Architect Dr. D. Traškinaitė: "Lithuania lacks a clear concept of heritage"

January 14, 2025
In Lithuania, new or reconstructed buildings often spark sharp debates, not only among professionals from various fields but also within society. However, projects located in UNESCO heritage sites, especially in Vilnius and the Curonian Spit, tend to attract even more controversy.
 
"For instance, we can recall the construction of apartment buildings in the 'Missionary Gardens' in Vilnius or the ongoing, unproductive discussions about the Nida Culture, Tourism, and Information Center 'Agila' project. All these changes in buildings or landscapes become part of local identity and have a direct impact on and significance for internationally protected cultural landscapes," says Dr. Dalia Traškinaitė, who conducted special architectural research.
 
In her dissertation, the researcher explored the connection between legal regulations and architectural aesthetics, examining new and adapted (reconstructed) buildings in Vilnius and the Curonian Spit since their inclusion in the World Heritage list. She also studied the architectural expression of these buildings and the requirements set out in international and national heritage protection documents for new, adapted, and reconstructed architecture.
 
"Complicated and confusing legal regulations, the underutilization of international heritage protection documents, and prevailing general urban trends pose many challenges in planning and implementing new buildings or reconstruction projects in the areas I studied. Moreover, the growing gap between the implemented architecture and the legal regulations associated with UNESCO sites not only creates confusion for architects designing in these areas but also hinders the creation of architectural objects that meet the required standards," explains the scholar.
 
Lack of Aesthetic Evaluation Criteria
 
While writing her dissertation, VILNIUS TECH alumna analyzed the genesis and development of new architecture in protected areas, focusing primarily on aesthetic aspects. The young researcher compared international and national legal heritage protection documents, conducted an analysis of aesthetic expression, and, based on the results, examined the most characteristic buildings—new, reconstructed, and restored—in the Curonian Spit and Vilnius' historical center.
 
"One of the conclusions I reached is that Lithuania lacks a clear concept of heritage, where international heritage protection documents would be integrated into the national legal system. This would help reduce the complexity of the existing system, which leads to many legal misunderstandings, resulting in architectural, urban, and aesthetic problems in protected areas.
 
Due to the confusion caused by legal construction requirements for new architecture, strategic documents—management plans—are necessary. These plans would allow for the assessment of the vulnerability status of values, adjustment of existing planning and other heritage protection documents, and enable continued monitoring and expert evaluations of the area. Of course, not only the preparation of these plans but also their implementation—constantly reviewed and updated—would help protect these World Heritage sites and manage potentially harmful processes," shares Dr. Traškinaitė.
 
Moreover, it is essential to ensure the effective transfer of practical knowledge into legal regulations. The exchange of both theoretical and practical knowledge, along with ongoing monitoring, would help bring about qualitative change in the Vilnius and Curonian Spit areas, considering each participant's contribution to the common goal—maintaining these cultural landscapes in the most harmonious way, she continues.
 
"Since my dissertation examines the connection between two areas—legal regulations and architectural aesthetics—during the research on legal documents, it became clear that the legal documents of the protected sites studied lack aesthetic evaluation criteria. These would include ethical, sensory, emotional experience, and psychological impact parameters that should be applied in the creation of new architecture, which forms a significant part of architectural aesthetics and local identity," explains Dr. D. Traškinaitė.
 
Regarding the historical center of Vilnius and the Curonian Spit, the most significant type of construction here is reconstruction (major repairs, annexes, adaptations during reconstruction), followed by new architecture. The direction of change in these studied areas, following the recommendations for Historic Urban Landscapes, is to apply sustainability principles by reusing and adapting heritage buildings.
 
Additionally, 20th-century buildings in these areas should be assessed to determine which ones are unique and worthy of protection, with established values, and which, if carelessly reconstructed, might lose their character. The possibility of restoring destroyed heritage values in these areas can only occur when it is based on sources and discussed not only by experts but also by a community that has developed heritage thinking, avoiding unfounded decisions and doubts about the appropriateness of such a solution.
 
"By applying the findings of this research, it would be possible to ensure planned changes in the areas, maintain their vitality, and continue to protect these sites on an international level. I believe the results of these studies can be useful to specialists working in the field of architecture—designing buildings and complexes or reconstructing existing architectural objects in UNESCO World Heritage sites in Lithuania, including architects and urban planners.
 
These insights can also be valuable for design specialists working in other protected areas of Lithuania, as they can help them delve deeper into environmental issues and consistently apply aesthetic criteria in practice, thus creating quality architecture. Certainly, these insights are also important for those working to educate society about heritage protection, as the community is directly responsible for the continued existence of these World Heritage sites," concludes Dr. Dalia Traškinaitė.

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Austėja, a singer in "Vingis": "Here, I can do more than just listen to folk music – I can become a part of it"
Austėja, a singer in "Vingis": "Here, I can do more than just listen to folk music – I can become a part of it"
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Before "Vingis," it was more of an outside interest, but here I was able to experience it up close—not just listening to folk music, but actually becoming a part of it. Once you feel it up close, you don't want to let go of the magic it radiates. I think that’s what drew me in the most—the realization that folk music isn’t just a piece we perform on stage. Behind it, there is history, people, emotions, and a very strong sense of community. – If possible, could you describe the feeling you experience while singing during performances? – Every concert is a completely different experience. The sense of responsibility before a performance brings stress and various questions: Will everything go according to plan? Will I make a mistake? Will I mix up the lyrics? However, as soon as the concert begins, that feeling usually disappears. The tension fades away, and a sense of euphoria takes over. Singing together, listening to one another, and sharing that collective emotion make up for all the hard work and pre-show tension. For me, that specific moment is incredibly important—when you realize you are no longer alone on stage, but part of a unified whole. I don't necessarily enjoy just standing on stage for the sake of it, but truly magical things happen up there. And it's exactly those moments that make you want to come back again and again. – Participating in any extracurricular activity can bring various benefits. What advantages do you see in singing with "Vingis"? – I see a lot of benefits from singing and being involved in "Vingis". Singing develops creativity, active listening, mutual respect, and, of course, musicality. You also learn responsibility—you realize that your preparation and effort impact not only yourself but the entire ensemble. As a group, "Vingis" provides a very strong social foundation for a young, developing personality. 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Rehearsals aren't always easy, but they are almost always fun. I think that the ability to work seriously while also sharing a laugh is what really helps maintain such a great atmosphere. – How do you all get along within the group? Do you have any traditions or rituals before performances or rehearsals? How do you welcome newcomers? – We are more than just an ensemble; we are one big family—a community that shares its kindness and warmth with absolutely everyone. You can laugh, cry, celebrate, or share a moment of sadness with any member of the group. We have a lot of traditions and special evening events that bring us even closer together. The season kicks off with a welcome evening for the freshmen, followed the next day by an orienteering game around Vilnius and a potluck party at one of the members' homes. In December, we hold an annual review night where we discuss everything we've accomplished over the year and elect a new president. In February, we have "Guys' Night," where the girls organize the best night of the year for them. In March, it's "Girls' Night," and the guys return the favor, often raising the bar even higher. In the spring, we have the freshmen initiation, where the new members take the "Vingis" oath and officially become part of our community for life. We close the season with an incredible camp in Aukštadvaris, where the outside world simply fades away into the silence of the forest. It’s an indescribable experience that you have to feel for yourself—there’s no other way to truly understand it. We also have a special ritual before every concert: we place our hands on each other’s shoulders and interlock arms. Our director, Rimutė, always shares a few words. These aren't just formal pre-show pleasantries—she delivers truly meaningful words that inspire us, calm our nerves, and stay with us throughout the entire performance. 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Once I started working, things got quite a bit more challenging because my chosen profession doesn't have standard 8-to-5 working hours—that's just how the event industry works. Work often takes place on evenings and weekends, sometimes overlapping with rehearsals or concerts. Even if you can no longer participate in the regular activities of "Vingis", the strong bond with the group remains. After all, once a vingietis (a Vingis member), always a vingietis. – Is there anything else you’d like to add, or perhaps a message you’d like to share? – "Vingis" is an essential experience for every student. I’m not exaggerating in the slightest. I don't think I would have experienced such emotions, challenges, and moments of euphoria anywhere else. I gained so many social skills here and met incredibly wonderful, genuine people who I can proudly call my friends. And even if they aren't all close friends, they are people who will never turn their backs on you. 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