Real estate, building, design, architecture

Text: Aage Myhre, VilNews Editor-in-Chief/architect
aage.myhre@VilNews.com 

Vilnius is called the "world's most Italian city outside Italy," and also "Europe's most baroque city north of the Alps". Before the Baroque made ​​its appearance, Vilnius was considered one of the world's three leading Renaissance cities (!), in competition with Milan and Florence. However, although the Lithuanian architecture has its roots in Italy, it also developed its own distinctive character, which now once again delights and surprises visitors from near and far.

Unfortunately, this wonderful national heritage was not preserved and continued too well during the years when Lithuania was occupied by the Soviet Union. Also today, there is devoted minimal attention to this heritage, the very identity of Lithuania. Buildings and environments that have been completed over the past 20 years have too much become pale, indifferent copies of Western countries 'modernist architecture' instead of development projects based on Lithuania's phenomenal genuine, beautiful traditions in architecture and living environments.

Fortunately, there are still ancient urban districts and buildings throughout the country that remind us about what a proud and powerful identity Lithuania had in the past. And thankfully, authorities and many others understand that these fine monuments must be preserved as the proud bearers of identity they still are. Bravo!

But it surprises me greatly that today's architects and planners are not willing to listen to Lithuania's own ‘identity-music’ instead of following in the footsteps of the West’s often banalising, so-called modern architecture.

A Lithuanian architecture that honour and take into account the nation's identity would not cost more, it would make the new building environments more attractive and warm, and it would show the world that Lithuania is a proud nation with deep roots in culture and history, virtually unparalleled. So why wait?

Let me exemplify what I have in mind...

BMW and Jaguar

BMW cars have for many years developed in accordance with a significant identity line. A fast, sporty car that appeals to young, dynamic business people, albeit often with a faint 'mafia-touch'. BMW has remained true to this line and one can well see the relationship between current and earlier models.

Jaguar was long regarded as a ‘work of art’, designed to satisfy drivers with high demands for classic design combined with top performance. BMW was seen as a vehicle of raw power, while the Jaguar simply was aristocratic and beautiful. But then, for the latest models, Jaguar started making BMW-copies instead of sticking to their own identity as a car for connoisseurs. A little sad to see that lovely Jaguar fell for such a temptation, and thus made ​​the car market a little less inspiring and versatile...

Lithuanian ‘identity architecture’ Anno 2012?

NEW BUILDINGS AT EXISTING STREETS IN OLDER URBAN AREAS:

As for renovation and new construction in older urban areas, I am convinced that one should stick very strictly

to the originals. If we are talking about a new building to fill in a gap in a row of houses, I believe one should strive to create identical copies of what once existed on the site. The building below, in Didzioji g here in Vilnius, in my opinion is a good example of exactly that. The building is less than 10 years old, but is built as a true copy of the building that once stood right here.

Some would say we in our time must be allowed to build, fill in, in styles that belong to our day, even in an older urban environment. I strongly disagree. For me, this sounds as an argument to introduce new items, colours, etc., in a genuine Rembrandt painting when it is being restored...

Copying the original building.

NEW BUILDINGS ON NEW SITES IN OLDER URBAN AREAS:

It is not often constructed new buildings here in Vilnius Old Town. There are simply very few vacant spaces.

But now is finally something happening. A brand new apartment complex is under construction in the heart of the Old Town, on a site that until recently was reserved for old garages from the Soviet era. Kotrynos Vartai is the name, a complex of apartments and two commercial premises being built at Klaipedos street next to St. Catherine’s Church and the Teachers’ House. The new complex takes carefully into account the Vilnius old town architecture. Bravo!

Keeping the original style.

NEW ARCHITECTURE ON SITES NEAR OLDER URBAN CENTRES:

I think a combination of genuine, original building materials, such as yellow-brown-red bricks will be a good

item to include in today's buildings outside the centre of Vilnius. In such a way we can pass on the legacy of centuries of good architectural traditions as we find them represented in the Vilnius Old Town. The more modern times may be well represented by a far more modern material, namely glass. Below I show three different ways to combine these two building materials. Distinct, modern, traditional and with dignity...

New building styles for districts near the old city centres of Vilnius, Kaunas and Klaipeda. Genuine building materials combined with glass, demonstrating respect and affiliation to the ancient ‘identity/architecture’ of Lithuania and at the same time looking to the future, demonstrating openness, light and distinctiveness.

There are so many items to play with, even outdoors. Think water, fountains, bridges, decorations, ornaments;
items that tell something about what happens inside the buildings around, and the people using the buildings
and the services offered, being it in an office building, a restaurant, a hotel or a service provider...

1. History of bank architecture

Architecture is the ability to see connections. Understanding interior, exterior and outdoor spaces simultaneously.

Understanding of history, present, society, politics and economics. Holistic thinking and understanding. That is what makes architecture so much more complicated than what most people imagine. The checklist in the space programme includes thousands of specifications, but it is far from enough to find answers to each of them. One must also understand to respond to the relationship between them. Responding to the indefinable that glues the points together. In addition, one must intuitively understand what kind of shape one can make out of the functional requirements and the given environment.

You will not become a good architect without having natural talent. But you also to have the ability to listen. Be humble about environment, surroundings, history and human needs. Understanding historical perspectives, psychology, sociology, economics, statics and mathematics at the same time.

It's hard to become a Palladio and Michelangelo today. They had styles to stick to. We have not today. They were raised by wise generations before them. As were craftsmen of those times. Our architects have little time and traditions. Book-knowledge and inspiration is not enough. Therefore, today's architects are often not good enough. Urban planners are in an even worse situation. They should take the lead in seeing contexts, guide architects in holistic thinking. Ensure that the indoor rooms and outdoor spaces play together. Our classical masters showed the way.

But the casino table is often more attractive than the chessboard, both in architecture and in the finance business

Money has no identity. Therefore, it has not been obvious to the world's stock exchanges and banks how to define and symbolize their own identity. Monetary institutions' architecture is a good reflection of that, often using 'stolen' symbols from classical architecture, objects, exaggerated dimensions, etc.

Through the centuries, financial institutions sought to find themselves. But have they succeeded? Not as I see it. I'm actually afraid that their architecture of today indicates that something is wrong with the very money power principles.

The leaders of the Soviet Union, all as one, tried to create communism architectural ideals. Steel and concrete. Distinctive shapes. Power forms. It was like watching the hammer and sickle in the buildings’ architecture.

I see some similar architectural thinking used by the capitalism. Monetary power institutions have tried many 'styles'. Greek columns. Roman ornaments. Gold. Shiny and / or black, opaque facades in mafia-style.

Wall Street and global finance institutions wobble. Maybe the bank architecture of the last 100 years indicated that this would happen, but we did not listen or see?

2. Pre-war banks in Lithuania

The interwar Bank of Lithuania - Maironio str.25, Kaunas. Very impressive architecture of neoclassicism style. The Bank of Lithuania (1924–1938) was designed by Lithuanian professor Mykolas Songaila, though it was an unknown architect from Paris that won the international competition for the project of the bank building in 1924. The French architect’s project was deemed too complex and expensive by the commission. The building is still in a good condition today. There is a small exhibition of Lithuanian banknotes and coins of the First Republic time inside.

The Kedainiai bank of 1933.

Ukio bankas in Utena, 1934.

3. Jewish banks in Lithuania

In pre-war Lithuania, many members of the Jewish middle class, especially the educated strata, who had already experienced to some extent the establishing of Jewish autonomy, mobilized their resources for the strengthening of the social economic basis of the Jewish masses and their livelihood. With the blessing and initiation of the Economics Committee at the Ministry for Jewish Affairs and with the assistance of the “Foundation”, a national financial system was established of co-operative credit societies. By the end of 1920, these were already active in 44 cities and towns and were named “Peoples Bank” (in Yiddish Folksbank). In addition to the positive local economic activity (extending loans etc) they were also of importance in the social and cultural sphere. In a number of places, the community organs and other organizations also used the bank building. There were also cases of the bank granting study scholarships and prizes for cultural activities.

In order to co-ordinate and regulate the activities of the Peoples Banks in time of need and crises and other difficulties, a central institution was established in 1921, formally called the “Central Jewish Bank for the Encouragement of Co-operation.” 71 Peoples Banks throughout the country linked to it, and the number of (dues paying) members reached 11,000. Over the years, the capital assets of the institutions increased, as did also the amount of deposits and savings. Thanks to that, the conditions were eased under which the loans were granted to members and public institutions. In 1930, 85 Peoples Banks existed in Lithuania with 22,262 members. In that year, 11,953 loans were granted to them and to others in a total amount of 10,249,159 Lit (approximately one million Dollars).

Although the Peoples Bank was open to non-Jews as well, this figure was no more than 5%. The work in the offices, the correspondence and the daily work routine was conducted in Yiddish, and this was also true of the national conventions and conferences, which took place every few years. This was therefore, a Jewish banking system spread throughout the cities and towns of Lithuania. At that time, the total deposits amounted to 14,113,413 Lit (approximately $1.4 million), of which 46% came from the members, 16% from institutions and 48% from non-members. If we take into consideration the members families and all others requiring the Peoples Banks' services, and that of its associates, then we can conclude that they served about two thirds of the Jewish population. Unlike the similar Lithuanian banks, which enjoyed cheap governmental credit, the Peoples Banks had to depend on deposits only. In 1933, a special bank was established to assist Jewish farmers (Yiddisher Landwirten Bank).

The central office was in Kaunas with 31 branches spread out in towns through the land.

The Central Jewish Bank. Kaunas, 1923.

4. Banks during Soviet years

I'm not going to use space on bank architecture that applied over the years Lithuania was occupied by the Soviet Union. But I still wanted to show you, dear reader, a photo I took in November 1990 of a queue I discovered outside a 'bank' in Vokieciu street, Vilnius. Gorbachev had the same day informed that the 50-rouble note would not be worth anything in 48 hours, and everyone ran to their banks to change. I visited this and other banks by then, and still get chills on my back just thinking about how it was ...

After the liberation in 1991, Lithuania inherited the monobank system of the former Soviet Union, with specialized state banks serving specific branches of the economy. They quickly established a central bank at the core of their banking system. They were weak in bank management and lacked staffs with modern banking skills, and no system had an appropriate legal, regulatory, or supervisory framework governing the banks. In some instances fraud and corruption prevailed, encouraged by the relatively permissive regulatory and supervisory environment for banks that existed in the Baltics. All had to decide what to do with the remnants of the Soviet banking system at the same time that they encouraged the growth of the new private banking sector.

Estonia and Lithuania reconstituted the specialized Soviet banks as national state banks and began to privatize them. In some instances the state retains an ownership stake. In Lithuania the state increased its ownership share as part of a rescue effort for some former state banks. Latvia, by contrast, reconstituted the savings bank, then privatized branches of the remaining banks. The residual branches were merged into one bank, rehabilitated, and then subject to formal privatization.

The saving banks were privatized. In the early stages the three private banking systems were similar and grew rapidly. All three have had liberal policies toward licensing new commercial banks, believing that more banks would generate the competition needed to drive down deposit and lending rates, and provide the capital needed to support the emerging private sector.

Many new private banks were established by enterprises that wanted access to cheaper funding than was available from other banks. Little thought was given at first to the implications of this policy for banking safety and supervision.

5. ‘New’ banks in old buildings

Bank of Lithuania headquarters in Gediminas Avenue, built by the order of Józef Montwiłł in 1889–1891. The Bank of Lithuania is the central bank of the country, established 1922. It has the exclusive right to issue the currency of the Republic of Lithuania into circulation and to withdraw it. The principal objective of the Bank of Lithuania is maintain price stability, i.e. as low inflation as possible. In implementing this objective the Bank of Lithuania conducts monetary policy, supervision of credit institutions, management of foreign reserves and performs other functions.

DNB Bank headquarter, Basanavičiaus g. 26, Vilnius centre. Beautifully renovated but hardly practical.

NORDEA bank headquarter, Didžioji g., Vilnius centre. Nicely renovated Old Town building.

SEB Bank headquarter, Gedimino pr 12, Vilnius centre. Nicely renovated building from postwar years.

6. ‘New’ banks in new buildings

DANSKE BANK headquarter, Saltoniškių g. 2, just outside the centre of Vilnius.
A good example of what I earlier called ‘mafia architecture’ – dark windows that cover a shapeless building... Indicates power, money, no transparency... Scary...

SWEDBANK headquarter, Konstitucijos pr. 20A, just outside the centre of Vilnius. Nice building with warm and light colour combinations. But what is the shape supposed to tell us? Two huge loudspeakers? I’m confused...

7. What should characterize a bank building of today, in the outskirts of Vilnius?

I think a combination of genuine, original building materials, such as yellow-brown-red bricks will be a good item to include in today's office and bank buildings outside the centre of Vilnius. In such a way we can pass on the legacy of centuries of good architectural traditions as we find them represented in the Vilnius Old Town. The more modern times may be well represented by a far more modern material, namely glass. Above I show three different ways to combine these two building materials. Distinct, modern, traditional and with dignity...

Remember that what is happening between the buildings is as important as the buildings themselves. It is often so that the way the surroundings are planned determine whether a project is successful or not. Again, holistic thinking. There are somany items you can play with, even outdoors. Think water, fountains, bridges, decorations, ornaments; items that tellsomething about what happens inside the building... And most important of all, all elements must have human dimensions. So that people who come to the building will be feeling well, feeling joy. Also, a bank building should radiate kindness and dignified service attitudes towards their customers ...

Maybe you just asked yourself: What on earth has such an image, the one above,  to do with architecture? Let me admit, that when I began my studies to become an architect, 36 years ago, I also believed that architecture was about buildings and structures. 

But, after I received my Norwegian master degree in architecture, and also had studied architectural psychology in France, it began to dawn on me that architecture is mostly about something else. I started realising that architects are creating constructions, but, more importantly, they are designing frameworks and environments for genuine human life and activities - being it at work, with family, during leisure time, travelling, at a restaurant table, or while simply seeking inspiration in some sort of environment.

The cover photo shows real life in one of Vilnius’ many hidden courtyards. You will understand the magnificent architecture of Vilnius Old Town only if you also visit these courtyards and the many ancient, vaulted cellars.

From the architectural point of view, Vilnius is a unique city of world format. Unfortunately, there are not many reasons to mention the city’s new suburbs with modern architecture; they are mediocre. Vilnius Old Town is the only outstanding jewel in the crown. But what a jewel! It is here you should come to observe the amazingly strong expressions of a whole people's ancient soul; regardless of nationality, religion or cultural background. 

It is when you come here you will fully understand why Vilnius once was given names like the 'New Babylon', ‘Jerusalem of the North’, ‘the world’s most Italian city outside Italy’ and ‘the most Baroque city north of the Alps’. It is here you fully can understand what the terms multiculturalism and multi-nationalism really implied in ancient Vilnius. It was to this very place architects and builders from Italy and other Mediterranean countries came to develop the international Vilnius nearly 700 years ago, along with experts from Central Europe. The city’s huge Jewish community also played an immensely important role.

When it comes to ancient architectural planning and roots, Vilnius is probably the world’s most international city.

HOLISTIC THINKING AND PLANNING

Architecture is a mirror of the development level and maturity for any nation. Today's best example of precisely this is the new Dubai architecture that is created to tell a story about wealth and prosperity. Similarly, the architecture of Vilnius Old Town tells us about wisdom and multiculturalism in this country during hundreds of years. Vilnius reflects European styles, be it from the Gothic, Renaissance, Baroque or Classicism time periods because Lithuania's former leaders knew how to seek advice and expert assistance from outside. Vilnius of those days was fully on par with cities closer to main stream Europe. But the styles represent only one side of the case. Equally important is the fact that the then leaders, city planners and architects followed holistic planning ideals. The areas between the buildings were as important as the buildings themselves and the human dimension was given crucial importance. To pave the way for good and interactive human life and expression was a most important clue in all planning and development. Old Vilnius was a good and vibrant city to live in.

MY ARCHITECTURE ROUTE THROUGH VILNIUS 

This is my personal architecture route through Vilnius. It follows far from historical order. It focuses not only on buildings, but is all along also touching a bit of general history and partly political events. For, as I said already at the very beginning, architecture is so much more than just structures. Architecture is art, frames for human life, politics, economics, prestige, happiness, sorrow - for better or worse. Or as a friend of mine tends to ask: ‘Do you know the difference between a doctor and an architect?’ The answer is that doctors can always bury their mistakes…

Vilnius, however, is a fully ambulatory 'patient'. Let me show you.

1.    VILNIUS’ NEW SKYSCRAPER DISTRICT

To the right in the picture above you can see the Reval Hotel Lietuva. The hotel was, with its 22 floors, until a few years ago Lithuania's only skyscraper. I lived there for half a year, in 1991. Where today's skyscraper district is located (to the left), there was just a dusty strip of land with lots of kiosks of good old-fashioned Soviet brand.  Today's skyscrapers are taller and more modern. Glass and steel have in the 2000s made their triumphant entrance to Vilnius and Lithuania.

The new buildings are not bad. They are actually among the better in terms of recent, modern architecture in Lithuania. The two buildings I think most of, are; a) The Europa Tower, and b) Swedbank's new headquarters, both designed by architect Audrius Ambrasas. These two buildings have, in addition to a lot of glass and metal, also added a little warmer colours, which means a lot to an otherwise cold district. The shopping centre within the Europa Tower is also, in my opinion, the best in the whole of Lithuania in terms of architecture. Simple and understandable, yet elegant in its expression.

But, as the critic I always tend to be, let me be allowed to present three query target categories for this new glass-and-steel complex that has been raised over the past 10 years, only a stone's throw from the Vilnius Old Town:

1) Where is the holistic thinking behind this new district? 

It seems that the Vilnius Municipality has not done much more than dividing up a large land area into land plots where each developer has been left free to build without regard to public facilities, outdoor space or a common architectural concept.

2) Why has one not assumed a design concept related to the centuries-old architecture of Vilnius Old Town?

The skyscraper district in Vilnius differs little from mediocre areas of similar character in the west, while the city’s own proud history of architecture seems to be completely forgotten.

3) Why is it that asphalt and cars have been allowed to completely dominate all outdoor areas? 

The only attempt made to create an outdoor area seems to exist between the Europa Tower and the new City Hall building. But also this yard chemically free of greenery and life-giving activities, with the result that it is used very little by people. The new skyscraper city is also isolated from good contact with the Vilnius centre by a busy street. Why not put a lid on it, so that traffic could be hidden under the earth surface and human life could flourish on top of the lid?

PS: The new skyscraper district of Vilnius is located on the so-called right bank of the Neris River that runs through and forms the city of Vilnius. Now we will cross ‘the white bridge’ and move into the city centre.

2.    RIVER NERIS – AND A TASTE OF STALINIST ARCHITECTURE

The Neris River flows slowly and beautifully through Vilnius. Unfortunately, the river banks are rarely used for human activities. Here you see no dynamic waterfront projects, outdoor restaurants or full set riverboats. This is not Prague, Paris or Rome. But there is so much more that could be done to make this beautiful river to a far more active element of city life here, and I hope one day we get a city planner who sees some of the many opportunities Neris provides the city that through 700 years has been growing large along its proud historic riverbanks.

Stalinist Architecture, also referred to as the Stalinist Gothic, or Socialist Classicism, is a term given to architecture of the Soviet Union between 1933 and 1955, when Nikita Khrushchev condemned ‘excesses’ of the past decades and disbanded the Soviet Academy of Architecture.

But while buildings from the Stalin period remain as very solid and thoughtful stylish monumental buildings, in Vilnius and other cities that belonged or were forced to obey Soviet rule, the buildings erected during Khrushchev’s time in the Kremlin, and later, have been left standing as uninteresting and weak symbols of a recession which in reality defined the Soviet Union from the moment Stalin died in 1953.

A few Stalinist buildings were erected in Vilnius after the war. You see one of them to the right on the picture above. Church symbolism is obvious even here, although this is just an ordinary apartment complex. Still, this building is the beginning of our ‘evil axes’ part of the route, leading us from the Stalin building to what 20 years ago was called the Lenin Square and the KGB Palace where unbelievable gruesome treatments took place - of thousands of Lithuanians who dared to resist their unwelcome rulers after WWII.

3. LUKIŠKĖS SQUARE – THE KGB PALACE  

Lukiškės Square has been Lithuania’s symbol of terror since the 1800s, when public executions of insurgents took place here.  This is also the place where hundreds of opponents of the Soviet Union were interrogated, tortured and executed during the years 1944–1956 in the infamous KGB Palace, facing the square (ref above picture).

The square was reconstructed according to the design of V. Mikučianis in 1949–1952. During the Soviet era, the square was renamed Lenin Square and a statue of Lenin was built in the middle of it in 1953. The statue, which used to be the largest of its kind in the Lithuanian SSR, was removed in 1991, after the restoration of independence of Lithuania. Gathered crowds celebrated the fall of the statue; its upper part was lifted using a crane and broke off at the lower legs attached to the pedestal. The reassembled Lenin statue is now on display in Grūtas Park near Druskininkai in southern Lithuania.

Today, the evil is gone. Children are having fun at the site that during two centuries represented death and destruction for Lithuania. The statue of Lenin, that stood here during the period 1953 – 1991, is also gone. Forever.

It is estimated that 22 000 Lithuanians and 70 000 KGB and Red Army soldiers were killed during the time of the post war guerrilla wars in this country between 1944 and 1956. When will we see a monument here, at the Lukiškės Square, to honour the many brave Lithuanians who were killed by the evil forces for the sake of their beloved homeland? 

3.    THE KGB MUSEUM

Set up in the former KGB Palace, the museum is the only one of its kind in the European Union. For Lithuanians, this building symbolises the 50-year-long Soviet occupation. During World War II it was the site of Gestapo headquarters and of the KGB later. Between 1940 and 1991 people who resisted the soviet occupants were arrested, killed or deported to Siberia. You will see a lot of the names of anti-Soviet resistance fighters carved into the stone walls of the building.

When you enter the building you feel more like whispering instead of talking as the gruesome reality of the past exhibited over a few floors is often too hard to handle. The building of the museum is intact as it was after the KGB left the premises in 1991. Amongst many other exhibited items you will see the authentically furnished rooms and KGB equipment that was used for the secret listening of private conversations and many more. 

On the ground floor of the museum the authentic photographs of the partisans, original documents, personal belongings are displayed. The photographs depict the life of partisans, who were struggling to re-establish Lithuania’s independence. It is truly sad to look at the immortalised faces, as many of them were so young, barely 18 years old. The courage, sacrifice and love for their country of those young people is truly moving. You start understanding that Lithuanians, even though a small nation, were gallant and dignified people.

The exposition on the first floor displays dramatic black and white photographs depicting and awful working and living conditions of the people sent to the hard labour camps. The scenes look so grim with wiry fences and armed guards. Among the prisoners there was a great number of priests and women, arrested for publishing underground anti-Soviet papers. I couldn’t believe it when I saw that many of them had to wear signs on them that read: ‘Extremely dangerous criminal.’ Clothes and footwear of the prisoners and some personal items like hand made books are on display.

The basement prison is the most sobering part of the building. Here a lot of prisoners were brutally killed in the execution chamber for participation in the anti-Soviet resistance.

When you enter the prison, there are two about 1.6-square-metre dark cells called boxes, where prisoners were kept while the duty officer processed their documents. It’s sickening how small the cells were where you can hardly sit or stand. Among other cells you can see solitary confinement rooms which were used to break down the prisoners and make them confess. Prisoners had to stand in the ice-cold water or to balance on a small platform. Every time they got tired they fell down into the water. 

The horrific padded cell sends chills down your spine. The walls are padded and soundproofed, made to absorb the cries and shouts for help. The straitjacket on the back wall was used for those who resisted or were demented from torture.

The execution chamber is the grimmest place in the museum. On display there is material, which shows the procedures of sentencing people to death and the inhuman treatment of dead bodies. Under a glass floor some personal belongings of the victims are displayed: shoes, buttons, glasses and engagement rings.

4.    GEDIMINAS AVENUE

The Gediminas Avenue (Lithuanian: Gedimino prospektas) is the main street of Vilnius, where most of the governmental institutions of Lithuania are concentrated, including the government, parliament, Constitutional Court and ministries. It is also the place of cultural institutions such as Lithuanian National Drama Theatre, Bank of Lithuania, Lithuanian Academy of Music and Theatre and Martynas Mažvydas National Library. 

Nowadays it is also a popular shopping and dining street. It is partially a pedestrian street in the evenings when the traffic is prohibited.

Named after the Grand Duke of Lithuania Gediminas, the street terminates at the Žvėrynas Bridge over the Neris River near the Seimas (Parliament) Palace on one end and at the Cathedral Square and Vilnius Castle Complex on the other, passing the Lukiškės Square. It connects the Old Town with Žvėrynas.

The street, started built in 1836, was initially known as St. George Avenue, Mickiewicz Street (Polish: ulica Mickiewicza), when Vilnius was under Polish rule (1922–1939) and Adolf Hitler Street during the Nazi Germany occupation. At the beginning of the Soviet occupation in 1940 it was called Stalin Avenue, later renamed to Lenin Avenue. The avenue carries its present name from 1939 to 1940 and since 1989.

A portion of the avenue from the Vilnius Cathedral to Municipality Square was thoroughly reconstructed before the celebration of 750^th anniversary of King Mindaugas' coronation in 2003. The reconstructions included building an underground parking facility – the first such in Lithuania - under the Municipality Square and renovation of all kinds of pipelines and communication cables under the street. Over 100 new trees were planted. During the excavations a few archaeological findings were found and are now on display in the parking garage. The reconstruction was completed in 2009.

5.    VILNIUS CATHEDRAL – THE CATHEDRAL SQUARE

The Cathedral of Vilnius is the main Cathedral of Lithuania (Roman Catholic). It is situated in Vilnius Old Town, just off of Cathedral Square. It is the heart of Lithuania's Catholic spiritual life.

The coronations of the Grand Dukes of Lithuania took place within its confines. Inside its crypts and catacombs, many famous people, among them Vytautas the Great (1430), his wife Anna (1418), his brother Sigismund (1440), cousin  Švitrigaila  (1452), Saint Casimir(1484), Alexander Jagiellon (1506), two wives of Sigismund II Augustus:  Elisabeth of Habsburg (1545) and Barbara Radziwiłł (1551), as well as others, are interred.

Inside, there are more than forty works of art dating from the 16th through 19th centuries; including frescoes and paintings of various sizes. During the restoration of the Cathedral, the altars of a presumed pagan temple and the original floor, laid during the reign of King Mindaugas, were uncovered. In addition, the remains of the cathedral built in 1387 were also located. A fresco dating from the end of the 14th century, the oldest known fresco in Lithuania was found on the wall of one of the cathedral's underground chapels.

It is believed that in pre-Christian times, the Baltic pagan god Perkūnas (god of thunder) was worshiped at this location. The Lithuanian King Mindaugas built the original cathedral in 1251 after his conversion to Christianity. Remains of the archaic quadratic church with three naves and massive buttresses have been discovered beneath the later layers in the late 20th century. After Mindaugas's death in 1263, it again became a place of pagan worship.

In 1387, the year in which Lithuania was officially converted to Christianity, a second Gothic style Cathedral with five chapels was built. The Cathedral burnt down in 1419. During the preparation for his coronation as King of Lithuania, Vytautas built a significantly larger Gothic Cathedral in its place; the Cathedral had three naves and four circular towers at its corners. Flemish traveller Guillebert de Lannoy noticed its similarity to the Frauenburg  Cathedral.

The walls and pillars of this cathedral have survived to this day. In 1522, the Cathedral was renovated, and the bell tower was built on top of the Lower Castle defensive tower. In 1529, Sigismund Augustus, was crowned Grand Duke of Lithuania in the Cathedral. After the fire of 1530, it was rebuilt again and between 1534 - 1557 more chapels and the crypts were added. The Cathedral acquired architectural features associated with the Renaissance.

After the fire of 1610, it was rebuilt again, and the two front towers were added. The Cathedral was damaged during the war of 1655. It was renovated and decorated several more times.

Between 1623 - 1636, at the initiative of Sigismund III Vasa, the Baroque style Saint Casimir chapel by royal architect Constantino Tencalla was built of Swedish sandstone. Its interior was reconstructed in 1691-1692 and decorated with frescoes by Michelangelo Palloni, the altar and stuccowork by Pietro Perti.

In 1769, the southern tower built during the reconstruction of 1666 collapsed, destroying the vaults of the neighbouring chapel, killing six people. After the damage, Bishop of Vilnius Ignacy Jakub Massalski ordered the reconstruction of the Cathedral. The works started in 1779 and were completed in 1783, and the interior was completed in 1801. The Cathedral was reconstructed to its present appearance according to the design of Laurynas Gucevičius in the neoclassical style; the church acquired its strict quadrangular shape and the plan inherent to local public buildings. The main facade was adorned with sculptures of the Four Evangelists by Italian sculptor Tommaso Righi. Some scholars point to the architectural resemblance of the cathedral to the works of Andrea Palladio or see the influence of Gucevičius's tutor Claude Nicolas Ledoux. The influence of the Palladian architecture is evident in side facades of the building. The lack of 'purity' of the Classical architecture due to incorporation of Baroque style sculptures and other elements was later criticised by academical architects, notably Karol Podczaszyński.

6.    THE LOWER CASTLE – GEDIMINAS TOWER

The Vilnius Castle Complex is a group of cultural and historic structures on the left bank of the Neris River, near its confluence with the Vilnia River in Vilnius. The buildings, which evolved between the 10^th and 18^th centuries, were one of Lithuania's major defensive structures.

The complex consisted of three castles: the Upper, the Lower, and the Crooked. The Crooked Castle was burned down by the Teutonic Knights in 1390 and was never rebuilt. The Vilnius Castles were attacked several times by the Teutonic Order after 1390, but they did not succeed in taking the entire complex. Its complete capture occurred for the first time during the 1655 Battle of Vilnius. Soon afterwards, the severely damaged castles lost their importance, and many buildings were abandoned. During the Tsarist annexation, several historic buildings were demolished; many more were damaged during the fortress construction in the 19^th century.

Today, the remaining Gediminas Tower (above right) is a major symbol of the city of Vilnius and of the nation itself. Annually, on January 1, the Lithuanian tricolour is hosted on Gediminas Tower to commemorate Flag Day. The complex is part of the National Museum of Lithuania (above left), one of the largest museums in the country.

8. THE ROYAL PALACE

The Royal Palace of Lithuania (Lithuanian: Valdovų rūmai) was a palace built in the 15^th century for the rulers of the Grand Duchy of Lithuania. The Royal Palace in the Lower Castle evolved over the years and prospered during the 16^th and mid-17^th centuries. For four centuries the Palace was the political, administrative and cultural centre of the Grand Duchy of Lithuania. It was demolished in 1801. A new palace has been under construction since 2002 on the site of the original building. It is expected to be completed in 2010.

9. THE PRESIDENTIAL PALACE

The Presidential Palace (Lithuanian: Prezidentūra), located in Vilnius Old Town, is the official seat of the President of Lithuania.

The Palace traces its history back to the 14^th century, when Jogaila, the Grand Duke of Lithuania, issued an edict donating land in the city to the Vilnius Diocese, for this reason the palace is sometimes referred to as the Bishops' Palace. Construction of the Palace took place in the late 14^th century under the auspices of the first Bishop of Vilnius, Andrzej Wasilko, and over succeeding generations, the building was gradually enlarged and renovated. During the Renaissance the Palace was once again renovated, and parks and gardens surrounding the building were expanded.

As the 18^th century unfolded, a number of dramatic events in the Palace's history took place: the last Bishop of Vilnius lived in the Palace, Lithuania was annexed by the Russian Empire, and the building itself was badly damaged by two major fires in 1737 and 1748. The Palace was reconstructed in 1750 under the supervision of the architect Laurynas Gucevičius. After its reconstruction the Palace was used as a residence for Emperors, Kings and noblemen. During 1796, Tsar Paul I lived at the Palace. During the course of the 19^th century the Palace served as a residence for several Imperial Russian governors, such as Mikhail Muravyov, nicknamed "The Hangman". It was also visited by the future King of France, Louis XVIII in 1804.

In 1812, both the Russian Tsar Alexander I and the French Emperor Napoleon used the Palace as their residence. During Napoleon’s invasion of Russia, he organized military operations and Lithuanian army units from this Palace, including five regiments of infantry, four cavalry regiments, and the National Guard of Vilnius. He received Lithuanian noblemen, newly appointed officials of the administration, and other dignitaries in this Palace as well. After Napoleon's defeat in 1812, the Palace was used for ceremonial proposes; it was here that then-general Mikhail Kutuzov was awarded Russia's highest military award - the Order of St. George. During 1824-1834, the Palace was reconstructed by the prominent St. Petersburg architect Vasily Stasov in the Empire style, under supervision of Karol Podczaszyński. Stasov's reconstruction of the Palace has remained to this day.

After Lithuania regained its independence in 1918, the Palace housed the Ministry of Foreign Affairs and the ELTA news agency until it ended up in Poland in 1920. It was restored in the 1930s by Stefan Narębski. After the Second World War, the Palace served as the Military Officers' Centre; later it housed various Lithuanian artists. The Palace was gradually adapted for use as a presidential residence, and since 1997 it has served as the official and since 1997 it has served as the official office of the President of Lithuania. A flag displaying the coat of arms of the President (top image) is hoisted when the President is present in the Palace or in the city.

10. VILNIUS UNIVERSITY 

On April 1, 1579, Stefan Batory King of Poland and Grand Duke of Lithuania, upgraded the academy and granted it equal status with the Jagiellonian University of Kraków, creating the Almae Academia et Universitas Vilnensis Societatis Jesu. His edict was approved by Pope Gregory XIII's bull of October 30, 1579. The first rector of the Academy was Piotr Skarga. He invited many scientists from various parts of Europe and expanded the library, with the sponsorship of many notable persons: Sigismund II Augustus, Bishop Walerian Protasewicz, and the Marshal of the Crown, Kazimierz Lew Sapieha. Lithuanians at the time comprised about one third of the students (in 1568 there were circa 700 students); others were Germans, Poles, Swedes, and even Hungarians.

In 1575, Duke Mikołaj Krzysztof Radziwiłł and Elżbieta Ogińska sponsored a printing house for the academy, one of the first in the region. The printing house issued books in Latin and Polish and the first surviving book in Lithuanian  printed in the Grand Duchy of Lithuania was in 1595. It was entitled Kathechismas, arba Mokslas kiekvienam krikščioniui privalus, and was authored by Mikalojus Daukša.

The Academy's growth continued until the 17^th century. The following era, known as The Deluge, led to a dramatic drop in both the number of students that matriculated, and in the quality of its programs. In the middle of the 18th century, educational authorities tried to restore the Academy. This led to the foundation of the first observatory in the Polish-Lithuanian Commonwealth, (the fourth such professional facility in Europe), in 1753, by Tomasz Żebrowski. The Commission of National Education (Komisja Edukacji Narodowej), the world's first ministry of education, took control of the Academy in 1773, and transformed it into a modern University. Thanks to the Rector  of the Academy, Marcin Poczobutt-Odlanicki, the Academy was granted the status of Principal School (Szkoła Główna) in 1783. The Commission, the secular authority governing the academy after the dissolution of the Jesuitorder, drew up a new statute. The school was named Academia et Universitas Vilnensis.

11. STS JOHNS’ CHURCH 

12. CHURCH OF THE HOLY SPIRIT 

13. THE JEWISH QUARTER

The pre-World War II numbers are staggering: Vilnius' Jewish population was nearly 100,000, about forty-five percent of the city's total. The country was strewn with some two hundred Jewish communities sustaining the lives and livelihoods of about 240,000 people. Vilnius had 105 synagogues and prayer houses. There were six daily Jewish newspapers. Yiddish was the language of choice. Indeed, the city was aptly named The Jerusalem of Lithuania.

The post-war numbers are horrifying: Only 24,000 Jews survived. Or, shall it be said, that 90 percent of the Jews had been murdered. Vilnius' Jewish population today is 5,000, a mere five percent of what it once was. The country is home to but 6,500 Jews, some 200 of whom are Holocaust survivors. Most of the two hundred pre-war communities were decimated, wiped off the map entirely. There is only one Jewish newspaper. Few people speak Yiddish anymore. Today, there remains only one synagogue in Vilnius (we will later this year make a special VilNews issue about the Litvaks – the Lithuanian Jews – and their exceptional role in Lithuania’s history since the 1300s).

14. STIKLIU GATVE (GLASSBLOWERS’ STREET) 

15. ROTUŠĖS AIKŠTĖ – THE OLD TOWN HALL SQUARE

The Old Town Hall in Vilnius was mentioned for the first time in 1432. Initially it was a Gothic style building, and has since been reconstructed many times. The current Vilnius Town Hall was rebuilt in neoclassical style according to the design by Laurynas Gucevičius in 1799. It has remained unchanged since then. Its Gothic cellars have been preserved and may be visited. Nowadays it is used for representational purposes as well as during the visits of foreign state officials and rulers, including George W. Bush and Queen Elisabeth II.

The Town Hall Square (Lithuanian: Rotušės aikštė) is a traditional centre of trade and events in Vilnius. Major annual fairs, such as the Kaziukas Fair, are held in this square, the main Christmas tree is decorated here, various concerts and other attractions are organised as well as celebrations of important dates of the state.

16. ST. CASIMIR’S CHURCH 

17. THE GATES OF DAWN 

The Aušros vartai (Gates of Dawn) are one of the main symbols of Vilnius. Pilgrims from the entire world come here to see the dark face of the Vilnius Madonna, hoping for consolation from the Mother of Compassion. The painting is the only one of miraculous images in Lithuania that is so widely renowned for its healing power. The Holy Virgin is considered the patron of Lithuania and a symbol of harmony. People of four nationalities and two religions worship her – Lithuanians, Poles, Byelorussians, Russians, Catholics and Orthodox. Residents of Vilnius began to worship the painting in 17^th century during the war with the Russians. The saying is that an image of God’s Mother from the Gates of Dawn would appear in the sky at night.

The chapel is located above the former gate. St Teresa’s Church and the Holy Spirit Orthodox Monastery are nearby. 

18. UŽUPIS 

19. ST. ANNE’S CHURCH – THE BERNARDINE CHURCH

The Church of St. Francis and St. Bernardine (right) is one of the largest gothic sacral buildings in Vilnius.
It composes a unique architectural ensemble with St. Anne's Church (left).

In 1469, the Bernardine monks that had recently settled in Vilnius built a wooden church that was later replaced by the brick one. At the beginning of the 16^th century, the church was totally reconstructed. Originally, the church was a part of the city's defensive wall, and this, in fact, explains its modest decor. Since then the loopholes under the roof in the northern facade have remained. After numerous renovations in the 16-17^th centuries the church acquired renaissance and baroque style elements. The baroque decor of the altars, pulpit, organ choir and tombstones softens the strictness of the gothic lines. During the Soviet occupation the church was handed over to the Art Institute. In 1994, it was returned to the brethren of St. Francis.

Now the Bernardine Church is being restored and soon it will acquire its former beauty. But even now the splendour interior of the church enchants the visitors. The dominants of the interior are fourteen rococo style altars decorated with beautiful wooden sculptures. The church features the oldest known crucifix in Lithuania, which dates back to the 15^th century. The unique mural painting decorating the walls of the naves dates back to the 16th century and combines renaissance and gothic elements. The scenes on biblical themes are decorated with inscriptions in gothic character and floral ornaments. The church is famous for the plenty of the ornate tombstones. Among them one should mention marble tombstones of Stanislaus Radziwill in the north nave (1618-1623) and Piotr Wiesiolowski in the south nave (1634).

The Bernardine monastery that is situated near the church is the oldest brick building of the entire complex. It was constructed at the end of the 15^th century. The monastery soon became one of the cultural centres of the medieval Lithuania. It was famous for its rich library, containing unique manuscripts and books. In 1864, the monastery was closed and the building was reequipped to soldier's barracks. In 1919, it was handed over to the art faculty of the university, later - to the Art Institute. Now the cloister houses the Vilnius Academy of Art. 

St. Anne’s Church is constructed from 33 different kinds of clay bricks presented an astounding example of the inventiveness and boldness of the master masons of the time. Legend has it that Napoleon Bonaparte was enchanted by the church’s beauty, and he wished that he could magically transport it to Paris in the palm of his hand.

20. PILIES GATVĖ (CASTLE STREET) 

21. STS. PETER AND PAUL’S CHURCH 

Well, dear VilNews readers,  
I hope you have been able to follow me on this rather long stroll through
the Vilnius architecture. If not, you have at least a text to lean back on
the day when you yourself will be visited by people who want to know
more about the irresistible architecture here in Vilnius. 

Warm Regards,
Aage Myhre
Editor-in-Chief
M.Sc. of Architecture

Kotrynos vartai is being built at Klaipedos Street in the very centre of Vilnius Old Town, close to the St. Catherine Church and the Teachers‘ House.
Illustration: Resolution/NEWSEC.

It is not often build new homes here in Vilnius Old Town. There are simply very few vacant spaces. The financial crisis has also contributed to 'freeze' the majority of new developments in Lithuania’s real estate sector.

But now it's finally something happening. A brand new apartment complex under construction in the heart of the Old Town, on a site that until recently was reserved for old garages from the Soviet era.

Kotrynos Vartai is the name, a complex of apartments and two commercial premises being built at Klaipedos street next to St. Catherine’s Church and the Teachers’ House.

The development includes:

• 33 apartments from 28 to 138 sq.m;
• The smallest units are 1-room studios, the largest spacey 5-rooms apartments (4 bedrooms);
• Two commercial premises facing Klaipedos street;
• Underground parking;
• Most of the apartments are equipped with terraces, balconies, high ceilings and fireplaces;
• Two closed green inner yards, with playgrounds.

The construction works started spring 2011, Completion in autumn of 2012.

The apartments are sold at prices varying from 6.700 LTL/sq.m to 8.900 LTL/sq.m. Till now eight apartments are sold.

More information at  www.kotrynosvartai.lt.

Kotrynos vartai will be a truly green and attractive oasis in the very centre of the city.
Illustration: Resolution/NEWSEC.