New Forms in Historic Urban Environment. Regeneration of Vilnius Old Town

new Forms in Historic Urban Environment Regeneration of Vilnius Old Town

Guostė K. Vozbinaitė

new Forms in Historic Urban Environment Regeneration of Vilnius Old Town

University of Strathclyde Department of Architecture BSc Honours Architectural Studies with International Study Dissertation “New forms in Historic Urban Environment.

Regeneration of Vilnius Old Town” Guostė Kotryna Vozbinaitė Reg. No 201046870 Studies Supervisor: Dr Cristian Suau March 2015

Declaration AB 420 Dissertation 2014/15 BSc Honours Architectural Studies BSc Honours Architectural Studies with International Study MArch/Pg Dip Advanced Architectural Design MArch Architectural Design International Declaration “I hereby declare that this dissertation submission is my own work and has been composed by myself. It contains no unacknowledged text and has not been submitted in any previous context. All quotations have been distinguished by quotation marks and all sources of information, text, illustration, tables, images etc. have been specifically acknowledged.

I accept that if having signed this Declaration my work should be found at Examination to show evidence of academic dishonesty the work will fail and I will be liable to face the University Senate Discipline Committee.�

Name:

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Signed:

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Contents 00

11 13 15

Acknowledgments Abstract Methodology

18 18 19 20

urban legacy Transformations of urban environment Modernist movement Heritage protection

24 26 30

contemporary architecture in historic urban setting New forms Evaluation of infill architecture

35 38 46 48

vilnius Old town urban voids regeneration of lost space rethinking vilnius

55 56 58 60 62 64

vilnius in european context vilnius tallinn graz salamanca COMPARISON AND evaluation

69 70 72

conclusion bibliography list of figures

Introduction

01

Informing part

02

Case studies

03

Comparative case studies

04

End notes

7

00

INTRODUCTION

Acknowledgments I would like to thank my supervisor Dr. Cristian Suau for his guidance and trust during the process, provided useful information and contacts.

I am thankful to all the people with whom I discussed the dissertation project.

Special thanks to my family: Aleksandras Vozbinas, Diana Rakauskaitė and Elzė Vozbinaitė for all support and advices.

INTRODUCTION

ACKNOWLEDGEMENTS

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Abstract Our urban environment is constantly changing through the years. Buildings, streetscapes and urban areas evolve and transform according to the needs of their inhabitants. New layers are being put, while the old ones are vanishing or being replaced.

However, recently urban legacy appeared more at risk compared to any other period. The age of individualism caused destruction of many urban historical elements which were formed for hundreds of years. This concerns cities and urban spaces which start losing their original historic identities, due to emerged new forms that do not correspond to the existing context. Quite often architects focus on a single element and forget about the importance of unity in historic urban environments. A unity which creates the identity and unique character of the space and is really vulnerable to future interventions.

Adding new forms to the unique historic environment always provokes discussions whether it is appropriate to fuse contemporary architecture and traditional heritage.

The arisen contradiction usually divides society into preservers and planners, who can not agree whether contemporary architecture has to evolve according to the latest needs and trends or it has to focus on recognizing and preserving heritage values.

Values which people have recognized as important and want to keep for future generations.

Therefore, when integrating new architectural elements to historical environments, it is important to correspond to the existing context. Contemporary architecture must complement the special character and quality of the historic environment, not to drown it. Moreover, a new building should link to the old one and create a unified combination, contributing to its context.

The purpose of this paper is to understand how new urban forms affect our historic environment. What are the types of those forms, how they interact with the context and do they enrich or decrease the value of the cultural heritage? This paper describes and illustrates emerged tendencies of contemporary architecture and different ways they respond to the context. The research is focusing on Vilnius Old Town and aims to emphasize the significant impact to the historic urban environment caused by urban transformations.

Keywords: Urban Legacy | Modern Movement | Architecture in Context |Urban Transformations INTRODUCTION

ABSTRACT

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Methodology This paper contains four parts. First one is an introduction part, which reveals most important aims and objectives of the paper. The essay continues with defining the concept of Urban Legacy and guidelines for the integration of new architectural elements into historic environments. The importance of complementing the special character and quality of the urban heritage is identified. The theoretical part is based on a literature review: reading books, articles and reports, which give a broader understanding of the subject and its context.

The research is followed by an introduction to the major world-wide urban transformations happened in the recent years and reasons which provoked it. How peoples’ perspective towards urban heritage was shifting together with coming and going economic, political and social trends. Most important heritage protection documents, declared by global organizations are presented. These documents defined the different types of heritage and laid the foundations for its protection.

Analysis of these legal documents and papers is one of the main tools of the research for the paper, as it was the base for following national level documents and academic publications.

Vilnius Old Town urban development and transformations that happened in the postwar years are investigated through a case study. Analysis contains urban and historical mapping of new forms within historic environment which gives an understanding of the problem scope. Observational photography taken during site visits and collected on the research stage impart the visual proof of existing situation for the reader.

A comparative case study has been conducted, with a focus on four European cities on an urban tissue and cell levels. New buildings that emerged in the historical urban environment after World War II are mapped by using historical imagery, online satellite and panorama viewing tools. Exemplar cities are presented from different parts of Europe, compared to Vilnius and evaluated on a set of different criteria which determine the success of infill architecture.

INTRODUCTION

METHODOLOGY

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01

INFORMING PART

“Buildings and cities are museums of time. They emancipate us from the hurried time of the present, and help us to experience the slow, healing time of the past. Architecture enables us to see and understand the slow processes of history, and to participate in time cycles that surpass the scope of an individual life” Juhani Pallasmaa “Encounters 1: Architectural Essays”, Rakennustieto (p.312), 2008

Urban Legacy Urban legacy is a reflection which indicates different times and their typical features. It tells how our identity was formed as individuals, communities and nations, it helps to understand past and pass it on to future generations.

The concept of urban legacy can be interpreted as a man-made environment, one structure or a group of buildings and sites that have an outstanding value. These objects relate to the characteristics of historic or cultural value worthy of preservation and the values that society places on them. ICOMOS (International Council on Monuments and Sites) in Burra Charter (1999) identifies the significance of a cultural heritage as aesthetic, historic, scientific, and social values that are embodied in the place itself, its fabric, setting, use, associations, meanings, records, related places.

One of the most common larger scale urban legacy example is a historic city centre, although it can also be identified in smaller scale building blocks, single house units or even monuments. UNESCO (United Nations Educational, Scientific and Cultural Organization) World Heritage list includes a wide variety of cultural objects, from cities and castle complexes to public squares and bridges.

It is important to mention that architectural legacy is shared, it belongs not only to the owner of the building, it belongs to all of us. People experience places and are affected by them, urban space can comfort but it can also make us feel discontent. Old spaces have a distinguished continuous character that was created over hundreds of years, every brick in the wall contains a memory, a story which binds people together.

As stated in the English Heritage Conservation Principles: “People value the historic environment as part of their cultural and natural heritage. It reflects the knowledge, beliefs and traditions of diverse communities. It gives distinctiveness, meaning and quality to the places in which we live, providing a sense of continuity and a source of identity. It is a social and economic asset and a resource for learning and enjoyment“.1

TRANSFORMATION OF URBAN ENVIRONMENT Every new architectural movement builds on the one before. Different styles sometimes merge contradictory ideas or invent new approaches, it also often re-awakes older movements. New architecture propose ideas, which are formed by latest political, cultural, philosophical movements and discoveries.

As time passes, generations change and together the way they think, behave, feel about surrounding environment, therefore spaces are being redeveloped and adapted according to the news needs. There comes new generations with new interests, new life requirements and new aesthetic criteria. The picture of urban city is constantly changing, impacted by historical shifts and decisive events. Man-made or natural disasters such as wars or fires, accelerate the continuous process of transformations due to the destruction of existing fabric. What is destroyed cannot be recreated, especially its universal intangible value, therefore new forms emerge instead and transform previous environment.

One period is replacing another, old architectural styles are giving way to the new ones. It is usual that every historical epoch leaves its own mark in the planning, construction and decoration of buildings, streets or squares. While styles are shifting with periods, aesthetic values for new generations should also be passed coherently and harmoniously.

However, often values change and are generated by new ideologies that does not necessarily prioritize harmonious development and the significance of the past.

Consequently, in the last decades, urban legacy appeared more at risk than during any other period, because of the antagonism caused by political, economic and social circumstances. Modern urban redevelopment schemes, new construction techniques and age of individualism caused destruction of many urban historical elements and affected its continuity.

People should protect and adore the heritage because it is what makes us all unique. Preserving historic buildings is vital to understanding our cultural identity and nation’s heritage. Urban legacy is not mine or yours, it is - ours.

1. Conservation Principles. Policies and Guidance for the sustainable management of the historic environment. English Heritage. 2007

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URBAN LEGACY

PART 01

DEVELOPMENT AND CHANGES IN ARCHITECTURAL STYLES The conflict between contemporary and historical architecture usually is caused by breakthrough of essential creative principles and new expressions that recede from previous ones.

Until 19th century there was no major confrontation between old and new architecture, because architectural styles formed as a harmonious unity. Even though, every style was very distinctive and had its own character, the balance between them prevailed and was bounded by the continuity of general architectural principles, use of traditional construction techniques and building materials. While styles and fashions were constantly changing, construction types and materials remained almost the same, therefore new architecture was never too distant from previous historical context. In addition, new forms were enriching, complementing its environment and, at the same time, forming continuous architectural expression.

In the 19th century vast revolutionary ideas and technological changes were brought into people’s lives. Cities were rapidly growing and changing, new construction technologies and industrial materials were soon adapted. Nevertheless, architects kept using previous historical forms and structural principles which did not create an urban conflict and the architectural relationship remained until the later modernist movements.

MODERNIST MOVEMENT AND ANTI-TRADITIONAL IDEOLOGY

innovative industrial age and neglected the idea of past and tradition.

The traditional patterns of living were disrupted by the rapid population growth and urbanization in the period of worldwide political and cultural confusion.3 Due to arisen different future possibilities, the conflict increased as people had to choose: capitalism or socialism; imperialism or democracy; machine or handcraft; cities or the countryside.

Architects were inspired by entirely new age which was driven and shaped by machines. Machines were invented in response only to function and purpose, it did not refer to traditions transmitted from year to year. It was believed that architecture likewise should be freed of previous tradition and shaped only by its contemporary realities and needs. This ideology was transferred to the work of architects and reflected on buildings, their novel expression.

Le Corbusier, the most influential architect of the 20th century, was embracing and promoting modern values. His radical ideas were given full expression in his impassioned manifesto Vers Une Architecture (“Towards a New Architecture”). In this book architect clearly expressed his position how architecture should meet the functional demands of the new age, Le Corbusier believed that ‘a house is a machine for living in’.4 In addition to the rising new opposing ideas, the end of the First World War enhanced rejection of tradition even more. The old cultural and political ideas had led Europe to destruction and ruin, therefore the old system and tradition was perceived as a failure. A new world could not learn from the past and would have to be built on completely new ideas, which would be reflected in the new and unprecedented architecture.

First modernist movements started in the 20th century, highly influenced by the rapid technological progression and modernization of society.

The movement was mainly caused by three following reasons:2 1) Problems which architecture faced in the 19th century 2) Qualitatively new requirements in architectural design 3) New materials and construction techniques Modernist movement emerged as a counteraction to previously existed historicism. The new generation was influenced by rapid technological progression and modernization of society, which represented the

Fig.1 Architecture of Industrial Revolution.

Crystal Palace, London (Photo: Joseph Paxton, 1850)

2. Colquhoun, Alan. Essays in Architectural Criticism. Modern Architecture and Historical Change. MIT press, Cambridge, 1981 3. Gallagher, Dominic. Le Corbusier, 2001. Available: http://www.open.edu/openlearn/history-the-arts/history/heritage/le-corbusier [15/02/2015] 4. Gelernter, M. Making Room for Traditional Architecture. Availabe: http://www.traditional-building.com/Previous-Issues-13/FebruaryFeature13.html [16/02/2015]

PART 01

URBAN TRANSFORMATIONS

19

DESTRUCT IN ORDER TO CREATE

HERITAGE PROTECTION

Representatives of modernism neglected any kind of imitation of previous styles in modern buildings. Moreover, they did not appreciate historical zones of the city because it simply did not meet the requirements of the new functionalist ideology. The core of the city became inconvenient for a modern person, due to a high percentage of density, poor sanitarian conditions and complicated traffic connections.5

Most of the laws regarding the protection of historic buildings in Europe date back to 19th century, although, architectural heritage still had only been a matter of national concern. People never considered urban environment to be valuable and usually prioritized new builds over the old ones. The breaking point was caused by the industrial revolution, when cities started to transform more and more according to the modernistic ideology. The impact of emerged new forms within old environment became very visible. But the essential factor for realizing the importance of the heritage became the results caused by Second World War. Cities were destroyed and had to be rebuilt, however, post-war architects had no understanding for specifics of building new forms in the historical environment, the sensitivity and vulnerability of it. As a result, it evoke a global concern for the need of legal documents and regulations that would solve the problem of architectural relationship.

Old buildings were torn down in order to make more space for ‘better’ modern alternatives. Quite often those new alternatives lacked the human scale which people could relate to and which communities could settle down into. A lot of good housing stock was wiped away.

Politicians, developers and architects were intoxicated by modernity, everything old that interfered in establishing new streets or modern functional buildings was destined for demolition.6 Architects started to implement principles of the rationally planned city such as functional zoning, logical design, and focus on function over style. Le Corbusier wanted to correct the ‘chaos’ of the city and create an ideal order. New modernist ideas were mirrored in urban planning approaches. Plan Voisin for Paris reveals a modernistic attitude towards historical urban heritage. In 1925 Le Corbusier’s ambitious plan illustrated the destruction of the entire north bank of the Seine river to incorporate a mini version of the Ville Contemporaine (an urban master plan, fully based on radical zoning and strict division, it contained a group of sixtystory cruciform skyscrapers built on steel frames).7 Fortunately, project was never realized, but it is a considerable evidence that city was just a piece of white paper for the modernists of that time.

The cultural value of historical centres was not yet realized and the inconsiderate following of modernistic ideas caused great loss of a part of our identity. As outlined in a BBC documentary featuring the dark reality of the ‘iconic’ 1960s- “The dream of the future - extinguishing the memory of the past”.

The first international legal document regarding protection and conservation of cultural heritage was published in 1964 by ICOMOS (International Council on Monuments and Sites) in a Venice Charter.

This paper initiated the beginning of the cultural heritage protection on the global level. Conference resolution defined three types of cultural heritage, which included monuments, groups of buildings and sites.

Subsequent international law documents specified legal options for new architecture insertion opportunities within historical setting; protection, regeneration and development of historical cities and sites.

The two major world heritage threats indicated by ICOMOS in 2005 were management deficiencies and aggressive development.8 Various developments cause an impact on cultural heritage, it can either be positive or negative. In some cases new development integrates well in its historic environment; it improves general public access or perception of the building, enhances its special character. Successful new design respects surroundings and at the same time meets present requirements of the community and the owner. In other cases, new development can diminish the outstanding universal value of the heritage, by disregarding the existing context and breaking its unity.

5. Nauja architektūra istorinėje aplinkoje: kūrimo patirtis, Navickienė Eglė, 2006, Technika (Eng.:New architecture in historic environment: development experience), p.18 6. Why I Hate the Sixties” BBC documentary, 2004. Contributors: David Aaronovitch, Mike Phillips, Christine Odone, Terry Eagleton, Peter Hitchens and Peter Obourne 7. Shaw, Marybeth. Promoting an urban vision--Le Corbusier and the Plan Voisin, 1991 8. Threats to World Heritage Sites 1994-2004: An Analysis. ICOMOS, 2005

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HERITAGE PROTECTION

PART 01

UNESCO One of the well known and all around the world recognizable organization responsible for heritage protection is UNESCO (The United Nations Educational, Scientific and Cultural Organization). UNESCO was established by intergovernmental institution - United Nations which main goal is to promote international co-operation. The convention concerning the protection of the world cultural and natural heritage was adopted by the general conference at its seventeenth session in Paris, 16 November 1972. The Cultural Sector activities are in line with the core functions of UNESCO which includes heritage protection, rehabilitation and safeguarding. The binding transnational tool for the safeguarding of cultural heritage reinforces existing international agreements, recommendations and resolutions concerning urban legacy.9 The Convention noted that heritage of outstanding value to humanity is increasingly threatened with destruction and therefore need to be identified, protected and preserved as part of the world heritage of mankind as a whole.10 As a result, the United Nations organization created a list which included worlds’ most unique places. The aim of the list is to identify, save and protect inscribed sites from the destruction caused by decay or changing social and economic conditions which can result in even more formidable damage of cultural identity.

All declared sites must meet at least one of the special criteria, which determine their uniqueness and outstanding value. Nomination of every cultural property includes long evaluation processes by the International Council on Monuments and Sites and the World Conservation Union which submit their recommendations to the World Heritage Committee.

The Committee has a power to determine whether to inscribe each nominated property on the World Heritage List or not, on the annual meetings.

Selection criteria for Cultural Heritage:11 (i) To represent a masterpiece of human creative genius; (ii) To exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design; (iii) To bear a unique or at least exceptional testimony to a cultural tradition or to a civilization which is living or which has disappeared; (iv) To be an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates (a) significant stage(s) in human history; (v) To be an outstanding example of a traditional human settlement, land-use, or sea-use which is representative of a culture (or cultures), or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change; (vi) To be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance. (The Committee considers that this criterion should preferably be used in conjunction with other criteria) The research of this paper focuses on the Cultural Heritage which was recognized and inscribed into UNESCO World Heritage List as a valid and official proof of the outstanding universal value, defined by the experts.

Fig.2 UNESCO World Heritage Emblem represents the interdependence of the world’s natural and cultural diversity (Artist: Michel Olyff. Image: UNESCO)

9. Implementing the Convention for the Safeguarding of ICH Available: http://www.unesco.org/culture/ich/doc/src/01853-EN.pdf [19/12/2014] 10. World Heritage Convention, UNESCO, 1972 11. Operational Guidelines for the Implementation of the World Heritage Convention. UNESCO. World Heritage Centre. 2013. Available: http://whc.unesco.org/archive/opguide13-en.pdf

PART 01

URBAN TRANSFORMATIONS

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21%

50% 2%

9% 6%

12%

Legend: Cultural Properties Cultural Properties in Danger

Fig.3 Map of UNESCO World Heritage Cultural Properties (Author’s image based on UNESCO World Heritage List Interactive Map, 2015)

Percentages represent the division of cultural properties amongst different world regions

Regions

Cultural Properties

Properties in Danger

Africa Arab States Asia and the Pacific Europe North America Latin America and the Caribbean

48 71 161 391 17 91

3 13 2 4 5

Total

779

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Delisted Properties 1 1

Table 1. UNESCO Cultural Properties in different World Regions (UNESCO, 2015)

HERITAGE IN DANGER As mentioned previously, adding new forms to the existing fragile environment can destroy its value. Despite the fact that the importance of urban legacy is eventually realized and protected by national and international institutions, the possibility of threats still remains, therefore UNESCO constantly updates the list and notes the heritage which is in danger.

According to the recent UNESCO data (2015), there are currently 779 Cultural Properties from 161 countries inscribed into the World Heritage List. 27 properties were listed in danger and 1 was delisted due to the devastating human activity, depreciation caused by time or natural disasters.12 Human activities appear to be the most common and dangerous threats of all. Armed conflicts, uncontrolled urbanization and other developments have a negative impact on Cultural Heritage and its universal value which can easily be decreased or even destroyed.

There is currently one example of the Delisted Cultural Heritage, the loss of outstanding value was caused by reckless human activity.

Germany’s Dresden Elbe Valley, a cultural landscape featuring cultural, scientific and technological crossroads of 18th and 19th centuries, was removed from the UNESCO World Heritage List in 2009 due to the construction of a four-lane bridge, which meant that the property failed to keep its original value.13 “Every time we fail to preserve a site, we share the pain of the State Party” declared María Jesús San Segundo, the Ambassador and Permanent Delegate of Spain to UNESCO who was chairing the 33rd session of the World Heritage Committee.14

12. World Heritage List. UNESCO Available: http://whc.unesco.org/en/list/ [Accessed: 05/11/2014] 13. Convention concerning the protection of the world cultural and natural heritage, 33rd session. UNESCO, 2009, Seville Available: http://whc.unesco.org/archive/2009/whc09-33com-20e.pdf 14. UNESCO News and Events. Dresden is deleted from UNESCO’s World Heritage List, Jun 25, 2009. Available: http://whc.unesco.org/en/news/522/ [Accessed: 16/11/2014]

Contemporary architecture in historic urban setting The development of historic environment is a natural, evolutional and inevitable process. New infill layers are being put, while the old ones are slowly vanishing, however the extent and quality of those layers started to vary as modern urbanistic, architectural concepts and construction lost contact with traditional and experience based processes.

Buildings of new age stroke with implementation of modern materials and techniques: advanced steel and concrete constructions, fully glazed facades, the modernistic simplicity and functionality. It is natural that technologies advance and we are capable of things no one has ever dreamed of a few decades ago. Modern progression in buildings is fully justifiable, but what is the extent of implementing all these new forms in historical environment which still represents the old urban pattern? Is today’s architecture more sensible towards the existing environment or does it still continue promoting previous radical modernistic ideas? Ideas that disregard historic context and only bear a stamp of their own.

Considering how our urban environment was damaged during previous years, it is time to find a way of successful implementation of new forms into historic urban environments while maintaining the architectural unity and preserving cultural value. However, one of the main problem that old and new development is facing - the misaligned regulations between heritage protection priorities and contemporary social, economic requirements.

Noting the compelling nature of this evidence, even specialist express different positions and attitudes towards the development and protection of historical parts. People are divided into two groups: preservers, who prefer to rebuild previously existed structures and are categorically against any kind of new alien forms within old towns, and planers who state that new transformations are necessary in order to meet todays’ changed needs. Preservers speak up for reconstruction and restoration of historical buildings, as heritage is one unite object and any new forms can distort its overall image. On the contrary, developers claim that reconstruction does not make the building valuable because it is just a copy of the original, thus it has no historic or cultural value. Moreover, it restricts the freedom of creativity, architects want to create buildings not

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for the once existed, but for the current needs. The architecture of today will become heritage in the future.

The appeared conflict can cause vulnerability of historic tissue which leads to the destruction and irrevocable outcomes, therefore harmonization of novelty and traditions become crucial. The importance of the balance between new and old forms must be finally realized as harmonious development becomes more and more important together with the demand of urban heritage protection.

It is important to mention that the concept of new forms within historic urban environment is infinitely vast, thus the research of the paper is only focusing on the buildings and structures emerged after World War II. It was one of the break-points that stimulated architectural modernist ideas on a global level and caused establishment of modernism as a dominant architectural style adopted by many architects and educators. Furthermore, it became a significant factor for all the major urban transformations that distorted the value of many Cultural Heritage sites.

“... its [architecture] past, present and future expression must be treated as a whole, the harmony of which must be constantly preserved” Resolutions of the Symposium on the Introductions of Contemporary Architecture into Ancient Groups of Buildings, 1972

Contemporary architecture

PART 01

Fig.4 Salomėjos Neries High School on Vilnius street, Vilnius, Lithuania (Author’s image, 2014) Fig.5 Shopping Mall, Vaclavske nam., Prague, Czech Republic (Photo: Pepino, 2012) Fig.6 The Danish Royal Library and its extension -“Black Diamond”, Copenhagen, Denmark (Photo: Thue, 2005)

PART 01

Contemporary architecture

25

NEW FORMS A variety of emerging new forms differs one from another, not only from its context. Contrasting attitudes of planners, lead to various approaches in new forms of architecture, from copying historical to creating novel forms. Those forms fill the gaps in between existing structures and can also be called infill buildings. Some approaches of infill builds are more respectful regarding its surroundings, some tend to completely ignore its existence. According to the level of contextual approach, new forms are divided into several styles. In order to identify those styles, a brief coherent analysis of its features must be done.

To familiarize ourselves with the tendencies of transformations, it is important to define different classification used to describe new buildings. Eglė Navickienė - Lithuanian architect and doctor of Humanitarian sciences, in a recent study analysed the various definitions and classifications of new architectural forms used by international academics and scientists. After coherent summation, she distinguished a few aspects which identifies connections between new architecture and historical environment: 1) Respecting characteristic and qualities typical to the environment 2) The level of following tendencies of that time 3) The individuality of the architectural project: original, repeated, a copy of historical object. 15 Considering the level of interaction between the old and new structures, three main directions, tendencies of contemporary architecture are clearly visible (Fig.7):

Innovative: adopted mainly new elements, with no or very little links to the traditional forms. Obvious expression of contemporary materials and forms allow an easy exclusion from the contextual environment as well as identification of architectural period.

Retrospective

Innovative Harmonious

Reconstruction

Interpretation

Imitation

Indifference Contrast

Retrospective: architecture which did not move away from the traditional forms or moved the least, has no contemporary elements. It is difficult to distinguish from the context and define construction period.

Harmonious: trend which retained some of the traditional elements and adapted some of the new ones. Contemporary elements define the age of the building while traditional forms help to blend in with the context.

Fig.7 Set diagram of Contemporary Architecture Tendencies (Author’s image)

15. Navickiene, Egle. Nauja architektūra istorinėje aplinkoje: kūrimo patirtis. Technika, 2006, p.10-11 [eng.:New architecture in historic environment: Experience of Design Practice]

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NEW FORMS

PART 01

Each of these three trends include more specific architectural forms which are segregated into different styles according to the expression of the building and its relationship with surrounding context: 1. HISTORICAL RECONSTRUCTION - Reconstruction of destroyed or devastated historical buildings based on historical iconographic data, which result is the copy or semblance of previous building.

2. STYLIZATION/ IMITATION - New architecture, which imitates and mimics building traditions of the area, composition, forms and materials, with no or little references to principles of contemporary architecture.

3. INTERPRETATION- New architecture, based on the contemporary improvisation of traditional buildings, their forms, composition and materials.

1 Historical Reconstruction

2 stylization

3 Interpretation

4 Indifferent Architecture

4. INDIFFERENT ARCHITECTURE- Neutral and ‘bald’ new architecture, which ignores the qualities and character of the existing context.

5. CONTRAST- Contrast between new and existing architectural characteristics such as volume, composition, forms, scale, materials. Ignorance or author’s individual approach to opposite of the existing traditions of the environment.

Historical Reconstruction and Stylization falls into the same trend of Retrospective architecture as it has most connections and links to the architecture of the past. On the contrary from previous forms, Indifferent and Contrast architecture forms belong to the Innovative tendency, which focuses on the contemporary expression and defies traditional context.

Harmonious architecture is a combination of both previous tendencies, it tend to respond to the past and the future and is expressed in the form of Interpretation.

The analysis identifies the variety of new forms emerged in the historic urban environment and different creative approaches that planners chose to express. Contemporary architecture need to pay a tribute to its urban environment, but it does not have to be a stopping obstacle from expressing creator’s position. It is not necessary that harmonious tendency is the only one suitable form of infill in the historic context, depending on the situation, function of the building and social aspects, Retrospective and Innovative architecture can be successfully implemented as well. However, it might cause more controversial discussions, but as long as it maintains the outstanding value of the surroundings and does not destruct the unity of the heritage, it can become a successful example of the contemporary infill architecture.

PART 01

NEW FORMS

Fig.8 Forms of Infill Architecture (Author’s image) 5 Contrast

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key examples:

Palace of the Grand Dukes of Lithuania

historical reconstruction Client: Vilnius Castles Authority Reconstruction Architect: Rimas Grigas Location: Vilnius, Lithuania Size: 15,000 m2 Year: 2009

Palace of the Grand Dukes was originally constructed in the 15th century for the rulers of the Grand Duchy of Lithuania and soon became an important political, cultural and administrative centre for the Polish Lithuanian Commonwealth. It was devastated a couple of centuries later and never rebuilt until Lithuanian Government adopted a decision on the restoration of the palace in 2000. The palace was reconstructed with very few iconographic data and documents, mostly based on artists’ impressions from the early times, therefore it never received approval from Lithuanian architects association. The use of traditional forms, construction techniques, materials and decorative elements lead to a semblance of previously existed building.

Fig.9 Iconographic data. Palace of the Grand Dukes of Lithuania (Drawing by K. Račinskas,1832) Fig.10 Reconstructed Palace of the Grand Dukes of Lithuania, Viilnius (Photo: AKMI, 2009)

mIKALOJAUS žIEDAS APARTMENTS

STYLIZATION Client: SIV, UAB Architect: Henrikas Štaudė Location: Vilnius, Lithuania Size: 9,987 m2 Year: 2009

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Mikalojaus žiedas apartment building sits in the heart of the Vilnius Old Town, historically and culturally rich environment. New architecture follows the traditional urban structural line, mass and forms, therefore it integrates harmoniously into the ensemble of surrounding context. The facade mimics traditional details in a stylized way, which express the subtle and perceptible contemporary approach to a traditional form.

Fig.11 “Mikalojaus žiedas” apartment building in Vilnius repeats the language of the existing context (Photo: Shage, 2009) KEY EXAMPLES

PART 01

Soelvgade School Renovation and extension of Soelvagade School in Copenhagen

by C.F. Møller architects corresponds to its context - historical surroundings, and interprets some of the traditional features while combining it with modern elements and materials. Continuity of mass and completion of urban block enriches existing environment and adds a modern twist to it. Soelvagade School becomes a combination of traditional form and contemporary expression, which reflects and adds up to the character of the place.

Fig.12 Interpretation architecture. Soelvgade School, C.F. Møller Architects (Photo: Inhabitat)

INTERPRETATION Client: The City of Copenhagen Architect: C.F. Møller Architects Location: Copenhagen, Denmark Size: 4,500 m² Year: 2012

Dům módy (House of Fashion) House of fashion is a department store in the heart of Prague, which sits on one of the busiest areas in town - Wenceslas Square.

Dům módy maintains the harmony of the existing urban structure and fits into the context regarding its’ mass and scale, but still lacks the specific character typical to the environment, therefore indifferent architecture becomes neutral and invisible.

Fig.13 Indifferent architecture. Dům módy (House of Fashion),Vaclavske nam., Prague (Photo: ŠJů, 2012)

Owner: Vestreal, Inc Josef Hrubý Location: Prague, Czech Republic Size: 3,000 m² Year: 1955

museum of the occupation of Latvia Museum of the Occupation of Latvia once housed quite a different museum that was formerly devoted to the Latvian Red Riflemen, who helped the Soviet regime ascend to power during the Russian Civil War. This rather monumental building sits in the middle of the Riga Old Town next to the medieval buildings from 14th century. New building creates a contrasting image and does not respond to any surrounding urban structures, its’ architectural characteristics such as volume, composition, forms, scale, materials are the complete opposite of its surroundings.

Fig.14 Contrast architecture. Museum of Occupation in Riga, Latvia. (Photo: Dandly, 2011) PART 01

INDIFFERENT ARCHITECTURE

KEY EXAMPLES

CONTRAST Client: Architect: Gunnar Lynx-Greenberg Location: Riga, Latvia Size: Year: 1971 29

EVALUATION OF INFILL ARCHITECTURE International legal documents set main requirements and recommendations for new architectural forms within historic urban heritage. First document with such scope was released in 1964 - ‘International Charter for the Conservation and Restoration of Monuments and Sites’ (Venice Charter), adapted by ICOMOS. Followed by the ‘Resolution on the active maintenance of monuments, group and areas of buildings of historical or artistic interest within the context of regional planning’ by Council of Europe which was released in 1968 and ‘Recommendation Concerning the Protection, at National Level, of the Cultural and Natural Heritage’ by UNESCO in 1972. All these documents were a foundation for subsequent papers regarding heritage conservation and protection.

Documents formed a clear position of the importance to preserve our cultural heritage: monuments, groups of buildings, sites and tangible (physical) elements. It was pointed out that limited range of urban heritage prompted to issue appropriate requirements for new elements, therefore recommendations for new architecture built within historical cultural environment were also discussed. The main suggestions for infill architecture were: 1) To maintain harmony with the surroundings on urban-structural level.16 2) To maintain harmony with the surroundings in architectural composition with: mass, colour, scale, rhythm, proportions and appearance.17 3) To focus on contemporary expression, as a precondition for modern architecture, opposed to recreation and imitation.18

5) Continuity of the traditional building: crafts, materials, techniques.20 Similarly to the contemporary architecture tendencies, two main evaluation directions arose; contextual and level of creativity, illustrated in Table 2 (p.31). Contextual one evaluates the relationship with the environment concerning urban context, composition, balanced expression and continuity of traditions. Level of creativity evaluates building reflection of its period, originality and architectural-aesthetic quality. The evaluation criteria are well explained in the “New architecture in historic environment: development experience” book by Eglė Navickienė: Urban context Building relationship to its urban context is determined by maintained balanced ratio in height, volume and roof shape correspondence to the existing historical city pattern, scale and character; building positioning on the site regarding historically formed lines.

Compositional context Architectural composition relation to its surroundings is established by existing links to structure, division and proportions, elements and details.

Architectural expression Architectural expression is explored through different approaches and styles of new forms. The impact that new expressions have on its environment- it can be dominating in the context, balanced of traditional shapes and modern elements or neutral background architecture.

Continuity of traditions

Primary papers accentuated the harmony based on visual and compositional relationship and integration of new architectural elements rather than imitation, while in the following documents more requirements appeared regarding the reflection of the unique character of the space and cultural identity:

The continuity of traditions usually is reflected through the use of traditional construction materials and traditional building structure, implementation of traditional elements.

4) To reflect the character of place: identity, personality, specifics of place and the very nature of locality.19

The stylistic unity, self-expression, balanced proportions of facade and whole structure describe aesthetic quality level of the building.

Aesthetic quality

16. Resolution on the active maintenance of monuments, group and areas of buildings of historical or artistic interest within the context of regional planning, Council of Europe, Brussels, 1968 17. Recommendation Concerning the Protection, at National Level, of the Cultural and Natural Heritage, UNESCO, Paris, 1972 18. International Charter for the Conservation and Restoration of Monuments and Sites (Venice Charter), 1964 19. The Declaration of Amsterdam, Council of Europe, Amsterdam 1975 20. The Declaration of Amsterdam, Council of Europe, Amsterdam 1975

30

EVALUATION

PART 01

Reflection of the time

Architectural- Aesthetic quality

Use of traditional materials for construction and decor

Type of architecture

Impact on surroundings

Origin of architecture

Continuity of Traditions

Architectural Expression

Expression of architectural composition

Elements, details

Scale

Structure, division, proportions

Compositional Context

Placement on the site

Roof shape

Volume size (divisions)

Building height

Urban Context

Originality

The level of architecture

Relationship with the environment

Table 2. Evaluation criteria for New Buildings in the Historic Urban Environment (Nauja architektūra istorinėje aplinkoje: kūrimo patirtis, Navickienė Eglė, 2006, Technika, p.119) [eng.: New Architecture in Historic Environment: Development Experience]

Originality Originality is usually reflected through the main conceptual idea, creative and innovative methods, building techniques, individuality in the architecture which is the opposite of primitive and repetitive architectural solutions.

Reflection of construction time Building has to reflect and represent the period of its construction and bear a contemporary stamp.

PART 01

EVALUATION

It is important to mention, that when evaluating new forms within historical environment, consideration of all criteria is necessary in order to determine the successful approaches of new forms in the historic urban environment. The presence of respect towards the context acts as the most important factor for successful new transformations.

However, depending on the concept, function and purpose of the building, criteria should be perceived more as a guideline rather than a strict rule. Architects and designers have a freedom to decide on the interaction between new and old, whether retrospective, harmonious or innovative tendency is chosen, but a certain level of balance still must be maintained.

31

02

CASE STUDIES

VILNIUS LITHUANIA

Vilnius

500 km

1,000 km

2,000 km

Fig.15 Map of Europe, Vilnius location (Author’s image)

VILNIUSLITHU-

connected most important objects in town- the Castle, Market Square and Town Hall which continued further towards Medininkai City Gates (currently Aušros).21

Vilnius is the capital of Lithuania, situated in the south-east part of the country, recognized by UNESCO for the outstanding value of the medieval old town. The geographical situation of Vilnius is an intersection point for different cultural and political movements, which impacted many urban changes and transformations.

Case study investigates transformation of urban tissues and cells that occurred in Vilnius old town after Second World War until present. The purpose of the study is to indicate what new urban forms were added to the existing historical context and how it responded to it. Did it enrich the city and blended in the unity of the existing context or did it decrease the outstanding universal value of it?

Analysis is focusing on the main features of the whole urban quarter and single unit harmony with the surroundings on an urban-structural and architectural composition levels: existing street line, position of blocks, volume size and architectural expression.

Regeneration focus area is one the most damaged part of the city, it was bombed during the war and completely changed its primary image since then. A few regeneration suggestions for this area are proposed by trying to recreate the lost urban structure and combine it with the new forms that emerged later. The main goal is to recreate the traditional urban pattern which would reflect the unique character of Vilnius Old Town by repairing damaged areas and bringing them back to life.

The plan of Vilnius city is basically circular, it radiates out from the original castle site and contains a network of streets, squares and boundaries of plots. The street pattern is typically medieval, with small streets dividing it into irregular blocks. Urban quarters were formed of two-three storey houses connected side by side, with front facing and following the street line and back opening up into internal courtyards.

Vilnius was rapidly growing despite various difficulties, such as wars, fires, diseases and authority changes. Written sources mention that the number of inhabitants increased 10 times in just hundred years, from 23,062 persons in 1789 to 235,000 in 1914. (Current population - 539,93922).

The number of houses was also constantly increasing: there were 1,567 possessions in 1791 and over 3,000 possessions in 1897, the number continued to grow later on.23 Vilnius distinguished with its very own diverse architecture which reflected structure of different social levels, beginning with crooked shacks and continuing with grand manors and palaces. It was also the host for monasteries, churches, merchants’ and craftsmen’s houses. All these buildings were tangled together without any order, which created an even more colourful character of the city.

VILNIUS CITY DEVELOPMENT The system of Vilnius streets was developing naturally, following the old paths, which connected north with south and east with west on both sides of Vilnelė and Neris rivers. The typical medieval street system emerged around the triangular shape Town Hall in the centre of Vilnius. This system have three major axis: Pilies - Didžioji [eng. Castle- High], Aušros vartų [eng. Gated of Dawn] and Vokiečių [eng. Germans’] streets. All these arteries were crossed by smaller lanes and side-streets, very narrow and winding, depending on how the paths were trampled in such uneven terrain. The main town axis Pilies - Didžioji street [eng. Castle- High]

Fig.16 Plan of Vilnius by K.Grunert, 1808 (Photocopy: Vladas Drema. Dinges Vilnius, Vilnius, 1992) [eng.:Lost Vilnius]

21. Kirkor A.H. Przewodnik po Wilnie...-P.96; [Guide to Vilnius]. T.I.-P.290, 303, 378. Cited by V.Drema. Dinges Vilnius, Vaga, Vilnius, 1991 [eng: The Lost Vilnius] 22. Statistics department of Lithuania, 2014 23. Drema, Vladas. Dinges Vilnius. Vaga, Vilnius, 1991, p.21 [eng: The Lost Vilnius]

PART 02

Case study

35

VILNIUS - UNESCO World Heritage Site Despite invasions and partial destruction, Vilnius has one of the largest surviving medieval old towns in Northern Europe. It has an area of 352 hectares, which extends to 1,912 hectares with the buffer zone (Table 3). The historic centre consist of three castle areas (Upper, Lower and Curved) and the zone that was encircled by a wall in the medieval ages.

The spatial structure and urban forms of Vilnius reflects the evolution of natural architectural style changes. The Old Town preserved remarkable architectural elements from earlier centuries such as Vilnius University ensemble, Town Hall, temples and monasteries of various religious groups.

The elements of urban pattern are well related to the unique natural setting of Vilnius, formed by glaciers in the ice-age period. A range of erosive hills were shaped that surrounds and frames the city. Specific and picturesque panoramas are preserved until today, which open up to the impressive complex of Gothic, Renaissance, Baroque and Classical style buildings, all harmoniously arranged in a natural environment.

The universal value and originality of Vilnius historic old town was recognized by UNESCO and inscribed into World Heritage List in 1994, on the basis of (ii) and (iv) criteria:24 Criterion (ii): Vilnius is an outstanding example of a medieval foundation which exercised a profound influence on architectural and cultural developments in a wide area of Eastern Europe over several centuries.

Criterion (iv): In the townscape and the rich diversity of buildings that it preserves, Vilnius is an exceptional illustration of a Central European town which evolved organically over a period of five centuries.

It is important to mention that protected Vilnius Old Town as an object, has always been perceived together with its buffer zones, where valuable urbanistic structures remained. Vilnius has retained its political role, economic and cultural importance in the country and the region, and the current plan represents its complex history and development.

AREA

SIZE (ha)

Vilnius Old Town area

352.09 ha

Vilnius Old Town protection (buffer) zone

1,912.24 ha

Table 3. UNESCO Protected areas of Vilnius Old Town (UNESCO, 2015)

DEVASTATION TIMES However, city of Vilnius did not evolve gradually as most of other European cities due to the political and natural calamities that have struck the area. There are several damaged zones that occurred during wars and occupations, including the destroyed Great Jewish Synagogue with Jewish quarters, and transformed Vokiečių Street [eng. Germans’ st.] converted into a broad avenue, which affected the whole original medieval urban tissue.

The spirit of the medieval Vilnius was slowly vanishing over time. Vast fires destroyed many unique examples of wooden architecture, followed by the repressive ruling of Russian Empire who wished to create a more Russian like city image and also the capitalist economic system implementation in later centuries. These alterations extremely changed the city, it diluted its original and unique character, filling it up with unprecedented forms. Most of the damage to Vilnius was made during the World War II. The city became a battle field for Soviets and Nazis, urban structures were devastated, many buildings destroyed or completely demolished and never rebuilt.

In July of 1944, Red Army started the attacks in Vilnius to take over the control from Germans. Soviet army was better armed and relentlessly used heavy cannons and bomber aircrafts. Likewise, Germans were also involved in city devastation but they could not compete with the enemy’s firepower. In three days valuable historic city quarters became a pile of rubble and most of the destroyed buildings were never rebuild.

It was calculated that during the attacks around 40% of all city buildings were demolished or heavily destroyed.23

24. Convention concerning the protection of the world cultural and natural heritage, 18th session. UNESCO, 1994, Phuket 25. Drema, Vladas. Dinges Vilnius. Vaga, Vilnius, 1991, p.205 [eng: The Lost Vilnius]

36

vilnius-unesco

PART 02

Legend: UNESCO protected Area UNESCO protected Area Buffer Zone Case Study Focus Zone

Fig.17 Map of UNESCO Protected Areas in Vilnius Old Town (Author’s image based on UNESCO World Heritage Property map) PART 02

vilnius- Unesco

37

Voids appeared in the densest urban areas, the pattern of previous medieval blocks was destroyed. Furthermore, instead of preserving what remained and restoring what was destroyed, the new modernistic ideological ideas of the city development were adopted and implemented. The new authority wished to transform initial image of Vilnius, converting it into a modern mega city for the future people.

Old Town streets were expanded for motor vehicles by demolishing existing buildings, large scale structures were inserted into a medieval town urban tissue instead. Some of the city wounds were transformed into public squares, artificially infiltrated into the tangle of narrow little streets or filled up with clumsy Soviet style buildings that completely ignored the existing context. The other damaged parts were never taken care of, they still stand abandoned and derelict in the most beautiful places of Vilnius.

OLD TOWN URBAN VOIDS Voids of the city are usually spaces that naturally or artificially interfered into the urban pattern and broke its continuity. Most commonly, urban gaps appear after the destruction of certain structures which either are converted into the other functional space or left abandoned and derelict. Converted spaces are brought back to life by accommodating them with particular functions and purposes. The abandoned type of voids are usually undesirable spaces that fail to connect elements of the wider urban structure in a coherent way.26 Those areas become neglected, they play no recognizable role and fail to function, therefore redesign and adaptation of these lost spaces must be considered.

Missing links have a great potential of becoming the connecting part between isolated urban elements. They can be transformed into new spaces which extends the quality of the urban tissue and recreates lost unity, the character of the space.

One of the project goal was to map, describe and classify urban voids that appeared in the old town of Vilnius. The focus area is central part of the Old Town which suffered the most damage during World War II and transformed or completely lost its initial character. Urban voids that can also be described as city wounds, in this case, are areas emerged

after demolition or destruction of previous structures. It also includes plots which have not been developed and currently have no actual purpose.

These spaces require responsible evaluation and determination of cultural value, identification of suitable purpose for future regeneration.

The analysis is carried by observing recent and iconographic visual material: comparing current plan of Vilnius Old Town with the one drawn

by K. Grunert in 1808, interpreting aerial imagery, drawings, paintings, and photographs. Urban gaps were allocated into two groups depending on their current use into: transformed and vacant voids.

Three mapped areas are described which completely transformed their initial form and character in the recent decades: Jewish quarter Vilnius survived several devastations caused by careless human activities.

World Wars prompted destruction of several urban areas in the Old Town.

Vilnius had a population of over 60,000 Jews in 1940s, which made one third of all city’s inhabitants.27 Old Town quarters in the central part, were largely populated by Jewish communities, and therefore, were called Vilnius Jewish quarters. During Second World War Soviet - Nazis attacks those areas suffered most damage and were completely devastated.

Almost nothing remained what would remind us about the previously existed structures, because dense urban areas became empty voids.

The Jewish quarter located on the east side of Vokiečių Street, unfortunately was not converted into any usable space. As it can be seen from the comparison of Old and New Vilnius city plans (Fig.30, p.42) half of the block had been cut away together with all buildings, streets and courtyards. Žydų street (prev. Sinagogos) which originally had a link with Vokiečių and led to Mikalojaus streets, today ends in the middle of an empty courtyard and private off street parking lot (Fig.23). Exactly the same situation happens with Antokolskio street (prev. Mėsinių) which opens up to the large open space followed by randomly parked cars and rubbish piles (Fig.24). An existed street line which followed the traditional block pattern just vanished and became a part of an empty void.

26. Trancik, Roger . Finding Lost Space: Theories of Urban Design, John Wiley & Sons, 1986 27. Vitkus, Zigmas. Vilniaus getas – kai žmonės bandė įsivaizduoti gyvenimą. [eng. Vilnius Ghetto - when people tried to imagine life] Available: http://www.bernardinai.lt/straipsnis/2013-09-20-vilniaus-getas-kai-zmonesbande-isivaizduoti-gyvenima/106934 [Accessed: 16/02/2015]

38

REGENERATION

PART 02

old town urban voids Map represents Vilnius Old Town urban voids that emerged after World War II. Green colour indicates voids which were activated and converted into public spaces such as squares, small parks or pedestrian boulevards.

1.

Red colour indicates vacant abandoned voids. Some of these vacant plots became parking lots and some not accessible dangerous zones.

2.

Legend: Vacant Voids

3.

Voids transformed into Public Spaces

1. Fig.20 Konstantinas Sirvydas Square (Author’s image, 2014)

4.

2. Fig.21 Dominican Monastery Garden (Author’s Image,2014) 3. Fig.22 Parking lot between Dominican Monastery and Salomėjos Neries High School (Author’s image,2014) 4. Fig.23 Jewish quarter from Žydų Street (Author’s image,2014)

5.

5. Fig.24 Jewish quarter from Antokolskio Street (Author’s image,2014) 6. Fig.25 Rūdininkai Square (Author’s image,2014) Fig.26 Map indicating emerged Urban Voids in Vilnius Old Town after World War II (Author’s image,)

6.

PART 02

REGENERATION

39

Rūdininkai square Vacant Voids

Rūdininkai street was originally divided into three parts. First one (between Vokiečių and Ašmenos streets) was destroyed during the war, therefore all ruins were removed and new Art exhibition Hall erected instead (Currently called SMC - Centre for Contemporary Art). Second part, survived attacks, but still had to be demolished due to sanitarian reasons.28 A new city square was created instead (Fig. 25, p. 39), however it lacked identity and still is perceived as a bland space without character. The third part remained almost unchanged until these days.

Transformed Voids

Konstantinas Sirvydas square Konstantinas Sirvydas square (prev. Švarcas quarter) sits on the main axis connection in between Town Hall, Cathedral and Gediminas Castle. This urban quarter contained 2-3 storey typical town houses, which some of them were damaged, some survived the attacks. However even the survived buildings were destined for demolition, in order to create a green space - another gap in the pattern.

Fig.27 Pie chart. Number of transformed and vacant sites (Author’s image)

Previously fully built-up urban quarters with its own small infrastructure were converted into public spaces after 1944 attacks. Only the remained street patterns remind about once existed urban structures. Konstantinas Sirvydas square became a more successful transformation, popular amongst locals and city guests, comparing to Rūdininkai. In the summer time it becomes a vibrant green area which hosts outside terraces and open-air art exhibitions, acts as a meeting venue.

Fig.28 Pie chart. Total area in square meters of transformed and vacant sites (Author’s image)

Some of the city wounds, that appeared during the war, were converted into the green public squares, other wounds were partly built up with rather clumsy non-contextual Soviet-style buildings. However, some of the old town areas after the destruction were not given any purpose at all and they still stand vacant and abandoned waiting for its regeneration.

Transformed voids were mostly converted into public purpose spaces such as squares, parks or gardens, smaller ones built up with infill buildings.

Untouched plots became a refuse area, car parks, or other dangerous zones not accessible for public.

28. Drema, Vladas. Dinges Vilnius. Vaga, Vilnius, 1991, p.205 [eng: The Lost Vilnius]

40

URBAN VOIDS

PART 02

VOKIEčIŲ STREET TRANSFORMATIONS One of the most visible transformation, which affected historical environment of Vilnius old town is the reconstruction of Vokiečių street.

Vokiečių Street (eng. Germans’) is one of the oldest in Vilnius. The name was given after the settlement of German merchants and craftsmen in 14th century. Vokiečių Street was the centre for trading, it hosted larger shops which faced the main street and really small ones located in the inner courtyards. The general built up plan of Vokiečių Street had not changed that much until 1944.29 During the Second World War buildings on the eastern side of the street were heavily destroyed while west side remained almost untouched. All structures were partly or completely damaged. It did not take long to rebuild the street, but result was not the same. Instead of restoring the destroyed part of the street Soviets wiped everything out and completely recreated existed structure by widening the street a few times of its original width. The existed line of an urban quarter was moved without caring too much about the impact it makes to the whole historical pattern.

As reflected in Juozas Kamarauskas drawings (Fig.37, p.44-45) separate two-three storeys traditional buildings were replaced by massive eclectic style blocks, alien to surrounding context. New buildings followed the common clichés of the time, nowadays considered to have no historic or architectural value. Elevations of Vokiečių street by J. Kamarauskas were drawn just after the Second World War bombing. Visual imagery proves that some of the old buildings could have still been restored, preserved or even rebuilt.

New forms did not follow the traditional styles: windows were widened according to the ground floor store functions, large blocks were connected with in between pushed insertion parts. The new public space created in the middle of Vokiečių Street did not represent the original character of the old town. On the other hand, newly formed public promenade has established quite well and became a popular meeting venue. However, walking on the old side of the street still feels more pleasant, regardless its narrowness. It reflects the human scale spaces which are missing on the newly constructed part.

Fig.29 Vokiečių Street with St.Catherine’s church in the background before World War II. (Photo: VU gidas)

Fig.30 Vokiečių Street after World War II. Construction of new building blocks.

(Photo: madeinvilnius.com)

Fig.31 Vokiečių Street today.

Pedestrian promenade formed in post-war years.

(Photo: anonsas.lt, 2013)

29. Drema, Vladas. Dinges Vilnius. Vaga, Vilnius, 1991, p.196 [eng: The Lost Vilnius]

PART 02

URBAN VOIDS

41

Old Urban Structure

New Urban Structure

Differences

Fig.32 Plans representing transformations of Vilnius urban structure (Author’s image)

42

VOKIECIU STREET

PART 02

changes in Vokiečių street after World War II Diagrams show the typical cross sections and plans of Vokiečių street in the 19th century and recent years. They represent the radical transformations that happened in Vilnius after the Second World War. Instead of rebuilding destroyed part of the street Soviets wiped all remains out and completely recreated urban structure of Vokiečių street by increasing its width. Written sources explain the reason of such drastic move: government had plans to create a new highway connecting the Green Bridge with Minsk road which would run through Vilnius Old Town, therefore many parts of the urban tissue had to be destroyed in order to expand the road and adapt it for motor vehicles.30

Fig.33

Fig.34

1808

Fig.35

2014

Fig.33 1:500 Cross section of Vokiečių Street, 1808 (Author’s image) Fig.34 1:500 Cross section of Vokiečių Street, 2014 (Author’s image) Fig.35 1:500 Plan of Vokiečių Street, 1808 (Author’s image) Fig.36 1:500 Plan of Vokiečių Street, 2014 (Author’s image)

Fig.36

30. Janušauskaitė, Viltė. Vilniaus senamiesčio apsaugos planai xx a. 6-9 deš. [eng. Protection Plans of Vilnius Old Town, XX century 6-9 decades], 2014

PART 02

VOKIECIU STREET

43

+25.0 +20.0 +15.0 +10.0 +5.0 +-0 Street level

SCALE 10

0

10

20

30

40

50 Meters

+25.0 +20.0 +15.0 +10.0 +5.0 +-0 Street level

SCALE 10

0

10

20

30

40

50 Meters

42

VOKIECIU STREET

PART 02

Fig.37 East elevation of Vokiečių Street, drawings by Juozas Kamarauskas (Photocopy: Valstybinės LTSR architekturos paminklų apsaugos inspekcijos metraštis’, Vilnius, 1958, [eng. Protection Inspectorate Yearbook of the LTSR State Architectural Monuments]

Fig.38 Building Facades on the east side of Vokiečių Street (Authors’ image based on Google Street View)

PART 02

VOKIECIU STREET

45

regeneration of lost spaceUAUrban Heritage planning documents can be interpreted as the breaking factors for further development of the old towns. Regeneration plans focuse on improving abandoned areas, introducing social elements and solving transport issues. Regeneration projects can benefit cultural, public and economic sectors.

Today, urban planners have chosen strategic planning tools, urban growth is regulated to the principal schemes and indicators. Formation of the city as a whole has lost the previous value, usually, it is concentrated on particular areas by forgetting to look at the wider picture. Socialeconomic factors became much more valuable than the cultural ones.

The following study compares three main planning documents of Vilnius Old Town prepared in Soviet times that have become the basis for current heritage protection and conservation. Old Town Heritage Protection documents reflect conceptual and practical implementation shifts during the period of past fifty years.

First reconstruction project, called “Lietprojektas”, was declared in 1959 (Fig.39). The approval of reconstruction project officially launched a new phase in the old town which has taken the legal framework.

The purpose of the project was not only further development, a lot of attention was paid to the protection of valuable architectural and historical monuments. However, there was a number of issues that triggered contradiction between heritage protection and modern city standards. High percentage of dense constructions, dark unventilated apartments and emergent condition buildings had to be fixed together with the implementation of sufficient transport links, lighting and green spaces without making any damage to the historic environment.

The project was balancing between the socialist city standards and principles of heritage protection. Architects were trying to standardize the Old Town by reducing building density, improving transport system (widening existing streets), implementing new building regulations.31 Due to the slow realization of the first project and critically poor level of old town living conditions another regeneration project was approved (Fig.

40). Although new research methodology was implemented, in general, second project did not differ that much from the principles established in the first one. The project aims were basically already formulated in the previous reconstruction project - create normal living, leisure and working conditions without decreasing the value of the old town.

One of the most significant changes of regeneration document became increased boundary of the Old Town from 162 to 254 hectares.32 It also attempted to deepen already completed studies and project solutions to improve further reconstruction.

Moreover, in the second project, very first attempt of recreating the destructed line of Vokiečių street is noticed. New buildings are placed in front of the neoclassicism style blocks, attached at the junction parts with crossing streets while common courtyards are created in between.

It seems interesting, that empty void behind the blocks, in the Jewish quarter was not considered to be regenerated at all.

In 1988-1992 correction for second Vilnius Old Town regeneration plan was prepared. It was a tense and unsettled period for Lithuania, just before regaining its independence. This project moved away from the previous socialistic regeneration models which promoted modern approaches, the major aim of restoration was inspired by the patriotic mood of that time. It was mainly based on 1940s pre-war Old Town plan, and focussed on restoring structure of the tissues, which were destroyed or damaged after the Second World War. Project included even more areas into the protection list and became an important factor for declaring Vilnius Old Town property in the UNESCO World Cultural and Natural Heritage List.

Correction of Vilnius Old Town Regeneration Project (Fig. 41) demonstrates the recreation of all destroyed urban quarters. Buildings constructed in the post-war period are incorporated into the new fabric while green spaces, suggested in previous regeneration plans, are removed as it is not a typical feature of traditionally evolved old town urban system. Old Jewish quarters are recreated according to 1940s pattern together with restoration of Vokiečių Street, by infilling empty gaps and densifying the area.

31. Janušauskaitė, Viltė. Vilniaus senamiesčio apsaugos planai XX a. 6-9 deš. [eng. Protection Plans of Vilnius Old Town, 20th century, 6-9 decades] http://www.archfondas.lt/leidiniu/alf-05/vilte-janusauskaite-vilniaus-senamiescio-apsaugos-planai-xx-6-9-des 32. Šešelgis K., Šeibokas J., Lasavickas S. Vilniaus senamiesčio rekonstrukcijos projektas. Pagrindiniai dėsniai, l. [eng. Reconstruction Project of Vilnius Old Town. The Main Principles I]

46

VOKIECIU STREET

PART 02

Fig.39 Vilnius Old Town Reconstruction Project, “Lietprojektas”, 1959 (Photo: archfondas.lt) Fig.40 Vilnius Old Town Regeneration Project, 1970-1974 (Photo: archfondas.lt) Fig.41 Correction of Vilnius Old Town Regeneration Project, 1988-1992 (Photo: archfondas.lt)

PART 02

REGENERATION

47

RETHINKING VILNIUS. PROPOSED REGENERATION SUGGESTION The regeneration of a single building or a group of them together with public spaces can initiate improvement of a wider urban area. In this particular case, it could restore the unity of old town urban quarters, bring it back to life and at the same time preserve and contribute to Vilnius old town identity and character. To enhance the quality of public gap it is suggested to infill and densify them by recreating forms of previous urban structures.

Suggested regeneration extent is focusing on urban tissue and urban cell levels. Urban tissue, also commonly known as urban fabric, is a physical pattern of the city. The interplay of built form, streetscapes and open spaces; networks of communication both visible and invisible; and the daily rhythms and patterns of city dwellers.33 Urban cell is the part which makes up the tissue, usually it includes buildings and their blocks.

and other commercial and cultural purpose establishments could be accommodated. It is important to accentuate cultural awareness and vibrant experiences, outline the Jewish influence which shaped the character of this particular quarter. Main landmarks of the quarter could be rebuilt, including the destroyed Jewish Synagogue.

Regeneration of Jewish ghettos received contradictory opinions in previous regeneration plans. Therefore, the purpose of this plan is not to recreate previously existed ghetto, it is a regeneration plan of a derelict urban space, which focus on fixing the gap, based on traditional principles.

The chosen regeneration area is previously existed Jewish quarter, located in between the Town Hall and Domininkonų Monastery, on the east side of Vokiečių Street. Currently, the chosen space is a derelict open void that has a lot of potential for future regeneration.

The strategy of new development should concentrate on protection, conservation and enhancement of the existing city’s built heritage. New forms have to represent the unique character of the city, its heritage and culture. The main goal is to recreate urban quarters which would recreate broken tissue and remind about uniqueness of the lost space.

A few possibilities of how to recreate lost identity and improve current condition of derelict sites for the future regeneration are proposed, Regeneration and master plan for the infill buildings should be prepared by analysing an extant iconographic and archaeological material. It is important to promote the change by reversing decline and helping to produce more positive perceptions of the area.

Site revitalisation suggestion includes introduction of new urban structures, creation of residentially-commercially oriented area. New residential apartments and hotels, shopping, catering services, galleries

33. Deborah Wang. Urban Fabric: Portraits of a City http://www.textilemuseum.ca/apps/index.cfm?page=exhibition.detail&exhId=364

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PART 02

POSSIBLE OPTIONS The objective of this spatial study is to develop a design proposal which integrates well in its historic environment which does not affect the present outstanding universal value but rather causes a positive impact on its surroundings. The design proposal therefore will be a new infill structure, that respects the historic environment, meets present functional and social requirements.

Combinations: Traditional

Tissue

There are proposed three possible options containing of different existing or traditional tissue and cell combinations. Only the most realistic and viable combinations are presented that adapts and integrates traditional and new elements. It’s the extent that becomes important here. Should traditional structures be radically promoted without caring about elements that were incorporated in the later years and did not respond to its environment or should both traditional and contemporary elements be merged together? Which options would be more reasonable and acceptable, having in mind cultural, social and economic factors?

New (Existing)

cell

While study focus mostly on an urban tissue level and its unification through gap densification, it is also useful to look at the cell-single building level, and its new expression. The choice of retrospective, harmonious and innovative buildings should be carefully considered. According to criteria and evaluations, it is more preferable to interpret the traditional architecture in the way that it pass the character but still reflects its own period, the extent of interpretation depends on the architect, but certain rules and guidelines must be set to avoid a combination of cacophonous buildings. In this particular case, dominating expressions should be mostly avoided because it can distort the character which is being recreating, unless building function dictates differently. Architect must perceive this regeneration project as creating the unity, repairing the lost tissue, not focusing only on master-piecing one single cell.

PART 02

REGENERATION

Fig.42 Possible variations (Author’s image)

forms: Retrospective

Harmonious

Innovative

Fig.43 Possible approaches (Author’s image)

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OPTION 1: TRADITIONAL TISSUE + TRADITIONAL CELL First option represents recreation of an area by implementing both traditional tissue and traditional cell.

The pattern is recreated by pushing back east line of Vokiečių Street to its previous location.

In this case, the existing tissue and cells (implemented after Second World War) would be removed and replaced by traditional ones. A clear street pattern would appear and divide quarter into three smaller blocks instead of existing one massive block. Žydų and Antokolskio streets would reconnect with Mikalojaus and Mėsinių streets and create a continuous flow from one side to another. The disadvantage and substantial issue of this option is the removal of existing building blocks, it would be socially, economically and ethically difficult to implement. This option radically changes the current situation that people are used to, such a large scale transformation would emerge many contradictions and negative opinions.

Fig.44 Regeneration option 1. Combination of Traditional Tissue and Traditional Cell (Author’s image)

Moreover, none of the previous regeneration projects considered removing existing buildings, they were always somehow incorporated in the recreated traditional pattern.

Therefore this option can be discussed in theory but practically is almost impossible to implement.

OPTION 2: TRADITIONAL TISSUE + TRADITIONAL CELL + EXISTING CELL Second option suggests inserting traditional components into existing environment.

Traditional pattern would be added and combined with new builds to avoid demolition.

Buildings are suggested to be attached to the existing blocks, which would be hidden behind the newly built ones. Streets would be extended, by introducing access passage at the bottom level of existant blocks, however, it would not recreate the typical character of the medieval street.

This option is an opportunity to recreate lost urban space without destroying existing forms.

On the other hand, problems regarding access to the buildings, quality of daylight and views can occur. It would create a strange mix between existing and newly attached forms which represent completely different character and atmosphere. They would have to be altered and replanned according to the new changes, which also lead to dissatisfaction of local community.

A similar principle was already suggested in Vilnius Old Town Regeneration plan in 1970-74 and its Correction later in 1988-92, but was never implemented in reality.

Fig.45 Regeneration option 2. Combination of Traditional Tissue and Existing Cell (Author’s image) 50

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OPTION 3: EXISTING TISSUE + EXISTING CELL + TRADITIONAL CELL The most promising option offers to keep an existing structure and recreate just a part of tradition tissue in the gap between existing neoclassical blocks and remained parts of Jewish quarter.

Vacant void which appeared after the war could inhabit new structures and in this way the gap would be patched without having a notable impact on existing structures. This option has a less problematic approach and less contradictions comparing to previous ones.

Presented proposal is an example of broken tissue recreation by incorporating and adapting elements to the already developed situation. Streets would be recreated and new buildings placed in the destroyed void. It is suggested to use historical reconstruction for some of the more important cells by implementing forms and elements represented in the iconographical data, other buildings could be built in stylization and interpretation styles, in order to maintain an even character of the space.

New structures could be sophisticatedly attached to the ones facing Vokiečių Street, they would create internal courtyards, repeating the pattern of typical medieval towns. Žydų and Antokolskio streets would be extended and connected with Vokiečių Street by ground floor passages.

The third option has a great potential, because it combines both existing and traditional patterns without involving any destruction.

Moreover, transformations would not affect public areas and lead to less contradictions and stopping obstacles.

PART 02

REGENERATION

Fig.46 Regeneration option 3. Combination of Existing Tissue, Existing Cell and Traditional Cell (Author’s image)

51

03

COMPARATIVE CASE STUDIES

Tallinn

Vilnius

Graz

Salamanca

Fig.47 Map of Europe. Location of comparative cities (Author’s image)

VILNIUS IN EUROPEAN CONTEXTUComparative case studies are focusing on the trends of infill architecture.

New buildings that emerged in the historical urban environment after World War II. Exemplar cities from different parts of Europe are presented and compared to Vilnius. Examples were chosen according to a few criteria.

The main selection criteria for the property: to be a historical city, which is recognized for its cultural heritage value and included into UNESCO World Heritage List according to ii and iv criteria, which determine their uniqueness and outstanding value(p.21). ii - to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design

(Salamanca), city which differs mostly from Vilnius.

Analysis investigates what forms of infill architecture in each city were adopted and developed. How it affects the existing environment? Does it enrich its surroundings, remain neutral or decrease the value of it?

Study is focusing on similarities and differences of infill architecture in all regions, successful approaches or problematic decisions.

The discussion is based on evaluation aspects mentioned in Part II chapter: relationship with the environments (urban context, compositional context, architectural expression, continuity of traditions) and level of architecture (aesthetic quality, originality, and reflection of time).

iv - to be an outstanding example of a type of building, architectural or technological ensemble or landscape which illustrates a significant stage in human history Secondly, properties were chosen by analysing their geopolitical situation for diversity reason. One of the chosen properties belongs to a similar to Vilnius geopolitical region, the northern-eastern part of Europe (Tallinn), one in the central-western Europe (Graz) which contains some similarities and some differences, and one in the south part of Europe

Property

Inscribed in UNESCO

Property size

Criteria

Vilnius Historic Centre

1994

352 ha

(ii), (iv)

Tallinn Historic Centre

1997

113 ha

(ii), (iv)

Graz Historic Centre

1999

91 ha

(ii), (iv)

Salamanca Historic Centre

1988

51 ha

(i),(ii), (iv)

Table 4. Comparison of Vilnius, Tallinn, Graz and Salamanca World Heritage properties (UNESCO, UN data)

PART 03

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VILNIUSLITHUThe 20th century brought significant changes to Vilnius architecture. Viilnius Old Town’s original selfformed character was drastically transformed by the establishment of capitalist economic system. Two architectural tendencies that emerged in Lithuania were noticed: soviet influenced architecture during the 1945-1990 occupation, and independence years’ architectural trends, started in 1990, when Lithuania regained its’ independent status.

Due to suffered damages and devastations Vilnius original urban tissue became quite distorted, but still recognizable. Most of the post-war infill architecture featured complexity, it solved not only heritage protection questions but also occurred transport and social problems. Therefore, a trend of fragmental development is noticed, architects tend to focus on singular houses, their appearance rather than the whole urbanistic structure. This fact evoke public concerns as the value of Vilnius old town is defined not by a singular architectural monuments but the unity of tissue, urban structure: street network, civic housing, individual buildings, landscape which is dictating and shaping the development of the city. It is important to note, that 1990s impacted more contextual forms within protected areas. Independence brought back patriotism and interest in traditions even on architectural level - awareness of corresponding to the valuable historic context.

In general, most of new buildings in Vilnius tend to correspond to the urban context, however, the tendency of ignoring urban features is still clearly visible in the architecture of Soviet times and in a few examples from independence years. Most commonly made mistakes were disproportionally large volume sizes placed in a medieval city pattern, naturally consisting of separate tiny cells. In regard to this, the

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division of the volume was used for compositional purposes, to minimise building scale visually (Fig.51; Fig.53). Another noticeable feature intruded into old towns - construction of flat roofs, which popularity peaked in the 1960’s.34 Architectural expression apparent in the old town is rather diverse. As the greater majority contains bald (Fig.55) to moderate architecture (Fig.50), there are plenty examples of dominant, contrasting buildings which stand out against a background (Fig.51).

Indifferent new forms usually decrease the character of the space while interpretative forms create the unity of the pattern and enrich it.

Traditional elements are implemented in a couple of examples, especially in interpretation and stylization type buildings (Fig.50). The number of imitative architecture based on traditions was rising due to the increased attention towards historical environment, establishment of international heritage protection documents and the beginning of postmodernism.

Some of the observed historical reconstruction and stylization forms fit quite well into the context, it repeats important traditional structures and elements, but still lacks originality and reflection of construction time. An example of the ‘Novotel’ hotel (Fig. 49) is presented as a failure of infill architecture, it incorporates a massive contrasting volume and just tries to mask its’ lack of contextuality by introduced stylized traditional elements.

Fig.48 Vilnius Congress Hall (Photo: Pijus and Alfredas Girdziusai, 2010)

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Fig.49 Novotel Hotel Vilnius (Photo: R.T, 2005)

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Fig.50 The Ministry of Defence (Photo:15.minlt, 2012)

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Fig.51 Centre for Contemporary Arts. ŠMC (Photo:A.Ufartas / BFL)

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Fig.52 Vilnius Art Academy. Design Innovation Centre.

(Photo: Paulius Mazuras, 2009)

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Fig.53 Apartment House on Pilies st.

(Author’s image, 2014)

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Fig.54 Helios Entertaiment Centre on Didžioji st.

(Photo: Google street view, 2012)

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Fig.55 Tamsta Music Store (Photo: Google street view, 2012)

On the other hand, originality is also not the only key to success. Conceptual forms can be interesting but they need to meet certain aesthetic requirements, such as stylistic unity and proportional balance, based on artistic composition principles.

34. Navickiene, Egle. Nauja architektūra istorinėje aplinkoje: kūrimo patirtis. Technika, 2006 [eng.:New architecture in historic environment: Experience of Design Practice], p.119

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Fig.56 New architecture in Vilnius within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map) vilnius

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tallinnLITHTallinn is a northern European Hansaetic city situated on the east coast of Baltic Sea in Estonia. Estonian culture is a crossroads between East, West and Scandinavia, thus Tallinn struggles to achieve ethnic integration today and reflects a long history of multiculturalism and colonization.35 Due to the similar geographical situation and executed repressions by Soviet Russia, urban development of Tallinn shares a lot of common trends with Vilnius’.

Old town of Tallinn consists of the upper town located on a limestone hill and a lower town at its foot. The old town of Tallinn is a very well preserved and urbanely complete example of a medieval city. A remarkable medieval urban fabric is still preserved and recognised from the narrow streets, remained buildings-town hall, churches, monasteries, domestic architecture and, most importantly, the town wall with fortifications.36 Tallinn was bombed by Soviet army on the night of March 9, 1944. Attacks destroyed 10% of the buildings in the Old Town. As a result of bombing, 20,000 Tallinners lost their homes. These events and later modernistic urban developments under occupation years left the most visible traces of Soviet ruling impact in both old and new parts of the city.

1945-1990 architecture mostly distinguished with indifferent style builds, while recent independence year structures seek for more innovative and original building expression solutions. Architects are not afraid to experiment with novel forms (Fig.58) and they seem to have developed a quite successful approach.

Very few examples are demonstrating the traditional continuity. No or little elements are linking new forms to their traditional context, most commonly found is indifferent architecture which infills the gaps and creates the sense of completeness but do not add up much to the existing character (Fig.56).

New builds follow historically formed lines and are incorporated into the whole urban tissue quite well.

Buildings erected in the recent years distinguish by original shapes and use of modern materials, they have a higher aesthetic quality and keep the right proportional balance. The time of construction is reflected and is easily recognizable in the majority of the buildings.

New architecture in Tallinn’s old town mostly consist of soviet style architectural infills but the tendency of modern forms’ insertion is increasing. The observed new builds usually keep the volume size balance with the surroundings except for a few examples (Fig.62).

Infill architecture follow the traditionally formed urban pattern and create unite urban pattern. Inside the core of the town building scale is relatively small while towards the borders it starts to increase.

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Fig.57 Tallinn Train Station (Photo: Google street view, 2014)

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Fig.58 Apartment House on Vene street (Photo: Google street view, 2014)

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Fig.59 EMHI Headquarters (Photo: veera.zukova, 2008)

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Fig.60 Sports Building of English College on Puiestee st.10 (Photo: Google street view, 2014)

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Fig.61 OldHouse Trade OÜ Hostel on Uus st.22 (Photo: Google street view, 2014)

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Fig.62 Kaubanduskeskus Passaaz Shopping Centre on Vana-Viru st.

(Photo: Google street view, 2014)

7.

Fig.63 Building on Müürivahe st.17 (Photo: Google street view, 2014)

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Fig.64 Building on Pärnu mnt st.6 (Photo: R. Vaikla, 2013)

35. Vaike Haas. A Review of Urban Planning in Tallinn, Estonia: Post-Soviet Planning Initiatives in Historic and Cultural Context, 2006 36. City of Graz – Historic Centre and Schloss Eggenberg. UNESCO. Available: http://whc.unesco.org/en/list/931 [12/02/2015]

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Fig.65 New architecture in Tallinn within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map) TALLINN

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grazLITHUAGraz is the second largest city in Austria after Vienna, with one of the best preserved old towns in Central Europe. Graz is full of life and boasts many contrasts: listed buildings from medieval times are standing right alongside modern architecture.

Graz is a crossroad between Germanic, Balkan and the Mediterranean regions, where various architectural movements from each region are reflected. A brilliant collection of different architectural style buildings designed by world famous architects create a harmonious variety from successive periods.37 The urban pattern of Old Town reflects the process of its historic development.

The structure and landscape of Graz have minor similarities to Vilnius, especially its geographical position and development: the hilly landscape, urban structure established on the both banks of the river, main old town street axis and inner courtyards that represent a spirit of the mediaeval town. On the other hand, the scale of traditional buildings in the centre of the Graz is a bit larger, comparing to Vilnius, it, usually, features of 4-5 storey town houses. No human or nature disasters left a mark in Graz, a few threats

by Turks in the 16th century caused reorganization and modernization of medieval fortifications, but no significant damage was done, that is why Graz preserved its initial character so well.38

Buildings built in the recent years really fascinate by their originality and aesthetic quality. Some forms contain major links to the traditional context with sophisticated features of modernity (Fig.70), while other ones are the complete contrast to the traditional houses. ‘Kunsthaus’ Art museum form is completely dictated by its function, a very innovative and very dominant shape which distinguish from the rest of its neighbours. Graz is not afraid of incorporating dominant expression forms in the historic environment what is still quite unusual for Vilnius and Tallinn cities.

They remain quite conservative while Graz tends to investigate and experiment with various forms and their expressions. Infill building types in Graz vary, but the trend of discovering and implementing new modern forms is clearly visible. Architects are open to creative and original methods, which would reveal individuality and reflect todays’ tendencies.

1.

Fig.66 Building on Ecke Sackstraße and KaiserFranz-Josef-Kai (Photo: Panzerknacker)

2.

Fig.67 “Mur island” artificial floating platform designed by Vito Acconci; (Photo: Georg Mittenecker, 2006)

3.

Fig.68 “Kunsthaus Graz” Art Museum (Photo: Zepp-Cam, 2004)

4.

Fig.69 Andreas Hofer Square (Photo: www.textbox.at, 2014)

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Fig.70 Karmeliterhof Youth Competence Center by Herwig Kleinhapl architects (Photo: Markus Kaiser)

6.

Fig.71 M1 Bar (Photo: MyPics.at)

7.

Fig.72 Building on Einspinnergasse/Burggasse st.

(Photo: Josef Lex, 2012)

8.

Fig.73 Joanneum Museum Extension by Nieto Sobejano + Eep Architects (Photo: Roland Halbe, 2012)

Concerning urban context, new buildings height and volume corresponds to the surroundings, there are just a few examples influenced by late modernism that in volume and scale exceed traditional standards. All situated according to the street line, following existing pattern and naturally formed streets lines which form larger urban blocks.

37. City of Graz – Historic Centre and Schloss Eggenberg. UNESCO. Available: http://whc.unesco.org/en/list/931 [12/02/2015] 38. City of Graz – Historic Centre and Schloss Eggenberg. UNESCO. Available: http://whc.unesco.org/en/list/931 [12/02/2015]

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Fig.74 New architecture in Graz within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map GRAZ

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salamancaLITHSalamanca is located in the north-western part of Spain and lies on several hills by the Tormes river. The city dates back to the 4th century BC, it was founded by the Celts and Romanized short after. Salamanca has a long history of development with its ups and downs.

Salamanca is famous for one of the oldest University in Europe established in 13th century; it is important to mention that university had a huge influence on Salamanca’s history, daily life and atmosphere visible and appreciable till nowadays.

The city suffered general downturns during the 17th century, but soon enough it experienced a great rebirth. In this period a new baroque Cathedral and main square (Plaza Mayor) were constructed which have left their mark on the whole urban structure of the old town.39 During the French invasion in 1808 led by Napoleon, many of the city’s treasures were destroyed, the university was nearly closed down and western quarter of the city suffered serious damage.

Apart from the invasion and Civil War in the 1930’s, Salamanca has experienced a stable period of continuous growth.40 The old town received international acclaim when it was declared a UNESCO World Heritage Site in 1988.41 It is quite visible from the city plan that UNESCO Protected area covers just a part of the whole original development which is bounded by the buffer zone.

Other quarters which seem naturally evolved in the urban pattern are, in fact, all recent builds, and therefore they are not included into the primary protection boundaries. However, certain areas containing ensembles of historic value are separately outlined and listed. Entire urban quarters in the buffer

1.

zone were newly built, but the pattern of the city remained very traditional.

Fig.75 Apartment House on 7 Juan del Rey st.

(Photo: Google Street View, 2014)

2.

Infill architecture corresponds to the existing historical city’s pattern, scale and character; buildings are positioned on the site regarding historically formed lines. It keeps the compositional balance with the existing structures and creates the unity.

Fig.76 Hotel Emperatriz II on 18 Rúa Mayor st.

(Photo: Google Street View, 2014)

3.

Fig.77 House on 2 Calle Gibraltar st.

(Photo: Google Street View, 2014)

4.

Fig.78 House on 26 Veracruz st.

(Photo: Google Street View, 2014)

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Fig.79 House on 17 Zamora st.

(Photo: Google Street View, 2014)

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Fig.80 Juzgados de Salamanca, on 8 Plaza Colón (Photo: Google Street View, 2014)

7.

Fig.81 House on 46 San Pablo st.

(Photo: Google Street View, 2014)

8.

Fig.82 Auditorio Calatrava, on 183 Paseo de Canalejas (Photo: Google Street View, 2014)

Architectural expression is explored through different subtle approaches which do not dominate too much but at the same time have their own identity. Original links to the context are clearly visible. Application of the same materiality and structure type, which are common for that region helps to keep the balance and unified image (Fig.81). Modern shapes and sophisticated integration of traditional elements appreciate the context and also add something new to it (Fig. 82). It does not distort the original character, but rather enriches it.

Construction time can usually be identified from volume shape, materiality, simplification or absence of decor and various structural elements, such like windows or doors. It is noted, that dominant expression in new architectural forms is usually avoided, more commonly used is balanced tendency of stylization and interpretation styles. There is a significant evidence that balanced architecture can still be creative, individual and innovative. The old town of Salamanca represents a great stylistic and proportional unity, an exemplar balance between old and new forms.

39. City of Salamanca, History of Salamanca http://www.espanolensalamanca.com/ciudadsalamanca.asp?lang=en&sec=7 40. About Salamanca Town https://www.salamanca-university.org/Salamanca.htm 41. Old City of Salamanca. UNESCO. Available: http://whc.unesco.org/en/list/381 [12/02/2015]

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Fig.83 New architecture in Salamanca within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map) SALAMANCA

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comparison and evaLUAtionHUANIA Comparative case study investigated recent architectural tendencies on an urban cell level-infill buildings in four different European cities: Vilnius, Tallinn, Graz and Salamanca. New architecture of all four cities was evaluated based on the criteria from Part II chapter ‘Evaluation of Infill Architecture’. Examples were analysed according to their Relationship with the Environment (urban context, compositional context, architectural expression, continuity of traditions) and Level of Architectural tendencies (aesthetic quality, originality, reflection of construction time).

Evaluation is carried out by observing general trends in each city, based on author’s analysis and outcomes. All the cities are evaluated in the scale from 0 (not significant) to 10 (very significant) for each of the criteria and results are visually illustrated on a Radar graph (Fig.84).

Most of the cities represent a quite constant response to all the criteria without fluctuating too much, however cities of Tallinn and Graz show an uneven distribution between reflection of time and historical continuity, the more significantly it represents modern times, the less bounds it has with traditional elements and historical continuity. The uneven significance between cities was also noticed in correspondence to urban context criteria. Cities of Salamanca and Graz demonstrate a delicate and balanced approach to the environment, while in Vilnius and Tallinn unprecedented moves are quite common.

very expressive or original. Newly emerged contemporary architecture remains distant from historical continuity but starts to implement original conceptual approaches, Vilnius was consistent towards all criteria, however, the overall significance is just medium comparing to Salamanca and Graz cities.

Historical continuity, integration of traditional elements, is quite notable, however correspondence to the urban context remains the lowest.

The analysis reflected different approaches to the existing environment that every city developed and nurtured. It is clear that each cities development is directly bounded to the historical events happened in the past that highly influenced the further architectural trends. Northerneastern part of Europe, experienced Soviet repressions in the middle of the 20th century feature a mix of bald and contrasting architecture while central and south parts developed a more balanced approach by combining both novel ant traditional forms.

Salamanca has the most harmonious approach regarding all criteria.

A great balance of blending new forms and incorporating traditional elements is noticed, which all blend together and create the unity, same character of the place. Salamanca received the highest grade for relationship with urban context (traditional urban pattern was well retained) and historical continuity (well adapted traditional elements, which maintain continuity between spaces) criteria.

Graz met the highest standards in the level of architecture criteria reflection of time, architectural quality, originality. However, historical continuity was quite insignificant. It is concentrating on the contemporary and novel expression rather than continuation of traditional forms.

Tallinn has a quite small number of infill architecture comparing to other cities, most builds appeared during occupation years which were not

64

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Legend: Salamanca Graz Vilnius Tallinn

Fig.84 Radar Graph. Evaluation and Comparison of Case Studies (Author’s image)

PART 03

EVALUATION

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END NOTES

3

Conclusion Urban heritage is an indication of different times and its’ typical features. Preserving urban heritage is vital to understanding how our identity was formed, it provides distinctiveness and a sense of continuity to the places we live in. Urban legacy identifies the significance of a cultural heritage which is embodied in the place and its’ fabric that needs to be preserved and passed to the future generations.

However, recently urban heritage has been threatened and put at risk more than ever. The historic city parts experienced vast urban transformations over the last decades, mostly caused by irresponsible human activities; war destruction followed by radical modernisation. Contradictory new forms, which were influenced by the modernistic ideologies, based on functionalism and conceptualism, appeared in the traditional pattern of urban structure and started to distort the character and the unity of the cultural heritage.

Implementation of New Forms has a significant impact on historical urban environment. One single element can affect the whole urban structure, the unity that has been developing for hundreds of years. Therefore, the need for heritage protection, which prevents historical urban environment from human caused interventions, destruction and helps to preserve its value, has increased. Global organizations declared legal documents that defined the types of cultural heritage and set foundation for its protection and conservation, followed by recommendations and guidelines for incorporating new buildings within historic heritage.

The research informed of recently emerged three different tendencies of contemporary architecture retrospective, harmonious and innovative, defined by the interaction level with historical urban context.

Requirements for new builds relationship to the old compromise of responding to the urban context and representing contemporary identity.

The chosen case study represents Vilnius city development and recent transformations that are clearly reflected in the urban pattern of the old town. Integration of new elements, alien to traditional urban tissue, distorted initial character of the city and decreased its outstanding universal value. Proposed regeneration suggestions focused on the most damaged area in the central part of old town - lost space which had the most potential of being brought back to life. Key points of the space enhancement and densification were explored in order to repair the broken tissue and recreate the unity of the town which vanished over years.

Comparative case study investigated recent architectural tendencies on an urban cell level - infill buildings in four different European cities: Vilnius, Tallinn, Graz and Salamanca. The analysis reflected different approaches to the existing environment that every city developed and nurtured. It is clear that the development of each city is directly bounded to the historical events that occurred in the past and which has highly influenced the further architectural trends.

In summary, new forms in historic urban environment are various urban transformations, new buildings and structures that emerged in the traditional pattern of the city. Implementation of new forms into historical urban environment brings great responsibility. Architecture must fulfill not only todays needs but integrate in the surrounding context in a manner which would not taint the value of the protected site, but rather enrich it. New forms should harmoniously merge together with its context by combining both novelty and traditions.

PART 04

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Bibliography BOOKS Binney, Marcus. Our vanishing heritage, Arlington Books, London, 1984 Brent, Brolin. Architecture in context. Fitting new buildings with old, New York, London, Van Nostrand, Reinhold, 1980 Colquhoun, Alan. Essays in Architectural Criticism.

Modern Architecture and Historical Change. MIT press, Cambridge, 1981 Čižas, Alg. Valstybinės LTSR architektūros paminklų apsaugos inspekcijos metraštis. Lietuvos TSR ministrų tarybos valstybinis statybos ir architektūros reikalų komitetas, Vilnius, 1958. [eng. Protection Inspectorate Yearbook of the LTSR State Architectural Monuments] Drema, Vladas. Dinges Vilnius. Vaga, Vilnius, 1991 [eng: The Lost Vilnius] Ross, Michael. Planning and the Heritage: Policy and procedures, Routledge, 1995 Kunčius, Algimantas. Senojo Vilniaus vaizdai. Vilnius, 1969 [eng. Images of Old Vilnius] Leach, Neil. Rethinking Architecture. A reader in cultural theory. London, New York, Routledge, 2010 Navickiene, Egle. Nauja architektūra istorinėje aplinkoje: kūrimo patirtis. Technika, 2006 [eng.:New architecture in historic environment: Experience of Design Practice] Trancik, Roger . Finding Lost Space: Theories of Urban Design, John Wiley & Sons, 1986

DOCUMENTS Convention concerning the protection of the world cultural and natural heritage, 18th session. UNESCO, 1994, Phuket Convention concerning the protection of the world cultural and natural heritage, 33rd session. UNESCO, 2009, Seville International Charter for the Conservation and Restoration of Monuments and Sites (Venice Charter), 1964 Recommendation Concerning the Protection, at National Level, of the Cultural and Natural Heritage, UNESCO, Paris, 1972 Resolution on the active maintenance of monuments, 70

group and areas of buildings of historical or artistic interest within the context of regional planning, Council of Europe, Brussels, 1968 The Declaration of Amsterdam, Council of Europe, Amsterdam, 1975 World Heritage Convention, UNESCO, 1972

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1994-2004%20final.pdf [03/11/2014]

ARTICLES AND REPORTS Benfield, F. Kaid. How Legacy Architecture Shapes Our Experience of Place. Available: http://www. huffingtonpost.com/f-kaid-benfield/how-legacyarchitecture-s_b_5342962.html [09/12/2014] Filipavičienė, Giedrė and Kliobavičiūtė, Irena. Vilniaus Senamiesčio Apsauga 1992-2014. ArchFondas [eng.

Protection of Vilnius Old Town 1992-2014] Available: http:// www.archfondas.lt/leidiniu/alf-05/giedre-filipavicieneirena-kliobaviciute-vilniaus-senamiescio-apsauga-19922014-m [10/02/2015]

Conservation Principles. Policies and Guidance for the sustainable management of the historic environment.

English Heritage, 2007 Available: http://www.englishheritage.org.uk/publications/conservation-principlessustainable-management-historic-environment/ conservationprinciplespoliciesguidanceapr08web.pdf [10/10/2014]

Gallagher, Dominic. Le Corbusier, 2001. Available: http:// www.open.edu/openlearn/history-the-arts/history/ heritage/le-corbusier [16/02/2015]

Design in Context: Guidelines for Infill Development in the Historic Environment, Sydney: NSW Heritage Office and RAIA NSW, 2005 [08/02/2015]

Janušauskaitė, Viltė. Vilniaus senamiesčio apsaugos planai xx a. 6-9 deš. ArchFondas. [eng. Protection Plans of Vilnius Old Town, XX century 6-9 decades], 2014.

Available: http://www.archfondas.lt/leidiniu/alf-05/viltejanusauskaite-vilniaus-senamiescio-apsaugos-planai-xx-69-des [20/02/2015]

Implementing the Convention for the Safeguarding of ICH Available: http://www.unesco.org/culture/ich/doc/ src/01853-EN.pdf [19/12/2014] Investing in Heritage – A Guide to Successful Urban Regeneration, European Association of Historic Towns and Regions (EAHTR), 2007. Available: http://www.historictowns.org/pdfs/Inherit%20complete%20doc%20final%20 version%20pdf%20Layout%201.pdf [19/12/2014] New design in historic settings. Scottish government, 2010.

Available: http://www.historic-scotland.gov.uk/newdesign-in-historic-settings.pdf [16/11/2014] Operational Guidelines for the Implementation of the World Heritage Convention. UNESCO. World Heritage Centre. 2013 Available: http://whc.unesco.org/archive/ opguide13-en.pdf The World Heritage List What is OUV? Defining the Outstanding Universal Value of Cultural World Heritage Properties An ICOMOS study compiled by Jukka Jokilehto.

Availbale: http://openarchive.icomos.org/435/1/ Monuments_and_Sites_16_What_is_OUV.pdf [08/02/2015] Threats to World Heritage Sites 1994-2004: An Analysis.

ICOMOS, 2005. Available: http://www.international. icomos.org/world_heritage/Analysis%20of%20Threats%20 BIBLIOGRAPHY

Gelernter, M. Making Room for Traditional Architecture.

Availabe: http://www.traditional-building.com/PreviousIssues-13/FebruaryFeature13.html [16/02/2015]

Macdonald, Susan. Contemporary Architecture in Historic Urban Environments. Available: http://www.getty.edu/ conservation/publications_resources/newsletters/26_2/ contemporary.html [15/11/2014] Mayes, Tom. Why Do Old Places Matter? Continuity, 2013. Available: http://blog.preservationleadershipforum. org/2013/11/21/old-places-continuity/#.VQCPcvmsXiN Shawn M. Natrasony and Don Alexander.The Rise of Modernism and the Decline of Place: The Case of Surrey City Centre, Canada. p.4. Available: http://www.newcity. ca/Pages/surreycentre.pdf [15/02/2015] Šešelgis K., Šeibokas J., Lasavickas S. Vilniaus senamiesčio rekonstrukcijos projektas. Pagrindiniai dėsniai, l. [eng.

Reconstruction Project of Vilnius Old Town. The Main Principles I] Vitkus, Zigmas. Vilniaus getas – kai žmonės bandė įsivaizduoti gyvenimą. [eng. Vilnius Ghetto - when people tried to imagine life] Available: http://www.bernardinai. lt/straipsnis/2013-09-20-vilniaus-getas-kai-zmones-bandeisivaizduoti-gyvenima/106934 [Accessed: 16/02/2015] PART 04

Wang, Deborah. Urban Fabric: Portraits of a City.

Available http://www.textilemuseum.ca/apps/index. cfm?page=exhibition.detail&exhId=364 [20/02/2015]

VIDEOS

INTERNET SOURCES

Why I Hate the Sixties, BBC documentary. Aaronovitch, M. P. David. (Director). [Motion Picture], 2004

CIAM (Congres Internationaux d’Architecture Moderne), The OpenLearn team, 2001. Available: http://www. open.edu/openlearn/history-the-arts/history/heritage/ ciam-congres-internationaux-darchitecture-moderne [05/11/2014]

Buildings Aren’t Objects Alone. Presentation by Rafael Moneo from Getty Conservation Institute’s symposium ‘Minding the Gap: The Role of Contemporary Architecture in the Historic Environment’, 2013. Available: https://www. youtube.com/watch?v=td3M8wemTzo

City of Graz – Historic Centre and Schloss Eggenberg.

UNESCO. Available: http://whc.unesco.org/en/list/931 [12/02/2015] Old City of Salamanca. UNESCO. Available: http://whc. unesco.org/en/list/381 [12/02/2015] UNESCO News and Events. Dresden is deleted from UNESCO’s World Heritage List, Jun 25, 2009. Available: http://whc.unesco.org/en/news/522/ [16/11/2014] Plans of Vilnius. Available: http://www2.lrs.lt/kt_inst/ pamink/lt/planai.htm [05/11/2014] Statistics department of Lithuania, 2014. http://osp.stat. gov.lt/web/guest/statistiniu-rodikliu-analize1 [05/11/2014] Vilniaus Senamiesčio apsaugos reglamentas [eng.

Protection Regulations of Vilnius Old Town] Available: https://www.e-tar.lt/acc/legalAct.html?documentId=TAR. B52C040FEE03 [20/01/2015] World Heritage List. UNESCO Available: http://whc. unesco.org/en/list/ [05/11/2014]

THESES Arandjelović, Biljana. Historical heritage and contemporary architecture fusion at the example of the city center of Graz, 2008. Available: http://facta.junis. ni.ac.rs/aace/aace200801/aace200801-06.pdf Vaike Haas. A Review of Urban Planning in Tallinn, Estonia: Post-Soviet Planning Initiatives in Historic and Cultural Context, Master Thesis, 2006. Available: http:// deepblue.lib.umich.edu/bitstream/handle/2027.42/41228/ VaikeHaasMLAThesis.pdf?sequence=1

PART 04

BIBLIOGRAPHY

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List of Figures Part I Fig.1 Architecture of Industrial Revolution. Crystal Palace, London (Photo: Joseph Paxton, 1850) Available: https://foldmagazine.wordpress. com/2013/09/12/forthcoming-theme-technology/ [05/01/2015] Fig.2 UNESCO World Heritage Emblem represents the interdependence of the world’s natural and cultural diversity (Artist: Michel Olyff. Image: UNESCO) Available: http://whc.unesco.org/en/emblem/ [12/11/2014] Fig.3 Map of UNESCO World Heritage Cultural Properties (Author’s image based on UNESCO World Heritage List Interactive Map, 2015) Available: http://whc.unesco.org/en/list/?&&&type=cultural [12/11/2014] Fig.4 Salomėjos Neries High School on Vilnius Street, Vilnius, Lithuania (Author’s image, 2014) Fig.5 Vaclavske nam., Prague, Czech Republic (Photo: Pepino, 2012) Available: http://www.panoramio.com/photo/75142972 [20/12/2014] Fig.6 The Danish Royal Library and its extension -“Black Diamond” (Photo: Thue, 2005) Available: http://commons.wikimedia.org/wiki/File:Den_ Sorte_Diamant_7.jpg [20/12/2014] Fig.7 Set diagram of Contemporary Architecture Directions (Author’s image)

Shage, 2009) Available: http://www.schage.lt/uploads/images/mikalojaus6.jpg [02/01/2015]

Fig.25 Rūdininkai Square (Author’s image)

Fig.12 Interpretation architecture. Soelvgade School, C.F. Møller Architects (Photo: Inhabitat) Available: http://inhabitat.com/c-f-m%C3%B8llerscolorful-new-copenhagen-school-take-a-nod-fromhistoric-neighbors/s%C3%B8lvgade-school-by-c-fm%C3%B8ller-architect-1/ [05/01/2015]

Fig.27 Pie chart. Number of of transformed and vacant sites (Author’s image)

Fig.13 Indifferent architecture. Dům módy (House of Fashion),Vaclavske nam., Prague (Photo: ŠJů, 2012) Available: http://commons.wikimedia.org/wiki/ File:V%C3%A1clavsk%C3%A9_n%C3%A1m%C4%9Bst%C3%AD_58,_D%C5%AFm_m%C3%B3dy.jpg [05/01/2015] Fig.14 Contrast architecture. Museum of Occupation in Riga, Latvia. (Photo: Dandly, 2011) http://dandlwandering10.blogspot.co.uk/2011_07_01_archive.html [05/01/2015]

Part II Fig.15 Map of Europe, Vilnius location (Author’s image) Fig.16 Plan of Vilnius by K.Grunert, 1808 (Photocopy: Vladas Drėma. Dingęs Vilnius, Vilnius, 1992) [Eng.:Lost Vilnius] Fig.17 UNESCO Protected Areas in Vilnius Old Town (Author’s image based on UNESCO World Heritage Property map) Fig.18 Pie chart. Number of transformed and vacant sites (Author’s image)

Fig.8 Forms of Infill Architecture (Author’s image)

Fig.19 Pie chart. Total area in square meters of transformed and vacant sites (Author’s image)

Fig.9 Iconographic data. Palace of the Grand Dukes of Lithuania, drawing by K. Račinskas,1832 Available: http://www.ldm.lt/Svietimas/Pritaikymo_gaires. htm [02/01/2015]

Fig.20 Konstantinas Sirvydas Square (Author’s image)

Fig.10 Reconstructed Palace of the Grand Dukes of Lithuania (Photo: AKMI, 2009) Available: http://www.archilovers.com/projects/137714/ gallery?1107115 [02/01/2015] Fig.11 “Mikalojaus žiedas” apartment building in Vilnius, repeats the language of the existing context (Photo: 72

Fig.21 Dominican Monastery Garden (Author’s Image) Fig.22 Parking lot between Dominican Monastery and Salomėjos Neries High School (Author’s image) Fig.23 Jewish quarter from Žydų Street (Author’s image) Fig.24 Jewish quarter from Antokolskio Street (Author’s image) LIST OF FIGURES

Fig.26 Map indicating emerged Urban Voids in Vilnius Old Town after World War II (Author’s image)

Fig.28 Pie chart. Total area in square meters of transformed and vacant sites (Author’s image) Fig.29 Vokiečių Street with St.Catherine’s church in the background before World War II. (Image: VU gidas) Available: http://www.gidas.mb.vu.lt/2010/03/22/pramogos-senajame-vilniuje-arba-miulerio-rumu-istorija/ [08/03/2015] Fig.30 Vokiečių Street after World War II. Costruction of new building blocks.

(Photo: madeinvilnius.com) Available: http://www.madeinvilnius.com/lt/vilniaus-miesto-studija/vokieciu-gatve/i/ [08/03/2015] Fig.31 Vokiečių Street today. Pedestrian promenade formed in post-war years. (Photo: anonsas.lt, 2013) Available: http://www.anonsas.lt/portal/categories/353/1/0/1/article/23893/pesciuju-marsrutas-po-vilniaus-senamiesti [08/03/2015] Fig.32 Diagram representing transformations of Vilnius Urban structure (Author’s image) Fig.33 Cross section of Vokiečių street in 1808 (Author’s image) Fig.34 Cross section of Vokiečių street in 2014 (Author’s image) Fig.35 Vokiečių street plan in1808 (Author’s image) Fig.36 Vokiečių street plan 2014 (Author’s image) Fig.37 East elevation of Vokiečių Street, drawings by Juozas Kamarauskas (Photocopy: Valstybinės LTSR architekturos paminklų apsaugos inspekcijos metraštis’, Vilnius, 1958, [Eng. Protection Inspectorate Yearbook of the LTSR State Architectural Monuments]

PART 04

Fig.38 Building Facades on the east side of Vokiečių Street (Authors’ image based on Google Street View) Fig.39 Vilnius Old Town Reconstruction Project, “Lietprojektas”, 1959 (Photo: archfondas.lt) Available: http://www.archfondas.lt/leidiniu/alf-05/ vilte-janusauskaite-vilniaus-senamiescio-apsaugos-planai-xx-6-9-des) [16/02/2015] Fig.40 Vilnius Old Town Regeneration Project, 1970-1974 (Photo: archfondas.lt) Available: http://www.archfondas.lt/leidiniu/alf-05/ vilte-janusauskaite-vilniaus-senamiescio-apsaugos-planai-xx-6-9-des) [16/02/2015] Fig.41 Correction of Vilnius Old Town Regeneration Project, 1988-1992 (Photo: archfondas.lt) Available: http://www.archfondas.lt/leidiniu/alf-05/ vilte-janusauskaite-vilniaus-senamiescio-apsaugos-planai-xx-6-9-des) [16/02/2015] Fig.42 Possible variations (Author’s image) Fig.43 Possible Approaches (Author’s image) Fig.44 Regeneration option 1. Combination of Traditional Tissue and Traditional Cell (Author’s image) Fig.45 Regeneration option 2. Combination of Traditional Tissue and Existing Cell (Author’s image) Fig.46 Regeneration option 3. Combination of Existing Tissue, Existing Cell and Traditional Cell (Author’s image)

Part III Fig.47 Map of Europe. Location of comparative cities (Author’s image) Fig.48 Vilnius Congress Hall (Photo: Pijus and Alfredas Girdziusai, 2010) Available: http://www.panoramio.com/photo/37011385 [05/01/2015] Fig.49 Novotel Hotel Vilnius Photo: R.T, 2005) Available: http://www.skyscrapercity.com/showthread.php?t=259333 [05/01/2015]

PART 04

Fig.50 The Ministry of Defence (Photo:15.minlt, 2012) Available: http://zebra.15min.lt/lt/laisvalaikis/ renginiu_naujienos/maskvos-virtuozai-vilniuje-gries-klasiku-sedevrus-269455.html [12/11/2014] Fig.51 Centre for Contemporary Arts. ŠMC (Photo:A.Ufartas / BFL) Available: http://zebra.15min.lt/lt/naujienos/lietuva/tvano-premjera-primins-pasaulio-islikimo-dilema-168755.html [12/11/2014] Fig.52 Vilnius Art Academy. Design Innovation Centre (Photo: Paulius Mazuras, 2009) Available: https://www.flickr.com/photos/16283702@ N02/4140943705/ [12/11/2014] Fig.53 Apartment House on Pilies st.

(Author’s image, 2014) Fig.54 Helios Entertaiment Centre on Didžioji st.

(Photo: Google street view, 2012) Available: https://www.google.co.uk/maps/ @54.678237,25.287508,3a,75y,103.27h,95.28t/ data=!3m4!1e1!3m2!1sug3PHsqgMVFHppzad-OMrg!2e0 [20/11/2014] Fig.55 Tamsta Music Store (Photo: Google street view, 2012) Available: https://www.google.co.uk/maps/place/ Vilnius,+Lithuania/@54.67595,25.292191,3a,75y,209.3 4h,96.47t/data=!3m4!1e1!3m2!1sgktaHzgCI299CycDit-85w!2e0!4m2!3m1!1s0x46dd93fb5c6408f5:0x400d18c70e9dc40 [20/11/2014] Fig.56 New architecture in Vilnius within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map) Fig.57 Tallinn Train Station (Photo: Google street view, 2014) Available: https://www.google.co.uk/maps /@59.440826,24.73875,3a,75y,264.19h,83.27t/ data=!3m4!1e1!3m2!1sXeLgFdIj-1Z7yJMobtsZSw!2e0 [06/12/2014] Fig.58 Tallinn Housing on Vene street (Photo: Google street view, 2014) Available: https://www.google.co.uk/maps/ LIST OF FIGURES

@59.438156,24.747922,3a,75y,244.45h,96.93t/ data=!3m4!1e1!3m2!1sYVuExCJ_MQoYODwpWdGeFQ!2e0 [06/12/2014] Fig.59 EMHI Headquarters (Photo: veera.zukova, 2008) Available: http://www.panoramio.com/photo/8518506 [06/12/2014] Fig.60 Sports Building of English College on Puiestee 10 (Photo: Google street view, 2014) Available: https://www.google.co.uk/maps /@59.433827,24.746325,3a,75y,83.79h,99.51t/ data=!3m4!1e1!3m2!1seIb2UKFIzW9tCfnQDQGB6A!2e0 [19/12/2014] Fig.61 OldHouse Trade OÜ Hostel on Uus st.22 (Photo: Google street view, 2014) Available: https://www.google.co.uk/maps/ @59.440459,24.74967,3a,75y,126.16h,102.92t/ data=!3m4!1e1!3m2!1sNrpo-3Zns9aGzNohqepk2g!2e0 [19/12/2014] Fig.62 Kaubanduskeskus Passaaz Shopping Centre on Vana-Viru st.

(Photo: Google street view, 2014) Availbale: https://www.google.co.uk/maps /@59.437416,24.751498,3a,75y,225.52h,95.5t/ data=!3m4!1e1!3m2!1sUTLOMOEf8h14BksCHhXu8w!2e0 [19/12/2014] Fig.63 Building at Müürivahe st.17 (Photo: Google street view, 2014) Available: https://www.google.co.uk/maps/ @59.435444,24.747972,3a,75y,354.42h,95.27t/ data=!3m4!1e1!3m2!1s3FuyGjryT2UH2BQ-vH1sxw!2e0 [19/12/2014] Fig.64 Building at Pärnu mnt st.6 (Photo: R. Vaikla, 2013 Available: http://linnamajad.blogspot. co.uk/2013/04/1933-urla-pilvelohkuja.html [19/12/2014] Fig.65 New architecture in Tallinn within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map)

73

Fig.66 Building on Ecke Sackstraße and Kaiser-FranzJosef-Kai (Photo: Panzerknacker) Available: http://www.panoramio.com/photo/36768143 [12/01/2015]

Available: https://www.google.co.uk/ maps/@40.964041,-5.664967,3a,75y,267.43h,94.34t/ data=!3m5!1e1!3m3!1s8FU69AZRec3Xn53kwb4Jiw!2e0!3e5 [04/02/2015]

Fig.67 “Mur island” artificial floating platform designed by Vito Acconci; (Photo: Georg Mittenecker, 2006) Available: http://commons.wikimedia.org/wiki/File:Murinsel_Acconci.JPG [12/01/2015]

Fig.76 Hotel Emperatriz II on 18 Rúa Mayor st.

(Photo: Google Street View, 2014) Available: https://www.google.co.uk/ maps/@40.963362,-5.665141,3a,89.4y,334.39h,97.0 4t/data=!3m5!1e1!3m3!1sOO8aNfNqbJlW7yYIGj_cbw!2e0!3e5 [04/02/2015]

Fig.68 “Kunsthaus Graz” Art Museum (Photo: Zepp-Cam, 2004) Available: http://www.museum-joanneum.at/presse/unsere-standorte/kunsthaus-graz [12/01/2015]

Fig.77 House on 2 Calle Gibraltar st.

(Photo: Google Street View, 2014) Available: https://www.google.co.uk/ maps/@40.959731,-5.666836,3a,75y,240.88h,94.27t/ data=!3m4!1e1!3m2!1sL31yFunlvzqXmVfURZazig!2e0 [04/02/2015]

Fig.69 Andreas Hofer Square (Photo: www.textbox.at, 2014) Available: https://www.flickr.com/photos/textbox/13743336383/ [12/01/2015] Fig.70 Karmeliterhof Youth Competence Center by Herwig Kleinhapl architects (Photo: Markus Kaiser) Available: http://www.markus-kaiser.at/jugendkompetenzzentrum-karmeliterhof.html [12/01/2015] Fig.71 M1 Bar (Photo: MyPics.at) Available: http://mypics.at/bilder/graz/cafe-m1-bar.jpg. html [12/01/2015] Fig.72 Building on Einspinnergasse/Burggasse st.

(Photo: Josef Lex, 2012) Available: http://www.flickriver.com/photos/russianchild007/6895316978/ [12/01/2015] Fig.73 Joanneum Museum Extension by Nieto Sobejano + Eep Architects (Photo: Roland Halbe, 2012) Available: http://www.e-architect.co.uk/austria/ graz-buildings [12/01/2015] Fig.74 New architecture in Graz within UNESCO protected area (Author’s image based on UNESCO World Heritage Property Map [12/01/2015] Fig.75 Apartment House on 7 Juan del Rey st.

(Photo: Google Street View, 2014) 74

Fig.78 House on 26 Veracruz st.

(Photo: Google Street View, 2014) Available: https://www.google.co.uk/ maps/@40.959853,-5.667881,3a,75y,154.18h,90.72t/ data=!3m4!1e1!3m2!1skBC6zhiYrapEmtvJmx0KHQ!2e0 [04/02/2015]

Spain/@40.959156,-5.66019,3a,75y,270.34h,94.5 3t/data=!3m4!1e1!3m2!1sHMyed2lTi59txC_GEvtlfw!2e0!4m2!3m1!1s0xd3f266cf4afd337:0x2cbb71a6d1fce17a [04/02/2015] Tables Table 1. UNESCO Cultural Properties in different World Regions (UNESCO, 2015) Table 2. Evaluation Criteria for New Buildings in the Historic Urban Environment (Nauja architektūra istorinėje aplinkoje: kūrimo patirtis, Navickienė Eglė, 2006, Technika, p.119)[Eng.:New Architecture in Historic Environment: Development Experience] Table 3. UNESCO Protected areas of Vilnius Old Town (UNESCO, 2015) Table 4. Comparison of Vilnius, Tallinn, Graz and Salamanca (UNESCO, UN data)

Fig.79 House on 17 Zamora st.

(Photo: Google Street View, 2014) Available: https://www.google.co.uk/ maps/@40.966244,-5.66403,3a,90y,209.76h,109.16t/ data=!3m4!1e1!3m2!1sk21kfcHIVPEAkMdvxRulWw!2e0 [04/02/2015] Fig.80 Juzgados de Salamanca, on 8 Plaza Colón (Photo: Google Street View, 2014) Available: https://www.google.co.uk/maps/@40.962317,5.663559,3a,75y,153.62h,94.41t/data=!3m4!1e1!3m2!1sHp_3Gk9g7Vv9JOhNV6jAAA!2e0 [04/02/2015] Fig.81 House on 46 San Pablo st.

(Photo: Google Street View, 2014) Available: https://www.google.co.uk/ maps/@40.961763,-5.664262,3a,75y,307.5h,99.48t/ data=!3m4!1e1!3m2!1seAoUVgdXKz_sCLBlKqinQg!2e0 [04/02/2015] Fig.82 Auditorio Calatrava, on 183 Paseo de Canalejas (Photo: Google Street View, 2014) Available: https://www.google.co.uk/maps/place/ Paseo+de+Canalejas,+183,+37008+Salamanca,+LIST OF FIGURES

PART 04