Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.164
Andrew Hauner
Artistic research has helped verify how primary a role creative processes play in not only constructing knowledge but also questioning knowledge elitism. The particular power-knowledge problematics for artistic research – addressed in both academic and artistic ways in this paper – is academic quotation. I first trace critical qualitative inquiry into citation back to feminist ethnography’s so-called citational politics. Then, by methodologizing my own artistic research into the non-distinction between reading and citing academic language, I make it possible for citationality to be holistically understood as interplay between: citation’s technical role in academic writing; its quantitative role in academic capitalism; and its political role in academic positionality. The well-trodden citational genealogies called out by Sara Ahmed are replaced by citational pathways connecting the authoring academic to voices entirely outside the discourse community that is academia in, for example, the arts-based educational research of Camea Davis. In the final analysis, such artistic understandings of citationality – citations that transform what we mean by citation – have the power to redeploy citations as channels of communication for social change.
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Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.160
David Maroto
Fictocritical writing has been defined as an interdisciplinary practice that seeks to “blur the boundaries between the fictional, the factual and the theoretical.” As a mode of experimental writing, it holds a great potential to reinvigorate the current state of critical art writing – specifically, artistic research. The present paper sets out to investigate the usefulness of venturing beyond the constative function of the text and discusses the performative nature of writing employed at the service of artistic enquiry. To that end, I examine three key case studies that shed light on the intricacies of fictocritical writing: Bert Danckaert’s The Extras, Barbara Browning’s The Gift, and Katrina Palmer’s The Dark Object. They all constitute artistic research projects written as novels (two of them are also PhD theses) that, at the same time, are inscribed in an art project. Furthermore, I offer a practice-based example, an excerpt from my novel The Fantasy of the Novel (also part of my PhD thesis), with the hope that the reader will be able to apprehend the effects of fictocritical writing directly, rather than just their description.
{"title":"Valid Fictional Contributions to Non-Fictional Debates: Fictocritical Writing in Artistic Research","authors":"David Maroto","doi":"10.37522/aaav.109.2023.160","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.160","url":null,"abstract":"Fictocritical writing has been defined as an interdisciplinary practice that seeks to “blur the boundaries between the fictional, the factual and the theoretical.” As a mode of experimental writing, it holds a great potential to reinvigorate the current state of critical art writing – specifically, artistic research. The present paper sets out to investigate the usefulness of venturing beyond the constative function of the text and discusses the performative nature of writing employed at the service of artistic enquiry. To that end, I examine three key case studies that shed light on the intricacies of fictocritical writing: Bert Danckaert’s The Extras, Barbara Browning’s The Gift, and Katrina Palmer’s The Dark Object. They all constitute artistic research projects written as novels (two of them are also PhD theses) that, at the same time, are inscribed in an art project. Furthermore, I offer a practice-based example, an excerpt from my novel The Fantasy of the Novel (also part of my PhD thesis), with the hope that the reader will be able to apprehend the effects of fictocritical writing directly, rather than just their description.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.162
Greg Bruce
This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.
{"title":"Surmounting the Skepticism: Developing a Research-Creation Methodology","authors":"Greg Bruce","doi":"10.37522/aaav.109.2023.162","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.162","url":null,"abstract":"This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a “feedback saxophone” system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) “How is creative practice research?” and (2) “What methods are appropriate for carrying out my creative practice as research?” In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge gener- ation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research “compass” to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own “problem-practice-exegesis” approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.163
Bettina Minder, Pablo Müller
Design and Art PhDs are widely spread across Art Schools around Europe and the world. Doing a PhD in the arts however contains tensions between artistic research approaches, and overall academic setting and requirements. Students, and supervisors, are not always well prepared for the challenges that arise from these tensions. This raises the question: How supervision of artistic research at doctoral level can foster unorthodox approaches and multimedia outcomes, while simultaneously enable doctoral students to navigate academic frameworks? Based on data from a doctoral preparation course, this article outlines typical tensions and, highlights strategies to help navigate them. After a general introduction and the methodology section the article reviews existing approaches in PhD programs in Art and Design that help reflecting our case study. Chapter five presents the case study results and chapter six involves discussion and conclusion on future needs in PhD supervision in the arts.
{"title":"In Search of the Resilient Academic Experience: Dealing with Concerns in Artistic Doctoral Programs","authors":"Bettina Minder, Pablo Müller","doi":"10.37522/aaav.109.2023.163","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.163","url":null,"abstract":"Design and Art PhDs are widely spread across Art Schools around Europe and the world. Doing a PhD in the arts however contains tensions between artistic research approaches, and overall academic setting and requirements. Students, and supervisors, are not always well prepared for the challenges that arise from these tensions. This raises the question: How supervision of artistic research at doctoral level can foster unorthodox approaches and multimedia outcomes, while simultaneously enable doctoral students to navigate academic frameworks? Based on data from a doctoral preparation course, this article outlines typical tensions and, highlights strategies to help navigate them. After a general introduction and the methodology section the article reviews existing approaches in PhD programs in Art and Design that help reflecting our case study. Chapter five presents the case study results and chapter six involves discussion and conclusion on future needs in PhD supervision in the arts.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.159
John Hillman
What is the distinction between “pure practice” and “research-focused practice?” It is typical to undertake background research in order to produce most forms of creative practice. This kind of research activity may involve finding out how to use a particular medium, how to refine a technique, or simply reviewing what similar work already exists. Many creative practitioners would claim to undertake research in this way. But any creative practice coming from this process cannot necessarily be described as research. It would be better to describe it as an output of a reasoned research activity. So how can research as described here be distinguished from research that comes from practice itself? Often in creative contexts, research is understood as a discrete activity and the making of practice is seen as another. The key to addressing how practice can be defined as research is in how both practice and research are brought into relation with one another. Importantly, for practice to be research, it must contain a certain knowledge-building capacity. This paper will consider what defines practice as research. It will claim that practice can only reveal new knowledge when it is understood as a symptom of research. My goal is to attempt to bring about a homology between research and practice through the notion of the symptom.
{"title":"Practice as a Symptom of Research","authors":"John Hillman","doi":"10.37522/aaav.109.2023.159","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.159","url":null,"abstract":"What is the distinction between “pure practice” and “research-focused practice?” It is typical to undertake background research in order to produce most forms of creative practice. This kind of research activity may involve finding out how to use a particular medium, how to refine a technique, or simply reviewing what similar work already exists. Many creative practitioners would claim to undertake research in this way. But any creative practice coming from this process cannot necessarily be described as research. It would be better to describe it as an output of a reasoned research activity. So how can research as described here be distinguished from research that comes from practice itself? Often in creative contexts, research is understood as a discrete activity and the making of practice is seen as another. The key to addressing how practice can be defined as research is in how both practice and research are brought into relation with one another. Importantly, for practice to be research, it must contain a certain knowledge-building capacity. This paper will consider what defines practice as research. It will claim that practice can only reveal new knowledge when it is understood as a symptom of research. My goal is to attempt to bring about a homology between research and practice through the notion of the symptom.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.158
Vytautas Michelkevičius, Aldis Gedutis
This paper overviews the development of the notion of trans-disciplinarity in Lithuania and its neighbouring contexts, and makes an attempt to identify its current relation to science and art. The paper analyses the ways in which artistic research, without being a discipline in its own right, can nonetheless both provide a basis for the doctoral studies in arts, and liberate it from the traditions and disciplines of the humanities and other sciences. Furthermore, the paper argues that doctoral studies in arts are inherently transdisciplinary and thus able to accommodate the traditional traits of the doctorate studies in the areas as different as humanities, social sciences, and even natural sciences. Lastly, the paper builds the case for artistic research as both the basis for the doc- toral studies in arts and a unique research paradigm, itself able to produce new research traditions.
{"title":"From Inter-Disciplinarity Towards Trans-Disciplinarity in Arts and Sciences: Presumptions for the Artistic Research and Doctoral Studies in Arts","authors":"Vytautas Michelkevičius, Aldis Gedutis","doi":"10.37522/aaav.109.2023.158","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.158","url":null,"abstract":"This paper overviews the development of the notion of trans-disciplinarity in Lithuania and its neighbouring contexts, and makes an attempt to identify its current relation to science and art. The paper analyses the ways in which artistic research, without being a discipline in its own right, can nonetheless both provide a basis for the doctoral studies in arts, and liberate it from the traditions and disciplines of the humanities and other sciences. Furthermore, the paper argues that doctoral studies in arts are inherently transdisciplinary and thus able to accommodate the traditional traits of the doctorate studies in the areas as different as humanities, social sciences, and even natural sciences. Lastly, the paper builds the case for artistic research as both the basis for the doc- toral studies in arts and a unique research paradigm, itself able to produce new research traditions.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.167
Christiane Kues
The article addresses the situation of research in art institutions and its contradictions. Can postresearch become a critical impulse for artistic research? The proposition of “postresearch” was first introduced in the European context of artistic research when the 9th Bucharest Biennale, “Farewell to Research”, curated by Henk Slager in 2020 was announced. The philosopher Peter Osborne consequently analyzed the concept of postresearch and its self-contradictory claim of wanting to leave the research paradigm.1 He emphasized that artistic research must fulfil a non-administrative function, as does the “concept of art” by neglecting or revising its form. In comparison, higher education standards and academic legitimation processes of artistic research follow stricter standardization rules (e.g., written supplements). If artistic research neither competes with the “concept of art” (whatever that is?) nor acts as a legitimate science or discipline and furthermore does not escape administration, should these practices reclaim their status as art? Within the unresolved question of how to position artistic research between art and science – or more specifically in the humanities – lies also its attraction, its character or junction for crossing disciplines and critical studies. Artistic research has what the theorist Natalie Loveless called a polydisciplinamorious character which can lead future debates from methodo- logical introspection to collaborate in postresearch practices.
{"title":"POSTRESEARCH!","authors":"Christiane Kues","doi":"10.37522/aaav.109.2023.167","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.167","url":null,"abstract":"The article addresses the situation of research in art institutions and its contradictions. Can postresearch become a critical impulse for artistic research? The proposition of “postresearch” was first introduced in the European context of artistic research when the 9th Bucharest Biennale, “Farewell to Research”, curated by Henk Slager in 2020 was announced. The philosopher Peter Osborne consequently analyzed the concept of postresearch and its self-contradictory claim of wanting to leave the research paradigm.1 He emphasized that artistic research must fulfil a non-administrative function, as does the “concept of art” by neglecting or revising its form. In comparison, higher education standards and academic legitimation processes of artistic research follow stricter standardization rules (e.g., written supplements). If artistic research neither competes with the “concept of art” (whatever that is?) nor acts as a legitimate science or discipline and furthermore does not escape administration, should these practices reclaim their status as art? Within the unresolved question of how to position artistic research between art and science – or more specifically in the humanities – lies also its attraction, its character or junction for crossing disciplines and critical studies. Artistic research has what the theorist Natalie Loveless called a polydisciplinamorious character which can lead future debates from methodo- logical introspection to collaborate in postresearch practices.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-14DOI: 10.37522/aaav.109.2023.161
Magda Stanová
Doctoral programs in the fine arts, instead of coming up with their own ways of doing things, tend to adopt standards from the humanities, which themselves tend to adopt standards from science. Because of being preoccupied with trying to look like other disciplines, artistic thinking within artistic doctorates gets suppressed. But if we look into science directly and not through this second-hand approach, we can find aspects of scientific thinking that are closer to art than to the humanities.
In this paper, I give examples of artistic thinking in the work of various scientists and mathematicians: a non-fiction book that uses fiction (Douglas Hofstadter’s book Gödel, Escher, Bach), a linguistic analysis that concludes with a story (Livia Polanyi’s book Telling the American Story), scientific lectures with unusual formal aspects (Roger Penrose’s “VJing” of multiple layers of foils through an overhead projector, David Deutsch’s Lectures on Quantum Computation), and a collective hiding behind a fictional mathematician (Nicolas Bourbaki). I also briefly introduce the problem of verbal overshadowing and the effects it may have on the creative process in art.
{"title":"Artistic Thinking in Scientific Research","authors":"Magda Stanová","doi":"10.37522/aaav.109.2023.161","DOIUrl":"https://doi.org/10.37522/aaav.109.2023.161","url":null,"abstract":"Doctoral programs in the fine arts, instead of coming up with their own ways of doing things, tend to adopt standards from the humanities, which themselves tend to adopt standards from science. Because of being preoccupied with trying to look like other disciplines, artistic thinking within artistic doctorates gets suppressed. But if we look into science directly and not through this second-hand approach, we can find aspects of scientific thinking that are closer to art than to the humanities.
 In this paper, I give examples of artistic thinking in the work of various scientists and mathematicians: a non-fiction book that uses fiction (Douglas Hofstadter’s book Gödel, Escher, Bach), a linguistic analysis that concludes with a story (Livia Polanyi’s book Telling the American Story), scientific lectures with unusual formal aspects (Roger Penrose’s “VJing” of multiple layers of foils through an overhead projector, David Deutsch’s Lectures on Quantum Computation), and a collective hiding behind a fictional mathematician (Nicolas Bourbaki). I also briefly introduce the problem of verbal overshadowing and the effects it may have on the creative process in art.","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135308445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-20DOI: 10.37522/aaav.108.2023.150
Angela Caira Uzcategui, A.N. Serdyukova, Ana Vega Ramiro
The cleaning and consolidation of egg white tempera were evaluated to help conserve a polychrome sculpture, the funeral coat of arms of Pehr Stålhammar, dated 1701. This coat of arms was a wooden structure of carved pine and lime wood, grounded with a chalk and rabbit skin glue ground layer, and polychromed with egg white tempera in combination with smalt blue, lamp black, and red pigments. Due to the difficulties of preserving the physical properties of egg white tempera, it was necessary to evaluate the consolidation effects in terms of color, gloss, and cohesion. Four consolidants were chosen: JunFunori, sturgeon glue, Aquazol 200, and Lascaux’s Medium for Consolidation. Among these, Aquazol 200 and JunFunori performed more efficiently. Another type of difficulty occurred during the conservation cleaning treatment process, especially with the blue paint, which is more fragile and has hydrophobic qualities. To conceive a safe cleaning method, various cleaning techniques and materials were tested with a microscope, scanning electron microscopy, and an artificial aging chamber. The investigation showed that the dry cleaning method and use of hydrogels could work together and target different tasks.
{"title":"The Conservation Study of a Funeral Coat of Arms (huvudbaner) with a Focus on Cleaning and Consolidation","authors":"Angela Caira Uzcategui, A.N. Serdyukova, Ana Vega Ramiro","doi":"10.37522/aaav.108.2023.150","DOIUrl":"https://doi.org/10.37522/aaav.108.2023.150","url":null,"abstract":"\u0000\u0000\u0000The cleaning and consolidation of egg white tempera were evaluated to help conserve a polychrome sculpture, the funeral coat of arms of Pehr Stålhammar, dated 1701. This coat of arms was a wooden structure of carved pine and lime wood, grounded with a chalk and rabbit skin glue ground layer, and polychromed with egg white tempera in combination with smalt blue, lamp black, and red pigments.\u0000Due to the difficulties of preserving the physical properties of egg white tempera, it was necessary to evaluate the consolidation effects in terms of color, gloss, and cohesion. Four consolidants were chosen: JunFunori, sturgeon glue, Aquazol 200, and Lascaux’s Medium for Consolidation. Among these, Aquazol 200 and JunFunori performed more efficiently.\u0000Another type of difficulty occurred during the conservation cleaning treatment process, especially with the blue paint, which is more fragile and has hydrophobic qualities. To conceive a safe cleaning method, various cleaning techniques and materials were tested with a microscope, scanning electron microscopy, and an artificial aging chamber. The investigation showed that the dry cleaning method and use of hydrogels could work together and target different tasks.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47938457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-20DOI: 10.37522/aaav.108.2023.157
Rasa Saltonaitė
In the nineteenth century, the current suburb of Kaunas formerly known as the Carmelite district (Kaunakiemis village before that) became an industrial district of the city of Kaunas. The district started developing at the foot of Žaliakalnis from homesteads along the Girstupis stream, followed by a church and a monastery near the Nemunas River, and soon became home to a railway station and industrial complexes. In attempts to give the district a more representative appearance and further consolidate the function of transportation, a bus station was built during the period of the First Republic of Lithuania. Unfortunately, the prevailing social situation in the district did not allow these aims to be fully achieved. The construction activity of the second half of the twentieth century, coupled with the closing of industrial facilities and the shrinking of the builtup area, further threatened the existence of the district. When the Karmelitai (Carmelites) district was annexed to the historical part of Kaunas known as Naujamiestis (New Town) in 2012, a decision had to be made about which phases of historical development were to be preserved and on what basis the area was to be further developed.
{"title":"A Nineteenth-Century Industrial Area in Kaunas’s Naujamiestis: Analysis of the Development and the Concept of Regeneration","authors":"Rasa Saltonaitė","doi":"10.37522/aaav.108.2023.157","DOIUrl":"https://doi.org/10.37522/aaav.108.2023.157","url":null,"abstract":"\u0000\u0000\u0000In the nineteenth century, the current suburb of Kaunas formerly known as the Carmelite district (Kaunakiemis village before that) became an industrial district of the city of Kaunas. The district started developing at the foot of Žaliakalnis from homesteads along the Girstupis stream, followed by a church and a monastery near the Nemunas River, and soon became home to a railway station and industrial complexes. In attempts to give the district a more representative appearance and further consolidate the function of transportation, a bus station was built during the period of the First Republic of Lithuania. Unfortunately, the prevailing social situation in the district did not allow these aims to be fully achieved. The construction activity of the second half of the twentieth century, coupled with the closing of industrial facilities and the shrinking of the builtup area, further threatened the existence of the district. When the Karmelitai (Carmelites) district was annexed to the historical part of Kaunas known as Naujamiestis (New Town) in 2012, a decision had to be made about which phases of historical development were to be preserved and on what basis the area was to be further developed.\u0000\u0000\u0000","PeriodicalId":36620,"journal":{"name":"Acta Academiae Artium Vilnensis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41832069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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