Baigiamajame darbe ne tik nagrinėjama J. Šeiboko kūryba, bet ir perteikiamos architekto įžvalgos skirtingų sociokultūrinių laikmečių kontekste, nušviečiama J. Šeiboko pedagoginė veikla, pateikiami kolegų komentarai analizuojamais klausimais. Darbas atskleidžia architekto kūrybinius principus, J. Šeiboko kūrybos vertę ir jai kylančias išlikimo grėsmes. Yra daroma išvada, kad J. Šeiboko kūriniai - vertingi architektūriniu, meniniu požiūriu ir tai yra svarus indėlis į šiuolaikinę Lietuvos architrektūrą. Baigiamojo darbo įvade aprašomas darbo aktualumas ir ištirtumas, tikslas, tyrimo uždaviniai, įvardijami moksliniai nagrinėjimo metodai. Pirmajame skyriuje pateikiama J. Šeiboko kūrybos analizė – aprašomi ne tik ryškiausi, bet ir ne tokie žinomi J. Šeiboko architektūros objektai, atskleidžiamas jo kūrybinės asmenybės vystymasis. Antrame skyriuje į skirtingų laikmečių sociokultūrinį, politinį kontekstą stengtasi pažvelgti ne tik remiantis literatūroje dėstomais faktais, bet ir gretinant juos su J. Šeiboko architekto ir pedagogo įžvalgomis. Darbo pabaigoje formuluojami apibendrinimai. Darbą sudaro: įvadas, du skyriai, apibendrinimai, J. Šeiboko darbų sąrašas, literatūros ir šaltinių sąrašas, iliustracijų sąrašas bei priedas. Darbo apimtis: 90 p. teksto be priedų, 165 iliustracijos, 77 bibliografiniai šaltiniai, priedas. / The final thesis approaches the creation of the architect J. Šeibokas as well as his insights in the context of divers sociocultural periods. In addition, the pedagogical activity of the architect is described and the comments of the colleagues are presented in correspondence to some analysed points. The Master paper reflects the essential principles of architect‘s creation and similarly proves the value of J. Šeibokas‘ creation and its survival threats. The main conclusion is, that the works of J. Šeibokas are architecturally and creatively valuable. Consequently, the creation of this architect is a weighty contribution to the contemporary Lithuanian architecture. The introduction of this research work defines the relevance and the exploration level of the Master thesis, the object, the goals and the methods of research used. The introduction also indicates the sources coherent to the research object. The first part of the Master paper is the analysis of J. Šeibokas‘ creation, where not only his most outstanding architectural objects are approached, but also less significant works, thus the development of the architects creative „self“ is revealed. In the second chapter the author of the final thesis intended to take a broader look to the divers sociocultural-political context with reference to J. Šeibokas‘ point of view as an architect as well as a professor. Lastly, the summation of the whole research is stated. Structure: introduction, two chapters, summation, the list of... [to full text]

No description available.

During the shift from the rule of Joseph Stalin to that of Nikita Khrushchev, people in the Soviet Union witnessed dramatic political, economic, and social changes, evident even in such private aspects of life as residential home interiors. The major architectural style of Stalin's era, known as Stalin's Empire Style, was characterized by grandeur and rich embellishments. The buildings' interiors were similarly grandiose and ornate. By endorsing this kind of design, Stalin attempted to position himself as an heir of classical traditions, to encourage respect for his regime, and to signal his power. When Nikita Khrushchev became the country's leader shortly after Stalin's death in 1953, he proclaimed that "excessive decorations" were not only unnecessary, but harmful. As a result, the standardized panel buildings produced at his initiative were defined by straight, plain lines, and were devoid of literally any architectural details that were not considered functional. These changes in Soviet architecture were reflected in interior design and furnishings: the minimalist aesthetic became their defining characteristic. The purpose of this study is to gain, through examination of existing literature, new insight into why a transition to a minimalist aesthetic was happening in the 1950s and 1960s in Soviet urban interior design. To achieve this goal, the present thesis analyzes works by contemporary scholars on the subject and examines statements the Soviet government as well as Soviet architects and interior decoration specialists made regarding the state's views on architecture and interiors during the period of 1950-1960. While research has been published that explores some aspects of this stylistic transition, the present work is unique in that it identifies and focuses on three distinct reasons for the change to minimalism in Soviet urban residential interiors under Khrushchev: the deficit of apartment space, reduction of construction costs, and ideological motives.

This thesis focuses on the Soviets after the October Revolution, between 1917 and 1932, in which architecture was seen as the crucial aparatus to transform the society. Within this framework it approaches to social condensers which were perceived as architectural foresights and buildings that aim to transform the society and promote a new, collective way of life and relocates the (social) structure and agency dichotomy in architecture. Furthermore the effort of the creative individual (agent) to preserve his inner-domain is searched through the workers&#039 / club designs of two important architects Konstantin Melnikov and Ivan Leonidov, and furthermore trying to understand on which principles they established their architecture. Whereas the conclusion includes a critical evaluation on &quot / halkevleri&quot / (people&#039 / s houses) as having similar social premises within the scope of the general framework of the study.

Notre recherche porte sur l’histoire de la reconstruction du Xreščatyk, l’avenue principale de Kiev, au cours de la première décennie qui suit la Deuxième guerre mondiale sous plusieurs angles : le contexte idéologique et économique dans lequel se trouve l’URSS à l’époque, la politique d’Etat dans le domaine de l’architecture et son impact sur la modélisation des formes architecturales, les matériaux et techniques de construction, l’organisation de l’activité architecturale, l’application pratique de la théorie de la synthèse des arts, le rôle des espaces verts dans la planification urbaine. Nous étudions les différentes étapes de l’élaboration et de la réalisation de ce projet architectural majeur en tant que résultat de l’interaction entre le commanditaire social et les architectes. Nous analysons le concept architectural du Xreščatyk comme l’adaptation de la tradition artistique nationale au contexte de l’Ukraine soviétique d’après-guerre. Malgré l’importance idéologique que revêt la reconstruction de l’avenue principale de la capitale ukrainienne, comme symbole du triomphe du communisme sur le nazisme, tout n’est pas subordonné au politique dans ce gigantesque chantier. Le dévouement et les idées personnelles des auteurs du projet jouent un certain rôle d’une part et les réalités économiques dictent un certain nombre de choix d’autre part. Ce travail met en évidence le décalage entre les projets ambitieux du concours architectural et la réalisation finale, analyse les mécanismes d’ajustement du projet aux besoins réels de la ville. / Our research relates to the history of the reconstruction of Xreščatyk, the main avenue of Kiev, during the first decade which follows the Second world war under several approaches: ideological and economic context in which is the USSR at the time; the state policy in the field of architecture and its impact on the modeling of the architectural forms, materials and building techniques, the organization of the architectural activity, the practical application of the theory of the synthesis of arts, the role of green spaces in the urban planning. We study the various stages of the development and the realization of this major architectural project as a result of the interaction between the social sponsor and the architects. We analyze the architectural concept of Xreščatyk like the adaptation of the national artistic tradition to the context of the Soviet Ukraine of post-war period. Despite the ideological importance of rebuilding the main avenue of the Ukrainian capital, as a symbol of the triumph of communism over nazism, everything is not subordinate to politics in this gigantic building site. The dedication and personal ideas of the authors of the project play a certain role on the one hand and economic realities dictate a number of choices on the other. This work highlights the gap between the ambitious projects of the architectural competition and the final realization, analyzes the mechanisms of adjustment of the project to the real needs of the city.