Alytaus r. sav., Miroslavo sen., Balkūnų ., Antano Žmuidzinavičiaus g. 3
Author of the project: M&M: Mylana Titovska, architecture, III curse student Mariia Korolova, civil engineering, IV curse student
Supervisor: Laura Jankauskaitė-Jurevičienė
University: Kauno Technologious university
Summary
This project aims at the comprehensive restoration and revitalization of the Žmuidzinavičius Memorial House, the historic manor house of the famous Lithuanian artist Antanas Žmuidzinavičius, located in the village of Balkūnai, Alytus district. As a registered cultural heritage site, the manor is not only a significant architectural object, but also a symbolic space deeply rooted in the artistic, social and environmental narrative of the region.
The main goal of the project is to preserve the authenticity and structural integrity of the original buildings with minimal intervention, and to thoughtfully adapt the site for year-round cultural, educational and recreational use. The restoration utilizes traditional materials and construction techniques: damaged timber is reinforced, facades are restored, and destroyed roofs are replaced using historically authentic wooden shingles. At the same time, modern climate adaptationssuch as insulation, drainage and ventilation - are integrated to ensure comfort and durability over several seasons.
A critical part of the initiative isthetransformation ofthe surrounding area into a dynamic, multifunctional environment. The apple orchard, an integral part of the estate, is being transformed into a living classroom and event space for seasonal festivals, including the flagship Apple Festival, which celebrates horticulture, harvest traditions and community gatherings. A network of carefully planned walkways, rest areas and accessible trails will guide visitors through themed areas - educational, informative and recreational - allowing them to engage with the natural beauty and cultural history of the site.
The on-site barns have been converted for modern uses: one has become a service center, another has been converted into a small café and art classroom, and a third has been converted into a modular theater for exhibitions, craft workshops, and performances. These adaptive reuse strategies support a flexible cultural program while preserving the original character of each structure.
In a broader context, the project contributes to the development of rural cultural tourism, promotes cooperation with local schools and artisans, and promotes sustainable design through the use of environmentally friendly materials and technologies. Local companies provide the necessary infrastructure and products, ensuring the safety, accessibility and visual harmony of the site.
Ultimately, the restoration of the Žmuidzinavičius Memorial House is not just a preservation effort, it is a vision of cultural continuity. It breathes new life into the historic estate, fostering stronger links between past and present, tradition and innovation, people and place.
LIST OF Figures
Figure 1 Photographic portrait of A. Žmuidzinavičius. About 1920. Unknown author
Figure 2 Artist in the dunes” (1943) by Antanas Žmuidzinavicius
Figure 3. ”Village of noblemen of Dzuki ethnographic district II” (1910), by Antanas Žmuidzinavicius . ..............................9
Figure 4. Condition of window of main building (2025).......................................................................................................11
Figure 5. Condition of door of main building (2025)
Figure 6. Condition of walls of main building (2025)
Figure 7. Condition of entrance of main building (2025) .....................................................................................................11
Figure 8. Barn Theatre (2025)...............................................................................................................................................12
Figure 9. Roof damaged by chrome and moisture with visible leaks (2025)........................................................................12
Figure 10. Stone foundation of barn 1 (2025)
Figure 11. Roof structure of barn 1 (2025)
Figure 12. Corner of barn 1 (2025)
Figure 13. Interior of the building with visible leaning
Figure 14. Window and the truth
Figure 15. Roof and wall condition (2025)
Figure 16. Barn
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Figure 21, The barn
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1. INTRODUCTION
The Žmuidzinavičius Memorial House is a valuable element of Lithuania's cultural and artistic heritage. Located in the picturesque village of Balkunai, Alytus district, this house once belonged to Antanas Žmuidzinavičius, an iconic figure in the history of Lithuanian art and culture. Over time, the historic manor house, surrounded by an extensive apple garden, has undergone natural deterioration and decay, jeopardizing both its physical structure and cultural significance.
The explanatory note details the guiding principles, analysis of the current state, restoration vision, proposed uses, landscape integration, action planning and technical strategies for the renovation of the site. It emphasizes the combination of heritage and innovation, using local resources and traditional methods while incorporating modern technology to enhance usability and accessibility.
1.1. Object of study
The object of this study is the Antanas Žmudzinavičius Memorial House located in the village of Balkūnai, Alytus district, Lithuania. It is a historical building, the former residence of the famous Lithuanian artist Antanas Žmudzinavičius, which is a significant object of the country's cultural heritage. The house is surrounded by an apple garden, which serves not only as a landscape element, but also as an important part of the cultural and historical context of the site. The study aims to investigate the architectural and cultural condition of the house and the surrounding area in order to develop a comprehensive restoration project and further use of the site for educational, museum and recreational purposes. Special attention is paid to preserving the authenticity of the building and integrating modern functions to ensure comfort and accessibility for visitors throughout the year.
1.2.
Problematics, relevance of the study
In the process of research and development of the restoration project of the Antanas Žmudzinavičius Memorial House, several key problems were identified, directly related to the condition of the object, its functional limitations and the lack of a modern approach to interaction with the natural and social context. The object, having a significant cultural and historical potential, has long remained in an abandoned state, subjected to the influence of time and natural factors, which led to the deterioration of structures, loss of the original architectural appearance and reduction of its public significance.
In addition to physical aging, the object suffers from functional insufficiency: its current structure and organization of space do not meet modern requirements for museum and public infrastructure. There is no adaptation to year-round use, no provision for educational activities, temporary exhibitions, events or recreation. Thus, the monument becomes a static structure, limited in its ability to influence the cultural and social environment.
Another problem is the weak connection of the object with the surrounding landscape, despite its unique location - surrounded by an apple orchard and natural relief. The potential for interaction between architecture, nature and community has not been realized, which prevents the formation of a sustainable environment and hinders the development of the territory as a center of culture, education and recreation. Modern architecture requires us to rethink our attitude to heritage sites not only as monuments of the past, but also as living structures capable of adapting, educating and inspiring.
Thus, the relevance of this study is determined by the need to find an architectural answer to the set of problems listed above. It is about creating a complete concept of restoration that combines tradition and history with the modern needs of society and the principles of sustainable development.
1.3. Work objectives
Functional rethinking of the complex is being developed, in which the memorial house retains its museum function, but is complemented by educational, cultural and public spaces. An important area of work is the integration of the surrounding landscape: creating zoning, organizing thematic routes, as well as designing recreation areas and panoramic points. The technical part of the project includes sustainable engineering solutions that ensure energy efficiency, safety and accessibility for all user groups. All of this is aimed at transforming the historic site into a living cultural center that unites the past and the present.
1.4. methodology of work ...
2. Aims and task of the projects
2.1. General information
This restoration project was developed as part of a broader cultural heritage conservation initiative dedicated to the Lithuanian artist Antanas Žmuidzinavičius. The project focuses on the conservation, restoration and functional revitalization of his family manor and memorial
house, located in a historically and naturally valuable site surrounded by an apple orchard. The project aims to carefully preserve the artistic and cultural heritage embedded in the architectural structure and natural surroundings of the manor house.
2.2.
Main aim
The goal of the project is not just to restore the house, but to create a full-fledged cultural center that combines the functions of a museum, an educational platform, a recreational space and a social center for the local community.
2.3.
Project Design Objectives
The project solves the tasks of restoring the architectural integrity of the building, adapting it for year-round operation, and transforming the adjacent territory into a multifunctional cultural and recreational zone.
2.4.
Socio-cultural significance
The restoration of the memorial house will contribute to the preservation of the historical memory of the region, the popularization of Žmuidzinavičius' work and the development of cultural tourism. The participation of schools, local residents and tourists will ensure the permanent demand for the site.
3. Life and work of Antanas Žmuidzinavičius
3.1. Artist Biography
Antanas Žmuidzinavičius (1876-1966) was an outstanding Lithuanian painter, graphic artist, teacher and public figure. He was born in the village of Seiriai, studied in Warsaw, Paris and Munich, where his creative style was formed. His life was closely connected with the cultural revival of Lithuania at the beginning of the 20th century.
In 1906, Žmuidzinavičius returned to Lithuania and became actively involved in cultural and public life. He participated in organizing exhibitions, was one of the founders of the Lithuanian Union of Artists and taught at various educational institutions, including the Kaunas Art School. His teaching activities influenced a whole generation of Lithuanian artists.
Antanas Žmuidzinavičius died in 1966, leaving behind a rich legacy - not only in the form of paintings, but also as an organizer, teacher and patriot. His name has gone down in history as a symbol of Lithuanian national art and cultural enlightenment.
3.2.
Artistic heritage
Žmuidzinavičius became famous as a master of landscape painting, in which he sought to convey the national color, light atmosphere and emotional state of Lithuanian nature. His paintings are characterized by poetry, subtle perception of light, and adherence to a realistic style of painting.
He also created portraits of cultural figures, scenes from the life of the Lithuanian people and depictions of historical events. In addition to painting, he was engaged in graphics, book illustration, posters and interior design. His work is characterized by a variety of genres and a steady interest in Lithuanian themes, folk motifs and folklore.
Figure 1 Photographic portrait of A. Žmuidzinavičius. About 1920. Unknown author
Figure 3 ”Village of noblemen of Dzuki ethnographic district II” (1910), by Antanas Žmuidzinavicius .
Figure 2 Artist in the dunes” (1943) by Antanas Žmuidzinavicius
3.3. Home as a cultural space
Žmuidzinavičius' house became not only a place of his life, but also an important center of artistic communication. Here meetings with artists were held, exhibitions were organized and teaching activities were carried out. Turning the house into a museum ensures the preservation of not only the material heritage, but also the creative atmosphere he created.
4. Analysis of the existing state
4.1. General description of the architectural complex
The memorial house of Antanas Žmuidzinavičius is an architectural and cultural ensemble comprising the main dwelling house, several auxiliary buildings (barns), an orchard (mainly apple trees), and the adjacent natural territory. The complex is located in the southern part of Lithuania - Alytaus r. sav., Miroslavo sen., village Balkūnai, Antano Žmuidzinavičiaus street g. 3. The object is officially registered as cultural heritage and is subject to state protection.
The architectural design of the main building indicates the style of a rural wooden manor typical for the early 20th century: wooden walls, gable roof, characteristic glazing, traditional layout of the interiors. The building, despite its simplicity, has a deep cultural and aesthetic value, as it not only reflects the architectural traditions of the time, but also preserves the atmosphere of the artist's life ana his family life.
Lower left barn – next barn 1
Upper right barn- next barn 2
It is worth noting that each building has a different facade variant with different designs. The main building has been restored and although it has a better maintained and detailed appearance, it also has a problem of visual damage due to biological factors. Knowledge of the barn theater and other barns, although they are made in the same style and are earlier buildings, they have different facade design of the direction of the Bruce and the design of the roofs.\
4.2. Condition of the main building
The following key issues were identified during the field survey and architectural evaluation:
Facades: The wooden elements of the facades have suffered significant damage due to biological decay (rotting), humidity and UV radiation. In some places, there is loss of cladding fragments, insect and fungal damage to the wood. Paint and protective coatings are almost completely worn off.
Roofing: the roofing material, presumably slate or metal, is covered with moss, has multiple leaks, deformations and chipping. Due to roof leaks, moisture is getting inside the building, which has caused damage to ceilings, walls and floors.
Foundation: There are signs of localized foundation subsidence. Probably there is no waterproofing, which leads to capillary rise of moisture and destruction of the lower parts of the structure. Cracks and delamination of the material in a few areas.
Interiors: some elements of the original decoration have been preserved - beams, doorways, fireplaces, wooden floors. However, the overall picture shows significant physical and visual deterioration. Surfaces are damaged by moisture, deformed and require restoration or careful replacement.
Windows and doors: window and door openings are partially lost. The remaining elements are badly deteriorated, skewed and cannot be repaired without partial replacement. Glasses are damaged, hardware is missing.
It is the largest of all the auxiliary buildings in the complex.
The building has a typical rustic gable end, a two-pitched roof covered with slate, much of which is overgrown with moss, indicating a long period of lack of maintenance and constant exposure to moisture. This signals the need to improve the construction and materials.
4.3. Auxiliary buildings
4.3.1. Barn Theater
Figure 5 Condition of door of main building (2025)
Figure 6 Condition of walls of main building (2025)
Figure 7. Condition of entrance of main building (2025)
Figure 4. Condition of window of main building (2025)
Structural and visual characteristics:
Roofing: slate is heavily infested with moss, which is a sign of stagnant moisture, minimal insolation and high probability of environmental destruction. Multiple leaks and soaking of the rafter system;
Facade: wood is blackened, with signs of fungus in places, gaps between boards indicate shrinkage and warping;
Foundation: the visible portion of the foundation is a low stone plinth partially obscured by vegetation. There is no evidence of jacking or leveling; Foundation deviation is strongly visible in the part of the extension
Outbuilding part (entrance with door): obviously used or has been used as a storage room. The door is warped, the planks have become warped and need to be completely replaced or restored.
Decorative elements: on the facades of the building it is possible to replace the decorative signs indicating the barn theater as well as the greeting. The plaques are in good condition and can be preserved and may need some restoration.
The building has high potential for adaptation into theater and exhibition space due to the volume and character of the frame, but still requires:
complete roof replacement; replacement or reinforcement of the curtain wall; careful restoration of the facades with preservation of the material; reinforcement of the base and possible creation of a new floor (if there is no capital flooring inside).
4.3.2.
Barn 1
Given the chopped corner link with dovetail remains, it can be concluded that this is one of the oldest buildings on the site which has retained its traditional appearance. This should be taken into account in further reconstruction to preserve the traditional form of the building.
This type of log cabin is characteristic of traditional wooden architecture of the late XIX - early XX century. The condition of this building is of the greatest concern.
Figure 9 Roof damaged by chrome and moisture with visible leaks (2025)
Figure 8. Barn Theatre (2025)
Structural Features:
Corner system: high degree of failure of the locking joints. The logs are delaminated, deformed, and there is active bio-rotation of moss and lichens, especially in the lower part;
Walls: wood is severely weathered, exterior grain is almost obliterated in some places, mold damage is evident. Probable loss of strength properties;
Roof: double pitched with deformation of the frame, rust is visible in some places.
Foundation: stone strip without insulation, resulting in capillary rise of moisture.
This barn can be kept in technical function (workshop, storage) under the following conditions: complete replacement of the crowns in the lower part. cleaning and treatment of the walls from bio-damage. strengthening of the corner joints, construction of a light new roof, as close as possible to the original, replacement of part of the timber with preservation of the style.
4.3.3. Barn 2
The barn 2 building is much more resistant and can be used for cafes and creative classrooms. There is less visible damage to the structure but the material confirmation is still very high due to natural factors and lack of proper maintenance.
Walls: does the intersection have the bruces of earlier years. Some of the facade wood has rotted due to moisture and pests, also in some places there is noticeable moss growth.
Windows and doors: the windows are not glazed, the frames of the windows are shrivelled and have no clear geometry. Doors also made of wood have signs of rotting and destroyed by pests.
Foundation: stone strip without insulation, in some places extinguished and has signs of moss and mold infestation.
Roof: double pitched roof, with metal roofing. Rust and sagging is visible in some places. No thermal insulation
Figure 13 Interior of the building with visible leaning structures (2025)
Figure 11 Roof structure of barn 1 (2025)
Figure 12. Corner of barn 1 (2025)
Figure 10. Stone foundation of barn 1 (2025)
4.4. The surrounding area
The condition of the plot is very neglected. It can be seen that it has not been used or cared for for many years.
Ground cover: although grass is visible in some places, much of the ground is covered with fallen leaves and rotted apples.
Trees: many trees are gnarled, showing signs of disease and injury, many branches are broken and down to the ground. Other trees may also be a danger to visitors.There are also wild bushes in the area that can be a danger to visitors
Figure 14. Window and the truth is raw with visible damage to geometry and the result of activity and pests (2024)
Figure 18. Trees with visible damage (2025)
Figure 17. Ground cover of the site (2025)
Figure 16. Barn 2 (2025)
Figure 15. Roof and wall condition (2025)
4.5. The Site analysis
There is an apple garden on the territory, partially feral, but retaining aesthetic value. There is no landscaped system of paths, recreation areas and navigation elements.
Road infrastructure and accessibility of the site: the site can be accessed only from one side, on the second side of the road are in poor condition, for which there is no possibility of moving on it with a passenger car.
Natural surroundings: the plot itself is surrounded by a lot of green areas and also blue areas, which gives an ecological context to the plot. Also on one side of the plot is surrounded by fields, which is most likely used for commercial purposes.
The relief: has pronounced height differences of up to 8 meters, which requires the introduction of special landscape solutions (ramps, bridges, observation platforms).
Main buildings: the building does not have a clear connection, it is a cultural object that has architectural and historical value, which should be taken into account in the design of the project.
Parking area: the parking area is chaotic, which has an impact on the lack of a clear structure and organization of the place.
Viewpoints: there are 4 main points on the sites that need to be connected in the project development, to fit them into convenient routes for visitors.
Movement opportunities: the paths of movement of people are chaotic and have no clear purpose to move around the site, which indicates the need to create optimized key links between the objects of the whole site, as well as to add reasons to visit the whole area.
4.6. Sociocultural environment
The facility is located in a rural area, which on the one hand makes it accessible to work with local schools and residents, on the other hand requires additional infrastructure to receive tourists (shelters, sanitary areas, eating areas, etc.).
Figure 20. Scheme of site analysis
Figure 19 . Scheme of situation analysis
5. Analysis of similar restoration of the barn theater in Agluonėnų
5.1. Object Reference
Name: Barn Theater in Agluonėnų (Agluonėnų klojimo teatras)
Location: Agluonėnai village, Klaipėda region, Lithuania
Architectural type: wooden barn adapted for theatrical performances
Year of foundation: 1983 (restoration of the tradition of barn theaters)
Status: active cultural center holding theatrical and musical events
5.2. General information
The ethnographic manor house, nestled in the Lithuanian village of Aglionanai, stands as a rare survivor showcasing the nation's historical timber construction techniques. This site, a testament to our heritage, represents a common small-scale farm manor house, reminiscent of those owned by landowners in the Klaipėda region, who typically cultivated plots of land not exceeding ten hectares.
This particular farmstead is distinguished by its classic arrangement, organized around a singular courtyard. The enclosed space encompasses a dwelling, a barn, an area for livestock, and a cultivated garden. A distinctive feature, located centrally in the courtyard, is a weighted well, an essential component of the period's agricultural operations. The totality of the complex exudes an integrated atmosphere; harmoniously combining structures, verdant landscaping, open ground and the subtle addition of decor. These details embody the area’s specific character, the nuances of an era’s routines, and the distinct identity intrinsic to the locality.
This example demonstrates the successful adaptation of a historic barn to meet modern cultural needs while maintaining its authenticity. It can serve as inspiration and reference for the restoration of the barn theater in the Žmuidzinavičius Memorial House project.
5.3.
Condition before restoration
Prior to the restoration of the barn theater tradition in 1983, the barn building was in a state of disrepair. The wooden structures were rotting and warped, the roof was leaking, and the interior layout was inadequate for events. Engineering communications and security systems were lacking
5.4. History and architecture
The initial structures on the property, comprising a dwelling and a barn, were erected back in 1898. Subsequently, a round the years 1921 and 1922, a comprehensive renovation of the house took place, and 1923 saw the construction of a fresh barn Further enhancing the property’s features, a root cellar, a crucial component to conventional farm steads, was added to the land in 1938.
The ownership of the estate changed hands in 1921, being acquired by Jurgis Brechtas (1881-1954) and Maria Jokumaitė-Brechtėnė (1883-1934). The couple undertook renovations to the residence, entailing the replacement of the outdated clay flooring in the entrance, hallway, and kitchen with brick tiling. Moreover, they installed a stove finished with a brick-built seating area, a familiar characteristic with in regional home layouts.
5.5. Current status
From 2007 onward, the Agluonenai Ethnographic Manor has been under the administrative umbrella of the Gargždai Regional Museum, operating as one of its branches. A significant transformation took place between 2009 and 2010. This was facilitated by the "Restoration and adaptation of the ethnographic manor Agluonenai for the needs of public cultural, educational and social activities" project. The manor then benefited from extensive reconstruction efforts. This saw the refurbishment of its internal spaces, along with the painstaking restoration of its original architectural features. This work simultaneously prepared the location for the implementation of cultural and educational programming.
Figure 21, The barn theater befor restorvation in Agluonėnų (2009 photo)
Figure 22, The barn theater in Agluonėnų after restorvation (2012 photo)
5.6. Principles and stages of restoration
Methodology: preservation of authenticity with minimal interventions, adaptation to modern needs
Materials: use of traditional wood species, restoration of original elements
Technologies: introduction of modern lighting and sound systems, fire safety provision
Results: creation of a functional space for cultural events while preserving the historic appearance of the building
5.7. Comparison with the project of the Žmuidzinavičius Memorial House
5.7.1. Shared Characteristics:
Both structures, built from wood, are significant historical edifices. Each demands adaptation to accommodate cultural activities, such as performances and displays. Maintaining their original aesthetic appeal during the renovation is crucial.
5.7.2. Distinctions:
The Agluonenai barn's restoration served the broader objective of revitalizing cultural traditions, while Žmuidzinavičius' endeavor prioritizes the safeguarding of personal legacy. The projects vary in size and the expected extent of their utilization.
5.8. Key Takeaways and Strategies:
It is essential to meticulously evaluate the state of the wooden constructions before commencing restoration.
Modern technological integration must be carefully balanced with the preservation of the structures' authentic character.
Engaging the local community in the restoration and the subsequent function of the space is paramount.
Figure 24. Teritory of theatre in Agluonėnų after restovration
Figure 23. Interior desing and theater perfomance in Agluonėnų
6. Restoration concept
Concept for the restoration and adaptation of a cultural heritage site
6.1. Restoration principles: authenticity and minimal intervention
The restoration project of the Antanas Žmuidzinavičius Memorial House is based on a modern approach to working with cultural heritage objects, where the central element is the preservation of authenticity and the delicate introduction of modern functions without disturbing the historical context.
Key methodological principles:
Authenticity - preservation of original materials, structures, spatial solutions;
Minimal intervention - intervening only where necessary for safety, durability and use;
Reversibility - all added elements should be easily removed or replaced without compromising the historic structure;
Differentiation of new and old - new elements should be visually and structurally distinctive, not to imitate the original, but to be complementary to it;
Functional adaptation - renovation of the object to meet modern requirements, but without damage to the historic environment.
6.2. Materials and techniques used
The memorial house of the artist is subject to careful restoration, the aim of which is to restore its appearance at the time of the life and work of Antanas Žmuidzinavičius.
Planned restoration activities include:
- Strengthening and partial replacement of the lower crowns using similar wood (pine/el) treated with fire retardant and antiseptic agents;
- Cleaning, restoration and partial reconstruction of wooden facades, including carved elements, window sills, platbands;
- Complete replacement of roofing with recreation of the original profile and materials (e.g. wooden shingles or painted metal), using modern waterproof layers;
- Restoration of window and door openings based on archival data and visual analysis, production of replicas based on samples;
- Restoration of internal structures - floors, ceilings, stoves, fittings; installation of insulation "inside the contours" without interfering with the facade planes;
- Implementation of microclimate systems hidden from the eyes (in the floor, behind ceilings) to ensure comfortable stay and preservation of exhibits.
6.3. Spatial restorations
To make the memorial museum more attractive to visitors, the space must be transformed to be more functional, but must also focus on historical and cultural aspects.
The main building is left in its functionality. It is a memorial house-museum that tells about the life of the artist and his family. To make the memorial museum more attractive to visitors, the space must be transformed to be more functional, but must also focus on historical and cultural aspects.
The main building is left in its functionality. It is a memorial house-museum that tells about the life of the artist and his family.
Anbar One retains in its functionality as a farm building.
Barn 2 will be divided into two segments. The 1st segment will turn into a small cozy cafe, where visitors will be able to buy food after a long trip, drinks or other devices that are necessary for rest in the territory of the memorial museum. Segment 2 will become a creative classroom. It will be divided into small groups for drawing classes and there will be stored all the equipment needed for the lessons.
The Barn Theater will continue to exist as a theater, conducting theatrical productions in the former manner. But also thanks to modular systems it will become more flexible and adaptable to other events such as art exhibitions master classes and lectures.
6.4. Restoration solutions in the garden
Despite the fact that much of the vegetation is damaged, a visual inspection reveals that these trees are about possible restoration. This makes the environmental decision of the memorial house, namely its garden, more ecological and sustainable. The preservation of all the trees on the site also sets the trajectory along which the activity areas can be distributed. Thus there is an area for walking, an area for viewing the environment, a relaxing terrace area, a picnic area, and an outdoor painting area.
Figure 25 Sheme of posible activities
6.5. Modern technologies within an authentic environment
The project involves neat implementation of modern engineering systems such as:
- ventilation and air recovery;
- humidity and temperature control systems;
- energy-efficient lighting with scenario control (day/exposure mode);
- security and video surveillance system;
- wireless Internet access in the event venues.
All technological solutions are hidden or visually adjusted to the architecture of the building to maintain the integrity of the perception.
6.6. Principles of interaction with local craftsmen and artisans
All decorative and restorative elements (platbands, furniture, fittings, carvings) will be made by local craftsmen and artisans to:
- preserve traditions;
- ensure local involvement;
- support the craft culture of the region;
- minimize the ecological footprint through local resources.
Figure 26 Sheme of garden functions
7. Functional solution
Functional-planning organization of the complex
7.1. General principles of functional zoning
The main purpose of the functional solution is to create a competently organized museum and educational space, which combines:
- preserved historical environment,
- modern conditions of comfort and safety,
- a variety of indoor and outdoor use scenarios.
The whole territory of the complex is conditionally divided into three main functional zones:
1. Museum-exhibition zone (main building)
2. educational and creative zone (barns and workshops)
3. Recreational and scenic zone (open areas, terrace, stage, garden, walking bridge)
Each of the zones is interconnected by a system of routes, paths and navigation, forming a logical and continuous movement of visitors through the territory.
7.2. Memorial house
Functional purpose: permanent museum exposition and memorial space.
Layout:
The entrance hall and lobby - a welcome area where you can get booklets, audio guides and leave your outerwear.
Artist's Room - with restored early 20th century furnishings, original household items and reproductions of paintings.
Workshop - an immersive space with the entourage of a creative environment (easels, brushes, sketchbooks), where demonstrations of artistic techniques can be held.
Family Room - a space conveying the atmosphere of Zmuidzinavicius' daily life, with archival photos, letters, and memories.
Exhibition Room - changing thematic expositions, multimedia panels, temporary exhibitions of students and artists.
Art historian's office - archive, library, work area for researchers and curators.
All internal functions are aimed at creating a personalized experience of interacting with the artist's legacy.
7.3. Function of barn theatre
The barn theater has only two rooms. One of the rooms is an annex that will be equipped for the staff. The 2nd room becomes fully multifunctional to adapt to any work that will be organized in the memorial house. It is the use of a modular system for stages and benches that makes the space flexible and adaptable.
- The main hall is a mobile, transformable space with sliding partitions, folding furniture and adjustable lighting;
- Suitable for: theater productions, conferences, film screenings, lectures, school events;
- Equipped with projection equipment, mobile stage, acoustic panels;
- The hall can be transformed into a gallery or a fairground.
7.4.
The nationality of barn one will be immeasurable. It will remain with an area to store equipment, Gardening supplies. Exhibit materials.
There should also be a small workshop for minor repairs.
7.5.
The first half of the building is a cozy cafe decorated in the style of "Lithuanian village" with wooden furniture and natural textures. It serves apple-based dishes, pastries and seasonal products.
Function of barn 1
Function of barn 2
Figure 27 Variation on the layout of the theater barn
The second half is an open art workshop designed for workshops, classes for children and adults. The space is flexible, with movable easels, projectors and screens.
7.6. Open spaces
The functionality of the open space was divided into 2 parts.
1 part is the part of the memorial museum, the main building of the memorial house, 2 bars and a barn theater. In this part of the area was added a stage on the open space, which can be used as a stage for performances, an area for exhibitions or fairs.
Part 2 is the apple garden. The objective of the apple orchard was to integrate multifunctionality to attract and activity options for visitors, so it was important to integrate them. For the layout of the functionality the concept of groups was used, all existing trees can be visually combined into several groups, thus forming a space for creativity, a semi-open terrace, a picnic area and an area of untouched apple garden, which will be used for gardening lessons and organization of educational structures.
Between the main part of the mineral museum from the orchard a visual line is formed which is the scenario line. Passing under it the visitor visits and observes each zone and the final one. There is an observation tower which offers a view of the memorial museum and its natural surroundings.
In addition to the main connection line there is also a direct connection line from the observation tower. This is a walking bridge that allows visitors to walk along the crowns of apple trees.
Figure 28. View tover with people activities visualithation
Apple garden
- Functionally - as part of the exposition and recreational space at the same time;
- Includes thematic routes: "History of the Garden", "Artist and Nature", "Seasons and Harvest";
- The garden has information stands, benches.
- The area is heavily utilized for the Apple Festival and other seasonal events.
Tree Crown Bridge
- Increases the cohesiveness of the area for height differences;
- Gives a unique perspective on the house, garden and surrounding nature;
- Leads to a terrace with a viewing platform and temporary pavilions.
Figure 29 Functional sheme
Figure 30. Axonometric of memorial hose teritory with functional points
8. ARCHITECTURAL ANALYSIS AND DESIGN EXPRESSIONS
8.1.
Architectural composition: strategy and principles
The architectural composition of the project is based on the idea of careful continuation of the historical context with the help of modern architectural expression. This is expressed in the following principles:
- Preserving and emphasizing the original structure - the main house and buildings remain the dominant volumes;
- Creating a hierarchy of spaces - from chamber and intimate (workshop, living room) to open and public (barntheater, stage, terrace);
- Transparent movement logic - routes form a clear axis of movement and "nodes" for stopping, resting, contemplation;
- Integration of nature - apple orchard, high-rise bridges, terrace - become integral elements of the architectural language.
The project avoids obtrusive modern forms and favors disjointed incorporation, where the new “supports” the old.
8.2. Architectural language and stylistics
The project uses the language of contextual architecture, where modernity is not in contrast but in consonance with history. This is expressed in the following aspects:
- Materials - priority on natural and local (wood, brick, metal, plaster), reused where possible;
- Texture and color - earthy tones, faded wood, natural iron, aged paint dominate. Modern elements contrast in smoothness but retain a warm palette;
- Proportion and rhythm - window sizes, roof shapes, and scale of interiors follow the principles of the original site;
- Light and shadow - the architecture actively works with daylight: diffused light is used in the interiors, zenith and directional sources are used in the exposition areas.
Figure 31 Axonometric section with architectural stylistic of theatre barn
8.3. Modern elements and their integration
Modern architectural elements are introduced into a project through addition rather than replacement:
Bridge through the trees - an architectural dominant made of light metal structures with wooden decking; Terrace with pavilion - designed in a minimalist style, with an open canopy and a multifunctional platform for exhibitions, lectures, shows;
Cafe and theater interiors - use simple geometric shapes, natural lighting, transformable furniture, glass partitions; Multimedia elements - embedded in furniture and structures without disturbing the overall visual range.
All modern additions are separated from the original walls and structures using "second-loop" technology, allowing for easy removal without harming the historic property.
8.4. Architecture and landscape: interactions
The landscape becomes an integral part of the architectural statement:
The path through the garden is a route of memory and a sense of time: it includes areas with wild apple trees deliberately left as 'witnesses of time';
The lookout tower and terrace is a metaphor for observing history, looking 'outside' and 'above' the heritage; Small architectural forms (benches, signs, navigation) are designed in a unified style - minimalist but warm, with references to natural motifs.
Thus, the project creates an architectural ecosystem where buildings, landscape, objects and people exist in a living and changing interaction.
8.5.
Pathes
The concept of the road layout is to retain all the landscaping, and link the paths around functional areas that are built on an arrangement of groups of trees
There are 2 main routes on the territory:
Entrance → Memorial House → Barn Theater → Café Workshop → Bridge → Terrace/garden;
An auxiliary route I is the question of the bun bridge around the trees that connects the main part of the memorial house the observation tower and the terrace
For a more comfortable and interesting experience in the memorial house, navigation signs can be used for audio guides and a tactile map for the visually impaired.
Figure 32 Sheme of concept of pathes
9. Museum, education and community programming
Architecture includes not only the design but also the design of the room and the area. In order for the design to work sustainably and attract visitors, it must also include cultural activities that will entice each time with something new.
9.1. Museum exposition and demonstration
The main exposition block is located in the main building - the memorial house of the artist. The exposition is formed at the intersection of memoriality and interactivity, where it is important not only to present artifacts, but also to recreate the atmosphere of the creative and personal life of Antanas Žmuidzinavičius.
The main approaches to exhibiting:
Scenario structure: the exposition is divided into three storylines:
"Artist and Man" - documents, letters, everyday life; "Creative workshop" - working process, tools, techniques; "Echoes in Culture" - the artist's influence on modernity through the work of students, followers and reconstruction of his methods.
Figure 33. Sheme of posible events
Interactive Elements:
digital archives viewed through touch tables; audio installations with the voices of contemporaries; digital paintings with the possibility to "finish" based on the master's motives.
Living space: the rooms are not designed like museum boxes, but as animated scenes from life, where visitors can move through the space as if inside a "story".
9.2. Educational program
The project focuses on inclusive museum education that is accessible to a variety of ages, including school children, students, families and professional communities.
Programs and Activities:
Master classes in painting and graphics: outdoors and in the art workshop; seasonal activities: "painting in an apple orchard", "winter still life", "colorful April"; use of Žmuidzinavičius' technique and style.
Educational Blocks for Schools:
Age-adapted tours; interactive classes on art, history, culture;
Curated lectures and workshops: cycles "Contemporary Art of Lithuania", "Artist and Nature", "How to Create a Museum"; involvement of art historians, architects, researchers.
The functioning of the memorial house provides for an active event program where the architecture and garden become part of the action:
Key events:
Apple Festival (spring - fall):
garden care, harvesting, exhibition of varieties; tastings, fairs of apple-based products; lectures on ecology, horticulture and biology; art installations in the garden.
Summer art festival:
plein airs, open-air exhibitions; music and theater evenings; performances by young artists.
Winter educational cycle: workshop and theater classes; "home with a light" - a program of cozy evenings: workshops, readings, film screenings.
Museum Night:
special tours with flashlights; costume meetings; candlelight concert in the barn theater
9.4. Working with the local community and schools
The key task of the project is to become not only a museum, but also a community center of the region, a platform for dialogue, engagement and co-creation.
Engagement Tools:
- Joint planning - consultation with villagers, local administration, school teachers in preparation of activities; - Volunteer programs - participation of students, retirees, artists in excursions, restoration, gardening;
- Neighborhood Ticket program - free access to events and classes for local residents;
- Meeting Space - the Barn Theater can be used by the community for rehearsals, celebrations, meetings.
Figure 34. Visualithation of barn theatre and nearest teritory
Figure 35. Visualithation of therase and nearest teritory
10. SUSTAINABILITY AND CLIMATE ADAPTABILITY
10.1. Approach to sustainable design
The project is based on the principles of environmental responsibility, durability and adaptive use of architecture. The main sustainability objectives are:
- reducing the negative impact on the environment;
- improving the energy efficiency of buildings;
- utilization of renewable and local resources;
- taking into account seasonal variations of the Lithuanian climate;
- formation of environmentally conscious behavior among visitors.
The project strives to be an example of "green heritage", connecting the protection of cultural values with environmental responsibility.
10.2. Materials and
technologies
Natural and renewable materials
Wood is the main material (structural and finishing), chosen for historical and environmental reasons. Only certified wood is used, preferably from local forests;
TIKKURILA ALTTI PLUS terrace oil - provides long-term protection of wood against moisture and UV radiation without harming the environment;
WOODON "Wood Only" decorative panels - environmentally friendly, well-insulating panels using wood without formaldehyde adhesives.
Recycled and sustainable coatings
- BETONO MOZAIKA paving slabs - made of sustainable concrete, frost resistant, recyclable, visually integrated into the natural context;
- Furniture and interior elements - made of recycled or reclaimed materials.
10.3. Energy Efficiency
The project includes solutions to minimize energy consumption, especially during the cold season:
Thermal insulation
- Internal insulation of wooden walls allows preserving original facades;
- Breathable materials (ecowool, linen insulation) are used to prevent condensation;
- In the building of the theater and workshops, a ventfasade hidden behind decorative wood is used.
Heating and ventilation systems
- Warm floor system in key areas (foyer, cafe, classrooms);
- Infrared panels in the museum part (gentle mode, does not damage exhibits);
- Supply and exhaust ventilation with heat recovery (allows to save up to 75% of heat energy);
- Use of air heat pumps for heating and cooling in transitional seasons.
Lighting
- Lighting based on LED solutions from LUCIDUS TECHNO;
- Light and motion sensors installed in technical and transition rooms;
- Adjustable light temperature for different scenarios - exposition, lecture, evening lighting.
10.4. All-season operation
Lithuania has pronounced climatic seasons, so the project is adapted for operation throughout the year:
- Winterization of the terrace with mobile polycarbonate partitions;
- Footpaths with drainage and non-slip surface for safe movement in snow and rain;
- Utilization of awnings and pavilions in the garden to allow for rainy weather activities;
- Summer ventilation through windows and roof sashes to provide natural cooling.
10.5. Biodiversity and landscaping
The landscape strategy of the complex is aimed at preserving and developing the natural environment:
- Preservation of the apple garden as a cultural and ecological object;
- Planting of new trees taking into account biodiversity (wild fruit trees, shrubs, pollinators);
- Establishment of a meadow area with minimal mowing to preserve insect habitat;
- Low intensity lighting in the evening - protects nocturnal fauna and creates a peaceful atmosphere.
11. Engineering and technical solutions
The renovation of a single-story wooden house is not just a matter of updating individual structural elements, but rather a whole range of engineering and construction measures aimed at extending the life of the building and improving its energy efficiency, safety, and comfort. Old wooden houses, especially those built in the mid-20th century and earlier, are often in a state of disrepair or near collapse: the foundation loses its strength, load-bearing structures are damaged by time and moisture, and engineering systems are outdated and do not meet modern requirements.
11.1. Construction elements
11.1.1. Foundation
The foundation is a critical structural element of a building, on which its strength, geometric stability, and durability depend. Wooden houses, especially those built decades ago, were often constructed on shallow or insufficiently strong foundations that are not adapted to modern operational loads and changes in climatic conditions. As a result of many years of exposure to moisture, seasonal soil movements, and biological decay, the old foundation loses its load-bearing properties, requiring complete replacement.
Stages of works:
Stage 1. Diagnosis of the condition of the foundation
The reconstruction process begins with a visual and instrumental inspection of the foundation. The following are assessed based on external signs:
vertical and diagonal cracks; local subsidence or tilting; fragmentary destruction of concrete or brick; disturbances in the geometry of the walls and floor of the house; traces of moisture, mold, or fungus on the lower crowns.
If necessary, partial excavation of the foundation is carried out in key areas in the corners and in the center of the walls to assess the depth of the foundation and its contact with the ground. The condition of the subgrade, the presence of cavities, washouts, and the groundwater level are analyzed. This allows us to determine the suitability of the foundation for reinforcement or the need for complete replacement.
Stage 2. Preparing to lift the building
Before dismantling the old foundation, it is necessary to ensure conditions for safe lifting of the house:
All external extensions, porches, and pavements, as well as internal floors that obstruct access to the foundation, are removed.
Temporary internal supports are installed under the floors and load-bearing elements – made of adjustable telescopic racks or wooden structures.
The lifting points and locations for installing hydraulic jacks are marked – strictly under the load-bearing beams and corner elements, ensuring uniform load transfer.
Stage 3. Lifting the building
Powerful hydraulic jacks with a lifting capacity of 10 to 20 tons are used to lift the wooden structure. The lifting is carried out step by step:
In the first stage, the house is lifted by 2–3 cm, and the height is fixed with shims.
Next, the lifting is carried out synchronously at all points until the design height is reached (usually 40–80 cm). Each step is accompanied by level and geometry checks to avoid skewing, deformation, and cracking of the structure.
After reaching the specified height, stable supports (made of sleepers, reinforced concrete blocks, or strong dry timber) are installed to fix the building in a suspended state.
Stage 4. Demolition of the old foundation
The old foundation, which has lost its load-bearing capacity, must be completely demolished. The work includes:
demolition of damaged concrete or brick sections by hand or using a jackhammer; removal of reinforcement, backfill, and organic inclusions; leveling the base, leveling and compacting the soil;
if necessary, additional deepening of the trench for the installation of a new base below the frost line.
Stage 5. Installation of a new foundation
After preparing the base, proceed with the construction of a new foundation that meets modern requirements for strength and moisture protection. The most versatile solution is a monolithic strip foundation with reinforcement. In case of unstable soil, a pile-strip system is used.
Technological process:
Construction of a 20–30 cm thick sand and gravel cushion with layer-by-layer compaction.
Installation of formwork around the perimeter of the future foundation.
Binding of a reinforcement cage made of Ø12–16 mm rods in two belts with clamps and longitudinal ties.
Pouring of concrete of class not lower than B25 with layer-by-layer vibration compaction.
Concrete curing for at least 28 days until strength is gained.
Application of a waterproofing layer – bitumen mastic, polymer membrane, or two-layer roll material.
Stage 6. Returning the building to its new foundation
After the concrete has completely hardened, the house is lowered onto the foundation in the reverse order of lifting:
The supports are removed in stages;
The jacks are lowered smoothly by a few centimeters per cycle;
The lower crowns are laid on a waterproofing layer (double layer of roofing material, foam glass, or foamed polymer);
The spaces between the wood and concrete are sealed with gaskets or filled with construction foam; Final leveling is performed.
The process of completely replacing the foundation under a wooden house is an engineering-intensive operation that requires a step-by-step, precise, and synchronized execution of all stages. The use of modern materials and technologies allows not only to restore the strength of the supporting structure, but also to provide protection against moisture, temperature fluctuations, and soil movements. A properly constructed foundation is the basis for the long-term and safe operation of a wooden house.
11.1.2. Wall renovation and protection
As part of the major renovation of a single-story wooden house, a set of measures has been developed to restore, protect, and insulate the walls made of profiled timber. The aim of the project is to fully restore the load-bearing capacity of the structures, eliminate areas of damage, improve the thermal characteristics of the building, and ensure the durability of the wood without compromising its natural aesthetics.
Analysis of the initial condition
A field survey revealed significant wear and tear on the walls: widespread rot was found in the lower crowns due to capillary moisture rise and insufficient waterproofing of the foundation. Deep cracks, signs of shrinkage and drying out of the wood, as well as damage from fungus and woodworm colonies were found on the surface of the walls. The intercrown joints are loose, with through gaps forming, contributing to drafts and heat loss. In a number of areas, a loss of geometry was detected with a slight deviation of the walls from the vertical.
Stages of reconstruction:
Stage 1. Dismantling and replacement of damaged sections
The project involves the phased replacement of the lower crown and other sections with critical damage. The work is carried out by partially lifting the log house using hydraulic jacks. Damaged beams are removed and replaced with new elements made of kiln-dried wood (oak, larch) that has undergone deep antiseptic and fireproof treatment. The geometry of the elements is selected in accordance with the original profile to ensure full compatibility with the existing structure.
Stage 2. Surface cleaning and sanding
After restoring the damaged segments, the entire outer surface of the walls is mechanically cleaned using brush attachments and angle grinders. The old coating, darkened layers of wood, biological deposits, and contaminants are removed. This stage not only ensures the visual uniformity of the facade but also improves the adhesion of protective compounds.
Stage 3. Treatment with protective compounds
A multi-layer impregnation system is applied to the prepared surface. First, a water-soluble antiseptic with deep penetration action is applied, which blocks fungal activity and prevents further development of biological damage. Then a fire retardant is applied, providing I or II degree of fire resistance depending on the class of use. All compounds are environmentally friendly, contain no toxic components, and preserve the vapor permeability of the wood.
Stage 4. Restoration of inter-crown joints
The project provides for the replacement of the old sealant with flax-jute material, followed by caulking of all joints. Interbeam joints are additionally sealed with an acrylic elastic sealant that is resistant to seasonal wood deformation and retains mobility during temperature fluctuations.
Stage 5. Thermal insulation and structural protection
In order to increase the energy efficiency of the building, external wall insulation with a ventilated facade is provided. The construction includes: installation of vertical lathing, laying of mineral wool insulation (100 mm thick), installation of a hydro-windproof membrane and counter-lathing. The final coating is 36 mm thick block house made of softwood, pretreated with bioprotective compounds and painted with weather-resistant water-based paints.
Stage 6. Alternative option preservation of the authentic appearance
For houses of high architectural or cultural value, an alternative scenario is provided, in which insulation and exterior finishing are not carried out. In this case, the entire renovation is reduced to internal thermal insulation and careful restoration of the facade. The project focuses on comprehensive renovation while preserving all the functional and aesthetic qualities of the wooden house. Thanks to a combination of modern wood protection technologies, well-designed thermal insulation, and a meticulous approach to restoration, the house will be given a new lease on life without losing its authenticity, comfort, and natural beauty. The measures envisaged in the project will significantly increase the building's energy efficiency, improve the microclimate, and guarantee the preservation of the structures for decades to come.
Indoor humidity control
A key factor in the durability of wooden structures is maintaining optimal humidity levels inside the house. Excessive humidity creates favorable conditions for rot and mold growth, while excessively dry air leads to cracking and deformation of the wood. The project includes a humidity monitoring system using sensors and ventilation solutions that ensure constant control of the microclimate.
11.1.3. Floor
As part of the comprehensive renovation of an old wooden house, special attention is paid to the restoration and modernization of the floor, as it is subject to intensive wear and tear and is often the cause of heat loss and defects in the interior. The initial survey revealed a number of problems typical of floors in such buildings: direct contact of wooden structures with damp soil led to rotting and biological damage to joists and flooring, and there was no insulation, which led to significant heat loss and a cold microclimate in the rooms. In addition, there were defects in the form of squeaks, deflections, and cracks, which significantly impaired performance and comfort.
Stages of works:
Stage 1. Diagnostics and preparation
Before starting the renovation, the old flooring is carefully dismantled all floorboards and joists are removed, and the condition of the lower structural elements and soil is assessed. Particular attention is paid to identifying areas affected by fungus, mold, and mechanical damage. If necessary, the supporting elements are cleaned and treated, or completely replaced.
Stage 2. Floor restoration technology
To increase the durability and functionality of the floor, the project provides for the creation of a multi-layer structure that provides reliable protection against moisture, effective insulation, and resistance to mechanical loads. First, a subfloor is laid a flat, solid base that levels the surface and serves as a foundation for further layers.
Next, a vapor barrier system is installed to prevent moist air from entering the insulation from the rooms, as well as waterproofing to protect the structure from ground moisture coming from below. For these purposes, modern film materials with high density and tear resistance are used.
The next stage is the installation of new joists made of carefully selected and processed wood, which is characterized by increased strength and resistance to biological damage. A layer of insulation about 200 mm thick is laid between the joists most often mineral wool or extruded polystyrene foam (EPPS) is used, which has excellent thermal insulation properties and durability.
Finally, tongue-and-groove boards or moisture-resistant plywood are laid, which ensures monolithicity and even load distribution. To improve performance, the floor surface is coated with protective compounds varnish or oil which not only give it an aesthetic appearance but also protect the wood from wear, moisture, and dirt.
Results and advantages
The implementation of this project ensures the complete restoration of the load-bearing and thermal insulation characteristics of the floor in a wooden house. The modern multi-layer floor construction not only solves the problems of dampness and biological damage, but also significantly increases living comfort by reducing heat loss and eliminating noise associated with deformation and squeaking. This approach guarantees the durability and reliability of the floor for many years, while preserving the environmental friendliness and naturalness of the materials, which is especially important for wooden structures.
11.1.4. Roof
The roof is one of the key elements of a house's structure, responsible for protecting it from atmospheric influences such as rain, snow, wind, and temperature fluctuations. During the inspection of the old house, typical problems were identified that are often found in roofing systems of buildings of this age and type. These include leaks leading to rot in load-bearing beams and rafter elements, and a complete or partial lack of insulation, which leads to significant heat loss and deterioration of the indoor climate. Damage to the roofing material was also found, in particular to slate sheets, many of which have cracks and chips, contributing to moisture penetration and further destruction of the structure. In some places, deformation and weakening of the rafter system was identified, creating a risk of roof collapse.
Stages of works:
Stage 1. Preparatory work and dismantling
The project involves the complete dismantling of the old roofing and the supporting rafter system. This will allow all damaged and rotten elements to be removed and a strong and durable foundation for the new roofing to be created. The dismantling is carried out with extreme caution to minimize the impact on the structure of the house and preserve the integrity of the load-bearing walls.
Stage 2. Installation of a new rafter system
To restore the load-bearing capacity of the roof, new rafters made of high-quality wood treated with modern antiseptic and fire-retardant compounds will be installed. This will provide protection against biological decay and increase the fire resistance of the structure. The configuration and dimensions of the rafters are calculated taking into account the load and architectural features of the house.
Instalations for roof
Insulation and waterproofing
One of the important stages is the installation of a thermal insulation layer. The project uses mineral wool with a thickness of 100–150 mm, which has excellent thermal and sound insulation properties, as well as fire resistance. A vapor barrier
membrane is installed to prevent moisture vapors from the living space from penetrating into the insulation and wood. In addition, the project provides for the installation of ventilation gaps between the insulation and the roofing, which ensures air circulation, preventing condensation and thus increasing the service life of the structure.
New roofing
The roofing will be made of modern materials with high durability and aesthetic qualities. Depending on the architectural design and climatic conditions, metal tiles or soft roofing will be selected. These materials provide reliable protection against precipitation, wind, and ultraviolet radiation, and also have good resistance to mechanical stress.
Drainage system
A modern drainage system will be installed to effectively drain rainwater and meltwater. It prevents moisture accumulation at the base of the walls and foundation, which is important for preserving the integrity of the entire building and preventing mold and rot.
The implementation of this roof repair project will not only restore its load-bearing capacity and protective functions, but also significantly improve the energy efficiency of the building. An insulated and well-ventilated roof will create a comfortable microclimate inside the house, and the use of modern materials and technologies will ensure the durability and reliability of the roof for many years, while preserving the environmental friendliness and traditional appearance of the wooden house.
Figure 36 Construction of roof and wall
11.2. Woodworking
The implementation of a comprehensive wood protection system is an essential stage in the renovation of a wooden house, aimed at preserving the natural properties of the material and extending the life of the building. The use of modern technologies and high-quality materials, regular maintenance, and microclimate control will ensure the reliability, safety, and aesthetic appeal of wooden structures for many years to come.
Comprehensive wood protection
Wood is a unique and environmentally friendly building material with high strength, thermal insulation, and aesthetic qualities. However, when wooden structures are in use, they are inevitably exposed to external factors such as moisture, insects, fungi, ultraviolet radiation, and fire. Without proper protection, wood quickly loses its performance characteristics, leading to destruction and reduced durability of the building.
Deep impregnation of wood
The comprehensive protection system is based on the use of special deep-penetrating compounds. These impregnations saturate the wood with protective components to a depth of several millimeters, creating a barrier against moisture, fungal damage, and wood-boring insects. Penetrating the structure of the wood, the preparations fill the pores and cracks, preventing the penetration of water and biological pests, which significantly increases the service life of the material.
Increased fire resistance
To increase home safety, fire retardants are used to treat wood, which increases its fire resistance to I-II degrees. These compounds reduce the flammability of the material, slow down the spread of fire, and provide additional time for evacuation in the event of a fire. Fire retardants are included in the complex impregnation or applied in a separate stage, strictly observing the standards and technology.
Protection from ultraviolet radiation and moisture
The external and internal surfaces of wooden elements are covered with protective paint and varnish materials: varnishes, oils, or paints with UV filters. This prevents fading, cracking, and destruction of wood under the influence of sunlight and atmospheric precipitation. In addition, such coatings create an additional hydrophobic layer, reducing moisture absorption and the risk of fungus and mold growth.
Regular maintenance
To preserve the protective properties of wood, it is important to re-treat the surface every 3–5 years. This allows you to renew the barrier layers in a timely manner, preventing destruction and ensuring a long service life for structures. Periodic inspections allow you to identify damaged areas and take prompt measures to repair and protect them.
11.3. Fire safety and security
Fire safety and evacuation exits
Consider fire safety measures and organization of evacuation exits both during the construction phase of a wooden house and in the finished project, which will serve as a memorial house with an adjacent apple orchard and recreational areas.
Fire safety during the construction phase
During the construction phase, special attention is paid to fire prevention, as working with wooden structures and the use of construction machinery increase the risk of fire.
Organization of the construction site: Fire breaks are created around the construction area, cleared of combustible materials, debris and dry vegetation. Special attention is paid to the storage and transportation of flammable substances - they are placed in fireproof containers at a safe distance from work areas.
Fire extinguishing equipment: Fire extinguishers with different types of fillers (powder, carbon dioxide, foam) are installed at the site and placed in accessible places. Workers are instructed on the rules of use of fire extinguishing equipment and safety measures.
Electricity supply control: Temporary electrical networks are equipped with automatic protections and quality insulation to avoid short circuits and sparks.
Prohibition of smoking and use of open flames: It is strictly forbidden to smoke in the immediate vicinity of construction materials and equipment. Open fire is allowed only in designated areas equipped with fire extinguishing equipment.
Staff training: All employees are instructed in the actions to be taken in case of fire, evacuation routes and emergency procedures for contacting the fire brigade.
Fire safety in the finished project of the memorial house
With the completion of the reconstruction and design of the memorial house with apple orchard and recreation areas, fire safety becomes a key factor in the protection of visitors, employees and the preservation of cultural heritage.
Materials and wood treatment: The construction of the house uses wood elements treated with fire retardants (flame retardants) that increase the resistance to fire to the level of I-II degree of fire resistance.
Exterior and interior surfaces are additionally coated with non-combustible varnishes and paints.
Detection and warning systems: The house is equipped with modern fire smoke and temperature detectors connected to an automatic warning system. Loudspeakers are placed in the recreation area and garden to inform visitors of the need to evacuate.
Fire extinguishing: Fire extinguishers and hydrants are located inside the building and on the territory. It is possible to use automatic fire extinguishing systems, e.g. sprinkler systems in key areas.
Evacuation exits: The home is equipped with multiple evacuation exits that are clearly marked and free of clutter. Evacuation routes are designed to allow quick and safe exit from the building, including for people with limited mobility.
Markings and lighting: All exits and escape routes are equipped with lighted and luminous signs that remain visible even during power outages.
Recreational areas and garden: Fire breaks - such as lawns with low grass and vegetation maintenance - are organized in the apple orchard and adjacent recreational areas to prevent the spread of fire. Water tanks and special sand containers are also placed for localized fire suppression.
Regular inspections and training: Periodic evacuation drills are conducted for staff and volunteers who maintain the memorial house. Fire safety is monitored by responsible professionals who check that equipment is in good working order and complies with regulations.
11.4. Environmental disposal of waste after construction works at the site
Waste disposal during reconstruction
In the process of complex reconstruction of a wooden house, a significant amount of construction and biological waste such as dismantling materials, wood remnants, old foundation elements, dirt and garbage is inevitably generated. To
minimize the negative environmental impact and effective waste management, the project provides a clear system of waste collection, sorting, storage and disposal.
Waste collection and sorting
Special areas are designated on the construction site for temporary accumulation of different types of waste. Immediately after dismantling, materials are categorized into wood, concrete and stones, metals, packaging and other small waste. This sorting allows for easier subsequent recycling and reduces the amount of waste sent to landfill.
Disposal of wood waste
Wood to be disposed of, given its natural origin, should be disposed of as carefully as possible. The parts that are not damaged by fungus or chemical treatment are sent for reuse in construction or for the production of firewood and fuel pellets. Remaining wood affected by mold or rot is subject to controlled destruction in accordance with sanitary standards and then sent for biodegradation or incineration in specialized plants with emission treatment.
Handling of concrete and stone debris
Destroyed foundations and concrete debris are collected separately. Large fragments are crushed and used as secondary construction material for backfilling, road base or backfilling excavations. Smaller residues are sent to specialized landfills for safe disposal.
Metal waste
Metal parts, including fasteners, wiring and fittings, are collected in special containers and transferred to scrap metal collection points for recycling. Recycling metals significantly reduces pressure on natural resources and contributes to the circular economy.
Household waste management
Regular collection of household waste, packaging materials and other non-construction waste is organized at the site throughout the renovation period. Sealed containers are used for this purpose and are taken to licensed landfills or sorting facilities in a timely manner.
Waste minimization measures
The project focuses on minimizing waste generation by optimizing construction processes, accurate material calculation and reuse of usable fragments. Modern cutting and dismantling techniques are also used to reduce the volume of scrap material.
An integrated approach to waste management during the reconstruction of a house ensures a reduction in the negative impact on the environment, optimizes costs and contributes to the sustainable development of the territory. This approach ensures that the construction process is not only efficient and of high quality, but also environmentally friendly.
11.5. Environmental friendly contest
Aesthetics and energy efficiency
Modern approaches to the restoration and reconstruction of wooden houses require comprehensive consideration not only of the strength characteristics of structures, but also of such important aspects as energy efficiency, aesthetics, environmental friendliness and operating comfort. These factors play a key role in creating a comfortable and durable living space.
Energy efficiency
One of the priority requirements is to ensure a high level of thermal insulation of all enclosing structures - walls, floor and roof. For this purpose, modern insulation is applied using environmentally safe and vapor-permeable materials such as mineral wool, ecowool or polystyrene foam with the required thickness and density. Special attention is paid to vapor and waterproofing layers, which prevent moisture penetration inside the structure and ensure the removal of excess vapor, while maintaining the “breathing” of the house. Effective thermal insulation significantly reduces heat loss, which leads to reduced heating costs and creates a comfortable microclimate at any time of the year.
Environmental friendliness
Special attention is paid to the use of materials that ensure that the living space is environmentally friendly. An important aspect is the use of moisture- and vapor-permeable coatings that allow the wood to “breathe”, preventing moisture accumulation and mold growth. This approach ensures a healthy microclimate, reducing the risk of allergic and respiratory diseases, and minimizes environmental impact by using natural and non-toxic components.
Environmental control
The whole process of waste disposal is controlled by responsible specialists, compliance with environmental legislation and sanitary norms is ensured. If necessary, air quality and soil conditions at the construction site are monitored to prevent contamination.
Ease of use
Finally, the design takes into account the usability and maintenance aspects of the home. Intelligent design of insulated and protected elements, ventilation systems and finishes significantly reduces the need for regular repairs and maintenance. Easy access to utilities and the ability to perform preventive maintenance is ensured, making it easier to keep the home in good condition for years to come.
As a result of the project to improve the aesthetics and energy efficiency of a wooden house, a harmonious combination of natural beauty, comfort, durability and environmental safety is achieved. This approach meets modern requirements to housing and ensures a high quality of life, while preserving the historical value and uniqueness of wooden structures.
12. Project partners
ARTechnika UAB
From ARTechnika UAB, be used the 360 VISION TECHNOLOGY Predator HD PTZ camera for outdoor surveillance, providing high-definition, all-weather security monitoring of the memorial site’s perimeter and buildings.
BETONO MOZAIKA
From BETONO MOZAIKA, we will use Grande concrete slabs (1000×300×140 mm) for main pedestrian paths and areas around the memorial house, providing durable, weather-resistant surfaces that blend with the natural and historic environment. For parking Plaza 2×2 (200 × 200 × 80 mm).
LUCIDUS TECHNO
From Lucidus Techno, we will use lighting and design elements from the modern “Lèvita” and “Catullo” collections to complement the restored wooden architecture and provide functional, elegant lighting inside and outside the memorial house.
Acoris
STABILUS BALTIC
From STABILUS BALTIC, we will use durable horizontal and vertical road markings for access roads, parking, and pedestrian zones to ensure clear traffic guidance and visitor safety, especially in low light.
TIKKURILA
From TIKKURILA, we will use ALTTI PLUS Terrace Oil, a durable, eco-friendly water-based treatment that protects wooden terraces and outdoor furniture from UV and weather damage for up to 4 years. Available in brown, gray, and black to match the site’s natural wood.
WOODON
From WOODON, we will use “Wood Only” wall panels for interior and exterior walls to preserve the authentic wooden character, offering natural texture and added insulation.
From Acoris will be installed on the software to optimize the operation of the memorial museum and control visitors' visits. There will be installed information signs with information about each part of the museum, purchase of tickets (if necessary), and optimization of the processes of the memorial museum and the cafe working on the territory.
