LTTiriamas sovietmečio architektų modernistų savivaizdis kaip profesinei grupei būdinga vaizdinių, savęs supratimo ir vertinimo sistema. Išryškinamas vyriausiosios sovietmečio architektų profesinės kartos, studijas baigusios 1950–1969 m., savivaizdis ir kaip jį vertina vėlesnės kartos. Remiamasi pusiau struktūruotų giluminių interviu su 33 iškiliais Lietuvos architektais tyrimu teminės analizės metodu. Vyriausiosios sovietmečio architektų kartos atstovai selektyviais prisiminimais konstruoja architekto modernisto vaizdinį. Tai plačių gebėjimų menininkas, ambicingas kūrėjas, moralus ir reikšmingas valstybei bei visuomenei. Ši karta sovietinį laikotarpį linkusi laikyti „profesine normalybe“, o posovietines transformacijas – jos pabaiga. Dėl adaptacijos iššūkių jie nusivylę dabartimi ir jaučia nostalgiją praeičiai. Vėlesnės kartos vyriausiųjų naratyvus vertina prieštaringai, priklausomai nuo jų patirties dirbant architektais sovietmečiu. Jaunesnieji, studijas baigę 1990–2009 m., kategoriškai atmeta vyriausiųjų idealizuotą savivaizdį. Vyresnieji, baigę studijas 1970– 1989 m., linkę apsvarstyti sovietinio architekto savivaizdį ir prisišlieti prie vienos iš gretimų kartų požiūrių. Reikšminiai žodžiai: architektų profesinė bendruomenė, sovietinis architektas, profesinės kartos, profesijų sociologija, modernizmo ideologija, kūryba socialistiniu laikotarpiu. [Iš leidinio]
ENThe article explores the self-image of modernist architects during the Soviet period, viewing it as an intrinsic self-referential system within the professional community. It aims to illuminate the self-image of the earliest post-war generation of professional architects, who graduated in architecture in Lithuania between 1950 and 1969 (referred to as “the eldest”), and to analyze how subsequent professional generations either perpetuated or rejected this self-image. The study draws upon the findings of sociological research, which involved semi-structured in-depth interviews with 33 prominent Lithuanian architects. Data analysis was conducted using qualitative thematic analysis methods. From a contemporary standpoint, members of the earliest generation of professional Soviet architects selectively construct an idealized self-image of the Soviet modernist architect. They depict this archetype as a multifaceted artist and an ambitious individual creator, characterized by a sense of moral obligation and dedication to humanity, while also being valued by the state and society. This generation tends to regard the Soviet era as a period of “professional normalcy,” shaped by modernist ideology, the scope of professional opportunities within the Soviet totalitarian regime, and positive public reception. However, the challenges of adapting to the post-Soviet transformation have led them to perceive this change negatively, viewing it as the demise of the “professional normalcy” they once knew. Consequently, they experience a sense of disillusionment with the present and harbour nostalgia for the past.While researchers regard the narratives of Soviet modernist architects as self-constructed myths, the responses from subsequent generations of architects vary and depend heavily on their experiences practicing during the Soviet era. The younger professional cohort, graduating between 1990 and 2009 and lacking direct exposure to Soviet-era practices, unequivocally rejects the idealized perception of architects portrayed by the eldest generation. Conversely, the intermediate elder generation, graduating between 1970 and 1989 and having navigated both Soviet and independent Lithuanian contexts as architecture professionals, tends to reassess the self-image of the Soviet architect. They often align themselves closely with the perspectives of either the eldest or the youngest generations. Keywords: professional community of architects, generations of professionals, professional self-concept, ideology of modernism, Soviet architecture, sociology of professions. [From the publication]