Plastic and geometric Vilnius modernism

Anton Filipovič-Dubovik’s villa in M.Valančiaus Street on Tauro Hill is the most striking example of Art Nouveau motifs based on plants (plastic and decorative). The owner of the villa was a civil engineer who had graduated from the St. Petersburg Institute of Civil Engineers. At the beginning of the 20th century, he built about a couple of hundred buildings in the Vilnius region. One of his buildings can be found at Kauno g. 2, which is characterised by modern architectural motifs. The façade of Anton Filipovič-Dubovik’s villa shows early Art Nouveau features: the asymmetrical and stepped volume of the villa, sculptures of women of mystical beauty, petal-shaped window openings, as well as motifs of sunflowers and cascading nasturtium plants. There are also Baroque architectural forms, which in the early 20th century began to be perceived as signs of ‘Vilniusness’ and nationhood. The coat of arms of the Filipovič family with its horseshoe form can be seen on the front of the villa in the relief above the window.

In 1864, according to the plan of Minister Nikolay Miliutin, a military school was established in Vilnius. The first year was devoted to general subjects (catechism, foreign languages, mathematics, history, etc.), followed by specific subjects such as military topography, fortification, military administration, military law, etc. From 1 September 1901, three classes were established at the Vilnius School, and in 1901-1904 the Junker School was extended once again. Later, in September 1910, it was renamed the Vilnius Military School. As the institution expanded, the foyer of the old wing was reconstructed and took on early Art Nouveau features, such as curved, plant-like lines and lily motifs on the staircase handrails and the wall mouldings. As you ascend to the second floor, you can see a unique interior detail – an old man with water lilies growing out of his head – another characteristic of the Art Nouveau style. 

This is one of the newest Orthodox churches in Vilnius and is associated with the Romanov dynasty and modern architecture. Built in 1913 to celebrate the 300th anniversary of the Romanov dynasty, the church was named after the Prince and Grand Hetman Konstanty Iwanowicz Ostrogski the Younger and Saint Michael Malein. The church was designed by the Moscow architect Vladimir Dmitrevich Adamovich in the style of the architecture of Rostov and Suzdal in Old Rus’. The architect not only tastefully interpreted the style of the old Orthodox churches but also added elements of the modern style popular at the time. In the main and side entrances of the Orthodox church, fern-like plant motifs are subtly interwoven with the religious symbolism of the Orthodox faith. Once inside, a restored fragment of a fresco can be seen at the right and left entrances of the church. The frescoes in the vaults have unfortunately not survived, but attempts are currently being made to restore them on the basis of historical sources.

This house was designed in 1910 by the architect Fyodor Smorgonsky and was commissioned by the merchant Israel Bunimovich. The building is characterised by a geometric modernist style with a flat façade, as well as original panels and reliefs. The façade is decorated with stylised plant and animal motifs. The owner of the house himself was a well-known public figure and promoter of Jewish culture. In 1894, he opened the ‘Victoria’ chocolate factory and later several branded shops. One of them was located inside the chocolate shop at the Cathedral end of what was then St George’s Avenue (at number 4 – now the ‘Danija’ shoe shop on Gediminas Avenue); it featured a modern Nordic design. Unfortunately, the modernist interior has not survived, but you are still greeted at the entrance by little bears holding chocolate bars. 

The Polish Theatre Palace in Didžioje Pohulanka (now J. Basanavičiaus Street) was designed by a duo of architects – Wacław Michniewicz and Aleksander Parczewski. The press of the time wrote that the authors harmoniously combined the architectural motifs of old Kraków and Vilnius: Baroque and Renaissance from Vilnius and the two-tiered tiled roof characteristic of the architecture in Kraków. The building’s complex volume is reminiscent of the shape of a growing organism favoured by modern architects. The central façade of the building contains other features characteristic of modern architecture: windows with variously sized divisions, an elaborate door with a horseshoe-shaped fragment, and a parabola-shaped pediment with a glass window in the centre. The theatre is the most prominent building of its kind in Vilnius and still serves the same function. 

This group of five houses was designed by Eduardas Rouba (also spelt Riauba), a Lithuanian with a degree in engineering from the Riga Polytechnic Institute. The lower floors housed shops, while the upper floors were designed as comfortable 4-6 room apartments. The façades of the complex have a distinct asymmetry and vertical rhythm, which is typical of Riga’s National Romantic architecture, which must have made quite an impression on Rouba. Each building is decorated with water-related motifs celebrating the power of water – a source of modern architectural forms. Elements of waves, shells, and lilies can be seen on the façades, and long-necked cranes can be seen in the graphic relief of Pamėnkalnio g. 28. The bas-relief above the entrance to the building at Pamėnkalnio g. 24 depicts the Dioscuri – the stocky twin half-brothers, who, according to Greek and Roman mythology, were the guardians of travellers and sailors. It is likely that the water motif was chosen deliberately, as at the end of the 19th century, Pamėnkalnio Street, then called Uosto (Port) Street, led to the old Vilnius harbour on the Neris near Lukiškės.

The Vilnius Merchants and Industrialists’ Association, or Merchants’ Club, built an exceptional palace with modernist and neoclassical features in 1913. The Merchants’ Club was located on the corner of two streets, which dictated the unconventional asymmetrical volume of the building, featuring a cylindrical tower with a sculpture of the mythical Atlas. The top of the building, in graphic relief, depicts the harmonious life of ancient society, symbolically emphasising the purpose of the building. On the façade, the architect Mikhail Prozorov skilfully combined modernised classical forms with modern architectural features: floral motifs, arched windows, and an asymmetrical plan. From 2011 to 2012, the building was renovated, with the sunflower staircase railings, modernist wall decoration, and ceramic mouldings restored inside. Although the building is now privately owned, a 3D tour is available at www.pirkliuklubas.lt 

The building was designed by the road engineer N. Skoba, who was almost unknown in Vilnius until 1911. The style of the façade closely resembles the Modernism descending from the St. Petersburg tradition, especially the design of the Swedish-Russian architect Fyodor Lidval. The architect decorated the façade with a semi-circular bay window and mystical motifs typical of the modernist style: women’s heads and sculptures of eagles and owls. The Symbolists often used mystical motifs and visual metaphors to convey their ideas, which inspired the architects. Interestingly, for the design of the building, Skoba chose building materials that became popular in the early 20th century as a result of the Industrial Revolution: textured plaster, wrought iron, and polished ceramic tiles. A plaque to the left of the entrance bears the names of the technician who built the house, K. Zimmermann, and the contractor, N. Goldfrich.

At the beginning of the 20th century, Józef Montwiłł (Juozapas Montvila), a well-known philanthropist, public figure, and director of the Land Bank, initiated the construction of various residential colonies whose designs were drawn up by the well-known Vilnius architects – August Klein and Wacław Michniewicz. One such housing development was the ‘colony’ in Lukiškės, whose architecture resembles English or Belgian workers’ cottages. Abroad, this style of building was intended for manual labourers, wheras in Vilnius, the colony-type buildings were intended for the middle class, who liked comfort and aesthetics. The houses on J. Tumo Vaižganto Street are characterised by stylised Gothic, Baroque, and Classical motifs, while the houses on the edges are characterised by Late Modern features such as asymmetry, elaborate balconies, and colourful ceramic tiles. The houses in J. Savickio Street are a little more modest, resembling English cottages. The façades feature bay windows and horseshoe-shaped windows typical of the modern style. The buildings on Kražių Street are the simplest, with plain façades varied by textured plaster, window surrounds, and attic projections. The Montwiłł Colony forms a courtyard where the inhabitants can escape the hustle and bustle of the city.

The building belonged to Ksawery Zubovicz, a member of the Vilnius City Council, and Bolesław Stankiewicz, an architect, who came up with the plans for a two-part (sectional), four-storey building. The façade has a spatial composition that was unusual in 19th-century and modern architecture, where flat façades were more commonplace. The main features of the building are the two massive buttresses, taller than the building, which are decorated with stylised aquatic plant motifs. They can also be seen in the panel in the centre of the building and in the sleek balconies. The ground floors were used by the owners as 8-room apartments, while the upper floors contained 4-5 rooms. The apartments were also finished to a high standard, with wood-burning stoves, parquet floors, and ornate ceramic mouldings.

The economy of Tsarist Russia grew rapidly in the late 19th century, leading to an increased demand for international and domestic credit services. Banks and other credit institutions were established intensively during this period, and by 1909 a luxurious banking palace was built on what was St. George’s (now Gedimino) Avenue. Mikhail Prozorov designed a building with classical forms and a wealth of Art Nouveau motifs: mythical heads of women and men, columns decorated with floral motifs and elaborate arched metal railings. The architect was a specialist in new reinforced concrete structures, so he utilised this cutting-edge technology of the time in the bank’s main hall. Inside, the interior is organic yet luxurious, with a sweeping marble staircase leading to an elliptical arch with elaborate doors, golden staircase handrails, ceramic mouldings, and colourful interiors. The State Bank Palace is the best-preserved Art Nouveau building in Vilnius, preserving its authentic interior and exterior after more than 100 years. In 1921, the Palace was taken over by a branch of the Bank of Poland, and since 1958, it has been used by the Lithuanian Academy of Sciences. The exterior details of the building can also be explored from Tilto Street – the intricately shaped windows command attention. 

The building, which was acquired by Karl and Juzefa Sztral in the second half of the 19th century, was first mentioned in written sources in 1645 and changed hands many times over the centuries. When his parents died at the end of the 19th century, the house was inherited by their son, the merchant Kazimierz Sztral (Kazimieras Štralis). Until 1940, the house was home to the ‘White Sztral’ sugar factory (you will also hear it referred to as ‘Biały Sztral’ and ‘Baltasis Štralis’ in Polish and Lithuanian respectively), while the other rooms of the house were rented out to craftsmen, merchants, and teachers. It was here that the Lithuanian Council signed the Lithuanian Act of Independence on 16 February 1918. After the restoration of independence, the ‘Signatarų’ premises have been renovated several times, with the restoration of the modernist wall paintings, ceiling mouldings, and a fragment of the wall paintings of the former ‘White Sztral’ confectioners. The interior of the House of the Signatories can also be seen on the poster on the gate to the inner courtyard. Wall paintings in a similar style were popular in the interiors of Vilnius apartments from the beginning of the 20th century until World War I. You can now soak up some history and get a caffeine fix here as the ‘Eskedar Coffee Bar’ now operates in the same place as the old ‘White Sztral’ sweet shop.