid_1972624.pdf.

Jučiūtė, Edita and Eglė Kirliauskaitė. 2016. "Šiuolaikinė Lietuvos Architektūra: Siekiant Aukščiausios Kokybės". Bernardinai.Lt. Accessed January 29, http://www.bernardinai.lt/straipsnis/2016-12-23-siuolaikinelietuvos-architektura-siekiant-auksciausios-kokybes/153160.

Juškėnas, Tomas. 2012. "Žvilgsnis Į Istoriją: Kaip Lazdynai Tapo Sostinės Pasididžiavimu?". Alfa.Lt. Accessed January 28, http://www.alfa.lt/straipsnis/15058638/zvilgsnis-i-istorija-kaip-lazdynai-tapo-sostinespasididziavimu.

Navickaite, Kotryna. Exterior of the Palace of Matrimony, Lazdynai exterior, Swedbank in December 25, 2016, Vilnius.

Vilnius,

"Lazdynuose Iškils Naujas Gyvenamųjų Namų Kvartalas - Statyba Ir Architektūra". 2016. Statyba Ir Architektūra.

Accessed January 26, http://sa.lt/lazdynuose-iskils-naujas-gyvenamuju-namu-kvartalas/.

Leitanaitė, Rūta. 2012. "Naujienos - Architektusajunga.Lt". Architektusajunga.Lt. Accessed January 26, http://www.architektusajunga.lt/naujienos/vilnius-tankeja-gyvenimu.

Novikov, Felix. 2017. Image. Accessed January 26. http://www.archfondas.lt/leidiniu/en/alf02/dmarija-dremaite-and-vaidas-petrulis-modernism-soviet-lithuania-rise-and-fall-utopia.

Petrulis, V. 2015. Interjero Fragmentas. Image. http://www.autc.lt/lt/architekturosobjektai/1888. Šiupšinskas, Matas and Julija Reklaitė. 2017. "Šiuolaikinė Architektūra Lietuvoje (Contemporary Architecture In Lithuania)". Lietuvos Kultūros Institutas. Accessed February 1. http://lithuanianculture.lt/menosakos/architektura/.

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Stronski, Paul and Project Muse. 2010. Tashkent: Forging A Soviet City, 1930-1966 (Central Eurasia In Context).

1st ed. University of Pittsburgh Press.

Swedbank. 2013. Ebook. 1st ed. Darnios Pletros Akademija. http://dpakademija.lt/stor/uploads/2013/07/Swedbankbukletas-LT_28_FINAL.pdf.

Tati, Jaques Playtime. 1967. Film. Paris: Tranavičiūtė, Brigita. 2017. "Vilniaus Miesto Santuokų Rūmai". Architektūros Ir Urbanistikos Tyrimų Centras.

Accessed January 21. http://www.autc.lt/lt/architekturos-objektai/1888.

Trinkūnaitė, Sandra. 2011. "Banko Terasoje Vilniečiai Eina Ne Tik Atsipūsti, Bet Ir Papietauti". Zmones.Lrytas.Lt. Accessed February 1, http://zmones.lrytas.lt/-13127044191311122827-banko-terasoje-vilnie%C4%8Diaieina-ne-tik-atsip%C5%ABsti-bet-ir-papietauti.htm.

Varga-Harris, Christine. 2015. Stories Of House And Home. 1st ed. New York: Cornell University Press.

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