立陶宛居住建筑

馬塔斯·蘇普辛斯卡斯/Matas ?iup?inskas

陳茜 譯/Translated by CHEN Xi

“居住”與家庭生活是建筑學(xué)科的基本概念之一。建筑師要面對(duì)由處理私人空間所帶來(lái)的額外限制，并與居住空間的未來(lái)使用者建立密切的關(guān)系。這并非輕而易舉的事，更何況還需在空間的表現(xiàn)力與便利性之間尋求適度的平衡。居住空間首先作為某人的家而存在，也是其被視為建筑作品而賦予表現(xiàn)力的先決目標(biāo)。但家庭空間又恰恰呈示了豐富地區(qū)性的建筑類型——人的生活習(xí)慣、價(jià)值觀、居住傳統(tǒng)。簡(jiǎn)而言之，與相對(duì)宏大的公共建筑相比，居住建筑能夠更加顯著地反映出文化傳統(tǒng)、社會(huì)關(guān)系及當(dāng)?shù)亟?jīng)濟(jì)狀況。

近年來(lái)，住宅設(shè)計(jì)思想廣泛的跨國(guó)傳播令家庭空間愈加全球化。各類建筑出版物令不同區(qū)域的住宅類型得以傳播共享，也令建筑師比以往更易了解多樣的住宅設(shè)計(jì)項(xiàng)目。同時(shí)，常規(guī)客戶的意愿不再僅受制于其個(gè)人經(jīng)驗(yàn)，還受到無(wú)數(shù)網(wǎng)絡(luò)圖像信息流的沖擊（如Pinterest, Instagram等）。對(duì)地產(chǎn)開(kāi)發(fā)商來(lái)講亦是如此，其他城市甚至國(guó)外的成功案例成為其著力嘗試的全新發(fā)展計(jì)劃。盡管對(duì)家庭空間的審美差異正日漸消解，固有的日常生活習(xí)慣也在緩慢改變，氣候條件作為阻止同一性在全球蔓延的僅存因素之效力也有所折扣。盡管如此，它仍然是保持本土建筑特殊性的一種值得玩味的方式。那么，我們應(yīng)當(dāng)如何描述立陶宛日常建筑的特殊性呢？又是哪些作用力塑造了其特殊性？

首先，立陶宛建筑的靈感始終受到鄉(xiāng)村傳統(tǒng)的影響。這一影響孕育自兩次世界大戰(zhàn)期間（1918-1939），直到蘇維埃時(shí)代仍保持主導(dǎo)地位。彼時(shí)，尋求建筑中的民族特色是流行且被廣泛接納的做法。鄉(xiāng)村出身者占據(jù)了知識(shí)分子的可觀比例，他們從鄉(xiāng)村來(lái)到城市接受教育。早期現(xiàn)代主義正值繁榮的年代中，鄉(xiāng)村文化成為本土建筑師常見(jiàn)的靈感來(lái)源。這種靈感源頭剛好可以解釋木材的使用在立陶宛建筑中的流行，以及現(xiàn)代設(shè)計(jì)中某些細(xì)部與圖案的使用。居住單元的類型和空間組織有時(shí)也受到鄉(xiāng)村建筑范例的影響，但蹤跡遠(yuǎn)不如風(fēng)格影響的證據(jù)來(lái)得明顯。

1維陶塔斯·迪丘斯和列奧尼達(dá)斯·茲博卡斯設(shè)計(jì)的立陶宛科學(xué)院休閑中心（1982）詮釋了對(duì)木材的廣泛使用及與大自然的關(guān)系/Lithuanian Academy of Sciences Recreational Complex (1982), designed by Vytautas Di?ius and Leonidas Ziberkas shows subtitle relation with nature and extensive use of wood.

2魯斯特尼斯·米拉賽維丘斯設(shè)計(jì)的“MR21”住宅（2016），展現(xiàn)了戰(zhàn)間的顯著影響，并呈現(xiàn)了歷史住宅區(qū)對(duì)選址的考量——贊利亞卡涅斯/House "MR21" (2016)designed by architect Rūstenis Mila?evi?ius. It shows the clear influence of Interwar period and also respects towards genius loci of the historic residential area – ?aliakalnis.

第二重影響則來(lái)自于國(guó)外的職業(yè)建筑方法。兩次世界大戰(zhàn)期間，大多數(shù)本土建筑師都在諸如巴黎、蘇黎世、布魯塞爾、柏林、圣彼得堡之類的城市接受教育。與此同時(shí)，外國(guó)建筑師已經(jīng)開(kāi)始在立陶宛展開(kāi)項(xiàng)目?；▓@城市運(yùn)動(dòng)的影響便可見(jiàn)于維爾紐斯、考納斯等城市的住區(qū)規(guī)劃方案中。而后在蘇聯(lián)時(shí)期，斯堪的納維亞國(guó)家的設(shè)計(jì)思想強(qiáng)烈影響了立陶宛本土建筑師。舉例來(lái)說(shuō)，芬蘭旅行的所見(jiàn)深遠(yuǎn)影響了材料與細(xì)部的表達(dá)方式。干凈而簡(jiǎn)潔的建筑語(yǔ)言、本土材料的使用以及對(duì)自然之美的聚焦成為了主導(dǎo)（圖 1）。

盡管北歐建筑的影響顯著，鄉(xiāng)村建筑的啟示仍舊存在——兩者相互融合且并存至今。即使在立陶宛重獲獨(dú)立后、建筑界歷經(jīng)重大機(jī)構(gòu)變動(dòng)的時(shí)期，新材料、實(shí)驗(yàn)派、后現(xiàn)代主義種種思潮迭起，仍未能撼動(dòng)這兩種影響的生命力。由于建筑師職業(yè)依賴于密切合作的師徒關(guān)系，傳遞給下一代的經(jīng)驗(yàn)中裹挾了明顯的本土文化特質(zhì)。比如，無(wú)論過(guò)去還是當(dāng)下，兩次世界大戰(zhàn)間的現(xiàn)代主義總被時(shí)常提及成為當(dāng)代建筑的一個(gè)重要靈感來(lái)源?；蛟S由于這種代際傳遞與代際間的密切合作關(guān)系，對(duì)立陶宛建筑來(lái)說(shuō)，這種價(jià)值觀直至今日依然保持其重要性（圖2）。

數(shù)年來(lái)，大型住宅街區(qū)一直是立陶宛住宅建筑的核心主導(dǎo)類型，在此類項(xiàng)目中本土建筑師盡可能克服嚴(yán)苛的規(guī)范限制并盡力革新標(biāo)準(zhǔn)化的蘇聯(lián)式設(shè)計(jì)。同時(shí)，在面對(duì)為藝術(shù)家、音樂(lè)家和社會(huì)名流而設(shè)計(jì)的住宅項(xiàng)目時(shí)，建筑師們得以有機(jī)會(huì)嘗試更多。盡管這類項(xiàng)目稀少而特殊，卻提供了設(shè)計(jì)技巧的發(fā)揮空間，并為住宅設(shè)計(jì)累積了經(jīng)驗(yàn)。度假村也在同時(shí)期得到迅速發(fā)展，也為建筑師提供了向這類建筑汲取經(jīng)驗(yàn)的機(jī)會(huì)。

立陶宛獨(dú)立后，獨(dú)棟住宅合法化迅速成為流行。年輕建筑師通過(guò)此類住宅項(xiàng)目獲得了通過(guò)新想法與新材料來(lái)表達(dá)自我設(shè)計(jì)觀念的極佳機(jī)會(huì)。1990年代初，后現(xiàn)代主義仍舊甚囂塵上，對(duì)于自己的第一個(gè)居所，業(yè)主們又往往難以明確需求。試錯(cuò)過(guò)程中難以避免的早期極端設(shè)計(jì)逐漸被新生代建筑師與眾不同且具有辨識(shí)度的住宅設(shè)計(jì)所取代。

轉(zhuǎn)折不僅發(fā)生在建筑設(shè)計(jì)領(lǐng)域，更重要的是對(duì)生活方式的改變。從集體公寓和大型住宅街區(qū)向更加私有化、個(gè)人化的居住空間的轉(zhuǎn)變十分劇烈——建筑師與業(yè)主都需要時(shí)間來(lái)調(diào)整以適應(yīng)新的生活方式并發(fā)展出因應(yīng)的貼切建筑語(yǔ)匯。住宅建筑一度曾失去其對(duì)環(huán)境的謙遜態(tài)度，但很快吸取了教訓(xùn)。無(wú)疑，對(duì)于自然和城市的語(yǔ)境關(guān)系之重要性又重回建筑師的視野當(dāng)中，而獨(dú)立建筑師們盡可以發(fā)揮其對(duì)建筑語(yǔ)境處理的創(chuàng)造性方法（圖3-5）。

The concept of "living" and domesticity is one of the fundamental ones for architectural discipline. Also,an architect is much more limited when working with personal space and have to develop a very intimate relationship with the future user. Not everybody is capable to do that and also to find a proper balance between expression and convenience. First of all,residential space will be home for somebody and only after achieving this goal you can start thinking how expressive it could be as a piece of architecture.However, domestic architecture is the one that expresses locality very well – it shows habits and values that people have and tradition of habitation.To put it simply - residential architecture is capable to reflect the cultural traditions, social relationships and state of the local economy in a much more evident way than the grandiose public buildings.

During the recent decades, housing design ideas spread through countries and domestic architecture became more and more globalised. Architectural publications helped to share knowledge about housing typologies of different regions and architects are more informed about a variety of residential designs than ever before. At the same time wishes of the regular client are shaped not only by their personal experience but by a nameless flow of web images as well (Pinterest, Instagram etc.). Real estate developers are doing the same by trying new development schemes that proved to be working in other cities and countries. It seems that only the climate limits a uniformity around the world, but it is not completely true - even if the difference in aesthetics of domestic architecture are dissolving habits of everyday life are changing slowly and by this local architecture remains specific and interesting to learn about. So how can we describe what is specific to the Lithuanian architecture of everyday life? And what are the forces shaping it?

First of all, Lithuanian architecture was always inspired by rural tradition. This influence emerged during the interwar period (1918-1939) and remained dominant during the Soviet years as well. Searching for national identity in architecture was popular and acceptable at the time. A significant portion of the new intelligentsia was born in villages and came to cities to get an education. Early Modernism flourished at the time and local architects often used rural culture as a source of inspiration. Such inspiration could explain the popularity of wood in Lithuanian architecture,and also some of the details and patterns used in a modern design. Typology of residential units and spatial organisation sometimes were also influenced by the examples of rural architecture, but such traces are less evident then stylistic inspiration.

The second source of influence was professional architecture from abroad. During the interwar period,most of the local architects were educated in such cities as Paris, Zurich, Brussels, Berlin, Saint Petersburg and others. At the same time, foreign architects were already working in Lithuania. Urban plans of residential areas inspired by garden city movement appeared in Vilnius and Kaunas cities. Later – during the Soviet period Scandinavian countries became a strong influence for local architects. For example, trips to Finland made a great effect on how materials and detail were approached. Clean, laconic architectural language, local materials and a focus on the beauty of nature became dominant (Fig. 1).

Despite Scandinavian influence traces of rural inspiration were not forgotten – both of these aspects merged together and coexists till now. Even after Lithuania regained its independence and architectural field underwent major organisational changes these influences outlived influx of new materials, na?ve experimentation, and echoes of Postmodernism. Since architect's profession is dependant on a close cooperation between the master and its apprentice – experience was transmitted to further generations together with a distinctive local cultural code. For example, Interwar Modernism was and still is often mentioned as a strong source of inspiration for contemporary architecture.Maybe because of such transfer and because of close cooperation between generations these values remained important in Lithuanian architecture to this day (Fig. 2).

For decades the most dominant typology of residential architecture in Lithuania was mass housing blocks. Local architects were trying to overcome strict regulation and update the standard Soviet designs as much as they could. At the same time, they had a possibility to experiment more when designing residential projects for artists, musicians or elite of the time. Even if this was a rare and specific case it allowed sustaining a certain level of skills and gain experience in residential design. At the same time resorts were developed heavily and there was a possibility to learn from holiday homes and sanatoriums as well.

After gaining independence, detached residential houses became legal and extremely popular typology.By designing such houses young architects had a great chance to express their aspirations by improvising with new ideas and materials. Postmodernism was still popular during the early 1990s and also clients were not sure about their real needs when building the first house. There were mistakes made during the process of trial and error, but excessive early designs slowly were outnumbered by the distinctive, but subtitle houses designed by the new generation of architects.

The turning point was happening not only in the architectural design but most importantly in a transformation of the way of life. The shift from communal apartments and mass housing blocks towards more personalised residential space was a drastic one – time was needed both for architects and for the clients to adjust to the new lifestyle and to develop the proper architectural vocabulary capable of dealing with such lifestyle. For a short period, residential architecture had lost its moderated approach towards the environment, but soon lesson was learned. Importance of contextual relation to nature and the city surely came back to the field even if individual architects had their personal creative approach how context should be treated (Fig. 3-5).

One of the architects that became well known for his expressive residential architecture is Gintautas Natkevi?ius. His studio was able to design very different houses in recent decades, but the main feature of these projects was an ambitious play between form, structure, and materials. His projects are usually provocative, often eye-catching, but Natkevi?ius is able to reach a dialogue between context and the newly built structure quite well.Family house in farmstead was built in 2010, it lays calmly on the field and next to the water. Playful observation room on top of a low, horizontal building strengthens the impression of the vast horizontal plot and gives a possibility to climb above the ground floor to see even further away. Family house in Utriai is quite opposite – it is expressively cantilevered and sticks out from the green landscape. It is an eye candy in a monotonous environment, more egoistic yet playful piece of architecture.

金陶塔斯·納特科維丘斯是以具有表現(xiàn)力的住宅建筑而獲得聞名的建筑師之一。他的工作室近年來(lái)完成了各異的住宅作品，但這些項(xiàng)目皆因?qū)π问?、結(jié)構(gòu)和材料富有雄心的精妙操作而烙印上工作室的鮮明特色。盡管其作品往往具有強(qiáng)烈的煽動(dòng)性和視覺(jué)吸引力， 納特科維丘斯仍能在固有環(huán)境與新建結(jié)構(gòu)間建立良好的對(duì)話關(guān)系。建于2010年的農(nóng)場(chǎng)住宅靜立于田野之中，水澗之濱，戲劇性的瞭望室被置于低矮的水平體量上方，強(qiáng)化了水平延展的廣袤土地，同時(shí)提供了攀爬到地面之上而極目遠(yuǎn)眺的可能性。烏特里艾家庭住宅的處理卻剛好相反——巨大而強(qiáng)烈的懸挑從綠色景觀中伸展出來(lái)，使這座極度自我而戲劇化的建筑成為單調(diào)環(huán)境中的點(diǎn)睛之筆。

同樣由納特科維丘斯工作室設(shè)計(jì)的草莓街住宅則顯得溫潤(rùn)而內(nèi)向，它的內(nèi)部庭院對(duì)鄰里隱藏起來(lái)，卻對(duì)山谷和交匯的河流敞開(kāi)視角。地塊的復(fù)雜形狀也成為了靈感的一部分——建筑師設(shè)想了一個(gè)幾乎占據(jù)整個(gè)場(chǎng)地的形體。由銹鋼板構(gòu)成的立面融合進(jìn)了糾纏不清的環(huán)境中，增加了街區(qū)層化的、未建成似的氛圍基調(diào)。拋光的、開(kāi)敞的內(nèi)部立面圍繞著帶有花園的小庭院展開(kāi)，這個(gè)空間雖作為建筑的中心元素，從視覺(jué)與構(gòu)成的雙重角度聯(lián)系起了各個(gè)空間，卻能夠不斷吸引觀者的注意，不斷帶來(lái)驚喜（圖6、7）。

阿克吐里建筑師工作室的作品中卻呈現(xiàn)出截然不同的建筑操作方法。他們力圖強(qiáng)調(diào)對(duì)自然與城市環(huán)境的清晰認(rèn)知，以及對(duì)遺產(chǎn)、傳統(tǒng)和自然材料的尊重。這個(gè)團(tuán)隊(duì)始終探索著如何以獨(dú)有的建筑細(xì)部為簡(jiǎn)潔形式賦予有趣的敘事。以湖畔別墅為例，單色木條板包裹了住宅的外表面，又被精心布置的帶有遮陽(yáng)板的窗洞和陡峭的斜坡屋頂加以刻畫(huà)。這種屋頂是阿克吐里設(shè)計(jì)中的一個(gè)常見(jiàn)元素，通過(guò)其與常見(jiàn)形式的操作，轉(zhuǎn)換出更加特殊而不可預(yù)料的形式。遮陽(yáng)板起到安全防護(hù)的作用，同時(shí)致敬了傳統(tǒng)的立陶宛鄉(xiāng)村建筑。邏輯清晰而簡(jiǎn)潔的內(nèi)部空間布局、窗戶朝向的景觀視角、簡(jiǎn)明的室內(nèi)設(shè)計(jì)——這座建筑的所有特征都傳達(dá)出其對(duì)所處自然環(huán)境的尊重，同時(shí)渲染了親密的家庭氛圍（圖8）。

3-5納特科維丘斯事務(wù)所設(shè)計(jì)的3種家庭住宅——農(nóng)場(chǎng)住宅（2010），烏特里艾住宅（2006）及草莓街住宅（2011）/Three different family houses created by the Natkevi?ius studio – house in farmstead (2010), house in Utriai (2006) and house in Bra?ki? street (2011).

6.7阿克吐里團(tuán)隊(duì)設(shè)計(jì)的兩個(gè)迥異的住宅項(xiàng)目——鄉(xiāng)村湖畔別墅和位于蘇巴丘斯大街19號(hào)的市區(qū)公寓樓/Two very different residential projects created by Aketuri team – rural Lakeside Villa and urban apartment building in Suba?iaus str. 19.

P a l e k o建筑工作室成立于大約2 0年前，并贏得過(guò)多個(gè)國(guó)內(nèi)外建筑競(jìng)賽。住宅建筑僅是其團(tuán)隊(duì)的工作范圍之一，但卻是十分重要的一個(gè)部分。拉蘇納邁住宅區(qū)的設(shè)計(jì)中，建筑師采用了原型化的傳統(tǒng)住屋體量，令他們漂浮在緊鄰的作為歷史保護(hù)遺跡的軍火地窖之上。同時(shí)，工作室進(jìn)行著各類尺度的住宅建筑項(xiàng)目，曾在維爾紐斯的中心區(qū)域完成公寓住宅。即使在大型項(xiàng)目中，帕勒卡斯也試圖植入趣味元素來(lái)歌頌日常生活的美好——庭院、露臺(tái)、中庭，甚至簡(jiǎn)單的陽(yáng)臺(tái)都能夠成為建筑中的核心元素和創(chuàng)造特有氛圍的重要工具（圖9、1 0）。

House in Strawberry street (Bra?ki? g.) also designed by Natkevi?ius studio is the rusted introvert hiding its inner courtyard from the neighbors and opening it up to the view of the valley and intersection of the two rivers. Complicated geometry of the plot was used as a source of inspiration – architects proposed a structure that occupies almost the entire site. The fa?ade, of blind rusted plates, merges with the visually inarticulate surroundings and adds up to the layered and unfinished atmosphere of the neighborhood. The glazed and open interior fa?ades surround a tiny inner courtyard with a garden. It is a central element of building layout which connects different spaces visually and compositionally. Each and every project for Natkevi?ius office is different,but it always keeps an ability to surprise the spectator and to attract his attention (Fig. 6,7).

Quite a different approach might be seen in Aketuri architect's portfolio. They are trying to demonstrate an awareness of the natural and urban environment, respect to a heritage and traditional,natural materials. The team is always looking for its own distinctive architectural details that make a simple form into an interesting story. For example,the Lakeside Villa is decorated with monochromatic wooden siding and its character is formed by thoughtfully composed windows with shutters and a sharp gable roof. Such roof is a common feature in the Aketuri designs and it plays with the familiar form by transforming it in too more specific and unexpected one. The shutters are used as a safety tool and a reference to traditional Lithuanian village architecture.The simple and logical layout of interior spaces,the views visible from the windows and the laconic interior – all the features of this buildings give proper respect to the natural surrounding where the house is situated within intimate feeling of domesticity (Fig. 8).

The Paleko ARCH studio was established almost two decades ago, and since then it has been successful in a number of architectural competitions locally and abroad. Residential design is only a part of the scope that Palekas team is working with, but quite an important one. They have created such a subtle design as Ras? namai with the archetypal volume of the traditional house floating above the remains of protected historic amunition vaults situated next to the buildings. At the same time studio is working on small and large scale residential buildings and they have designed apartment buildings in the very central locations of Vilnius. Even in the big scale projects,Palekas team is trying to insert element playfulness and celebrate the joy of the everyday life – courtyards,terraces, atriums, or simple balconies in Palekas designs become a core element of the building and an important tool to create a specific atmosphere of the property (Fig. 9,10).

Architect Audrius Ambrasas is also known for an ability to orchestrate the building with specific atmosphere. He is working on projects of different scale, and some of them already became a landmark of Vilnius city. However atmospheric properties and strong sensibility of the author is especially visible in a residential architecture. Luxury villas that were designed by Ambrasas are expressive, yet they are"silent". He likes to play with light, bent surfaces and fluid spaces in most of the projects and not only residential ones. Buildings such as Villa G and Villa N is not an exception. They are inspired by nature and smoothly blends in the surroundings. Concrete walls, wood, copper, stone – all the materials are raw,natural and they are contributing to the sense of the place as well. Long horizontal volumes lead an eye of the spectator through the landscape and frame picturesque greenery around the building (Fig. 11,12).

The other office that is worth mentioning is Arches – studio of architectural aesthetics. Arches are also known for luxury villas, but also for the design of major public buildings. Most of their residential designs are situated in an impressive natural environment and resort areas. They are also recognised for their recreational designs and playfully decorated facades. One of the most nominated projects – Nakci?ibis resort (2008) and Valley villa(2017). Both of these projects shows professional usage of wood as the main fa?ade material and interpretation of archetypal silhouette of the traditional gable-roof house. In 2017, Valley Villa won the annual international Residential Architecture Design Awards Grand Prix in the category Custom House More Than 3000 Square Feet organised by The Magazine of the American Institute of Architects and this was the first such awarded received by the project from Eastern Europe (Fig. 13).

Interesting experimentation can be found in the designs of smaller studios and the younger architects.They are eager to try unconventional solutions and it is always a pleasure to see how they are thinking outside the box. For example, Andrius Skiezgelas decided to be a developer and the architect of a four clustered apartments near the Baltic sea. Rough concrete volumes arranged around the inner courtyard are modular and they have vast possibilities how internal space could be transformed. Only the core with sanitary equipment is a rigid element of the floor layout, while all the other walls can be transformed according to the needs of new inhabitants. Clean,minimalistic concrete boxes are a background to the designer furniture and a colourful life that will unfold in such space (Fig. 14).

Other young architects are also experimenting with typologies – they are designing small studio apartments, row housing designs with shared community spaces and inspiring paper architecture about future habitation. Also, studios such as YCL are experimenting with materials and details of the residential interior. Architect Mykolas Svirskis with colleagues designed a house for a young family with raw blocks fa?ade made out of the light expanded clay aggregate. "Do Architects" suggested cylindrical volume design of the Rolling Homes next to the seaside. A new generation of young architects are just starting to find their creative identity, but the continuity of the values established by the local architectural school remains.

建筑師奧德留斯·安巴薩斯也以賦予建筑特殊氛圍的能力而聞名。在他設(shè)計(jì)的各類尺度的項(xiàng)目中，有一些早已成為維爾紐斯市的地標(biāo)。但住宅作品卻最具代表性地呈現(xiàn)了這位建筑師的強(qiáng)烈感知力及其意欲傳達(dá)的氛圍特質(zhì)。他設(shè)計(jì)的奢華別墅，往往能將表現(xiàn)力生發(fā)于靜謐之中。在不僅包含住宅的大多項(xiàng)目中，安巴薩斯熱衷對(duì)光、彎曲表面和流動(dòng)空間進(jìn)行操作。在別墅G 和別墅N等住宅項(xiàng)目中也凸顯了這些特征，受到自然啟發(fā)而巧妙地滲入環(huán)境。混凝土墻體、木材、銅板、石材——一切材料都是原生的、自然的，也強(qiáng)化了場(chǎng)所感。水平的長(zhǎng)體量引導(dǎo)觀者的視線穿透景觀，也框出了建筑周?chē)绠?huà)的自然景色（圖11、12）。

另外值得一提的事務(wù)所是Arches，這是一家極具建筑審美的工作室。Arches也有許多知名的奢華別墅作品，同時(shí)也設(shè)計(jì)過(guò)很多重要公共建筑。他們的多數(shù)住宅項(xiàng)目都坐落于風(fēng)景壯麗的自然環(huán)境或度假勝地中。具有生趣的設(shè)計(jì)和戲劇化裝飾的立面是他們的標(biāo)志性特征。工作室最著名的項(xiàng)目包括了那科茨茲博斯度假村（2008）及山谷別墅（2017）。這兩個(gè)作品的立面均對(duì)木材有著熟稔的使用，還呈現(xiàn)了傳統(tǒng)坡屋頂住宅的原型輪廓。2017年山谷別墅贏得了由美國(guó)建筑師學(xué)會(huì)雜志舉辦的年度國(guó)際住宅建筑設(shè)計(jì)獎(jiǎng)280m2以上類別的大獎(jiǎng)，也是該獎(jiǎng)項(xiàng)首次頒發(fā)給東歐國(guó)家的項(xiàng)目（圖13）。

有趣的設(shè)計(jì)實(shí)驗(yàn)也發(fā)生在小型事務(wù)所和新一代建筑師中。他們非常渴望嘗試打破陳規(guī)的解答，能夠看到他們的大膽思路總是令人興奮。例如，奧德留斯·謝科茨格拉斯自行開(kāi)發(fā)并設(shè)計(jì)了一處波羅的海附近的組團(tuán)公寓。圍繞內(nèi)部庭院排布的素混凝土體量是模塊化的，提供了內(nèi)部空間可變方式的高度可能性。除中心的衛(wèi)生設(shè)備是平面布局中的固定元素外，其余所有的墻體均可根據(jù)新的生活習(xí)慣和需求而改變。簡(jiǎn)潔的、極少主義的混凝土方盒子也成為了設(shè)計(jì)師家具和在空間中展開(kāi)的多彩生活的背景（圖14）。

其他年輕建筑師也探索了類型學(xué)的可能性——他們?cè)O(shè)計(jì)了小型的成套公寓、整合社區(qū)空間的聯(lián)排住宅以及面向未來(lái)居住方式的紙建筑等。YCL等工作室也進(jìn)行了住宅室內(nèi)材料和細(xì)部的實(shí)驗(yàn)。米庫(kù)拉斯·蘇瓦斯奇斯和同事為青年家庭設(shè)計(jì)了裸露輕質(zhì)延展性粘土磚為立面材料單元的住宅?！癉o 建筑事務(wù)所”為海邊的旋轉(zhuǎn)住宅提出了圓柱形體量。新一代的年輕建筑師們正剛剛開(kāi)始找尋他們自己的創(chuàng)意特征，卻依然傳承著自本土建筑學(xué)校留存下來(lái)的價(jià)值觀。

作為總結(jié)，立陶宛當(dāng)代住宅建筑約經(jīng)歷了變動(dòng)劇烈而碩果頗豐的30年。這不僅來(lái)自對(duì)當(dāng)下全新生活方式的適應(yīng)，也來(lái)自對(duì)前代建筑師的經(jīng)驗(yàn)傳承：尺度感知、材料和諧、環(huán)境意識(shí)等。即使在最新的設(shè)計(jì)中，兩次世界大戰(zhàn)期間的影響與北歐建筑學(xué)派的作用仍清晰可見(jiàn)。同時(shí)，創(chuàng)意實(shí)驗(yàn)和不斷增多的年輕事務(wù)所致力于發(fā)展對(duì)語(yǔ)境或傳統(tǒng)的個(gè)人化操作方法，住宅建筑是其中最主要的領(lǐng)域之一。對(duì)家庭空間的探索不應(yīng)僅限于三維形體，更應(yīng)成為一個(gè)編織日常生活的契機(jī)。本土建筑師們正在逐漸建立起立陶宛建筑的新世代?！?/p>

8與自然和文化遺產(chǎn)不可分割的拉蘇納邁住宅區(qū)，Paleko建筑工作室 + Plazma建筑工作室設(shè)計(jì)（2015）/The residential quarter "Rasu namai" is deeply related to both nature and heritage. Design by Paleko ARCH studio + Plazma Architecture Studio (2015).

9.10奧德留斯·安巴薩斯設(shè)計(jì)的別墅N（2007）和別墅G（2014），兩者都遵循與自然環(huán)境相協(xié)調(diào)的設(shè)計(jì)手法/Vila N (2007) and Vila G (2014) designed by architect Audrius Ambrasas both follow similar approach to natural enviroment.

14Arches設(shè)計(jì)的科茨茲博斯度假村（2008年）和山谷別墅（2017年）差了將近10年，兩個(gè)項(xiàng)目都順應(yīng)了大自然/There is almost a ten years gap between Nakci?ibis resort(2008) and Valley villa (2017) designed by Arches, but both of the projects beautiflly sets in the nature.

13奧德留斯·謝科茨格拉斯設(shè)計(jì)的濱海4住宅組團(tuán)（2016）/Kankor??is – a residential project of four clustered houses close to the seaside was designed by Andrius Skiezgelas (2016).

14米庫(kù)拉斯·蘇瓦斯奇斯設(shè)計(jì)的住宅常置于大自然中，或臨湖，或?yàn)I海/The architecture of Mykolas Svirskis is often in nature and often next to the lake, river or sea.

In summing up contemporary residential architecture in Lithuania experienced almost three intense and fruitful decades. This has happened not only by adjusting to the new lifestyle of today, but also by transferring experience of the previous generations of architects: a sense of scale, harmony of materials, and an awareness of the environment. Even in the new designs influence of interwar period and Scandinavian school of architecture is still visible. But at the same time one can find new creative experiments and growing numbers of young studios that works hard in order to develop their personal approach towards the context or tradition.Residential architecture is one of the main fields for experimentation for them. By working on domestic architecture not only as the three dimensional object,but also as an opportunity to orchestrate everyday life local architects are slowly developing a new, modern generation of Lithuanian architecture.□