10 kėdžių : Lietuvos dizaino naratyvai

LTSvarbiausia buvo tyrinėti lietuviškų kėdžių sukūrimo kontekstą – dizaino idėją, ryšį su daiktine aplinka, perteikti aurą to primiršto laikotarpio, kai formavosi ir skleidėsi profesionali lietuvių dizaino mokykla, kai net ir esant sovietmečio nepritekliui, ideologinėms kliūtims, dizaineriai nestokojo kūrybingumo, neprarado noro sukurti patogesnę ir gražesnę aplinką. Kiekvienas skyrius skirtas vis kitam baldų kūrėjui. Pirmajame skyriuje aptariami Jono Prapuolenio, vieno garsiausių Lietuvos baldų kūrėjo, interpretavusio liaudies paveldą, sovietinio laikotarpio kūriniai – kėdės, esančios Vilniaus dailės akademijos Rektoriaus kabinete, ir kėdė filmui „Tiltas“. Antrame – nagrinėjama viena populiariausių sovietiniu laikotarpiu Tado Baginsko sukurta „Gintaro“ viešbučio kėdė ir jos variantai. Trečias knygos skyrius skirtas Brigitos Adomonienės kūrybai. Baltosios salės buvusiuose Meno darbuotojų rūmuose (dab. Lietuvos Respublikos prezidentūra) kėdės, kitų kėdžių tyrimui. Ketvirtame knygos skyriuje nagrinėjama iki šiol veikiančio 8-ojo dešimtmečio pradžioje Vilniaus senamiestyje įsikūrusio restorano „Lokys“ interjero kūrimo ir baldų dizaino istorija. Kaip pagrindinė šiame skyriuje yra aptariama Romano Jalovecko suprojektuota restorano „Lokys“ kėdė, deja, neišlikusi. Florentinos Neros Nesavienės kurtos kėdės ir kiti baldai, interjero dizaino idėjos nagrinėjamos penktame skyriuje. Šeštame skyriuje apžvelgiami keli Lygijos Marijos Kislauskaitės-Stapulionienės sukurti dizaino projektai iš itin gausaus jos kūrybinio palikimo. Jos projektuotos kėdės Vilniaus koncertų ir sporto rūmams, Vilniaus universiteto erdvėms, Ritualinių paslaugų rūmų naujam korpusui priskirtinos prestižiniams sovietinio laikotarpio projektams.Septintame skyriuje rašoma apie Eugenijaus Algimanto Gūzo sukurtą „Senojo rūsio“ kėdės dizainą. Aštuntame skyriuje pristatoma Dalios Siaurusaitienės kūryba. Aptariamos masinės gamybos kėdės, pavadintos „Nida“, ir baldai, esantys Lietuvos Respublikos Seimo I rūmuose. Devintame skyriuje aptariami meniniai baldai, kuriuos kartu sukūrė Jūratė ir Albertas Krajinskai. Dešimtas skyrius skirtas Šiaulių baldų gamybinio susivienijimo „Venta“ gaminių analizei. Aptariama buvusi šio gamintojo vieta sovietinio laikotarpio baldų pramonės kontekste, buvę gaminiai, bandoma nubrėžti dizaino kaitos gaires. Aptariamuoju laikotarpiu sukurti baldų dizaino kūriniai yra svarbi Lietuvos dizaino istorijos dalis. Tačiau vis dar neaišku, ką daryti su šiuo palikimu. Juk kitaip nei vaizduojamosios dailės kūriniai, baldai susidėvi, keičiant interjerus jų lengva ranka atsisakoma. Kūrinių išsaugojimas dažniausiai priklauso tik nuo savininkų geranoriškumo. Dėl šios ir kitų priežasčių atsirado nemenkų mūsų dizaino istorijos spragų. Tikėtina, kad sparčiai nykstantis sovietinio laikotarpio Lietuvos dizaino kūrėjų palikimas ateityje bus tinkamai įvertintas, pradėtas išsamiau tyrinėti, o meninę vertę turinti kūryba – gerbiama. [Iš leidėjo tinklalapio]

ENThe monograph provides an overview of the chairs of the Soviet period created by Lithuanian designers for special commissions, whether they were limited edition, mass-produced or experimental one-offs. Some chair designs transcended the bounds of the era in question and coincided with the breaking point in the design history, i. e. the dawn of the country’s independence. The first chapter discusses the works from the Soviet period by Jonas Prapuolenis, one of the most prominent Lithuanian furniture makers who interpreted vernacular forms of national heritage. It focuses on his chairs kept at the Rector’s Office of the Vilnius Academy of Arts as well as the chair he designed for the film called "The Bridge”. The chapter has annexes. The first one gives an overview of the practice of designing chair miniatures. The second chapter deals with the interpretation of the national heritage of the Soviet period. J. Prapuolenis is the first one to be introduced because he is better known as a cabinet maker who practiced in the inter-war period. The works created in the Second World War period and in the first post-war decade continued the pre-war tradition, thus this master is seen as a link between the two periods. The second chapter looks at one of the most popular chairs designed in the Soviet period by Tadas Baginskas for Hotel Gintaras as well as its different versions. The third chapter is dedicated to the works by Brigita Adomonienė. The chairs for the White Hall in the former Artists’ Palace (present-day Presidential Palace of the Republic of Lithuania], an experimental glass-fibre stool, and mass-produced chair designs No. 477,940, and 939 - these are but a few of her works. While there are many more chairs and stools designed by B. Adomonienė, some of which were intended as part of kitchen furniture sets, the analysis focuses on the stories behind her more popular chair designs.The fourth chapter of the book explores the history of creating the interior and furniture for the restaurant Lokys which was founded in the early 1970s in the Old Town of Vilnius and is still in operation today. The centerpiece of this chapter is the now-lost chair designed by Romanas Jaloveckas for the Lokys restaurant. Based on R. Jaloveckas’ account, the chapter offers an insight into what was behind the decision to open a restaurant in this location and discusses the different versions of its interior design. The annex to the chapter contains a text by the restorer Juozas Algirdas Pilipavičius about'the mural paintings in the ballroom of the Lokys restaurant. The fifth chapter looks into the chairs and other pieces of furniture as well as interior design ideas by Florentina Nera Nesavienė. Some of her furniture designs can still be found in Vilnius University. The chapter explores the chairs in the Kristijonas Donelaitis Reading Room, the Rector’s Hall, the cafe locally known as the “morgue", and the mourners’ chairs found in Our Lady of Consolation Chapel of the Church of St. Johns, as well as the interplay between furniture design and the interior. The annex to the chapter presents the architect and restorer Aldona Švabauskienė’s account of the specific aspects of the restoration of Vilnius University and other architectural monuments in the Soviet period. The sixth chapter gives an overview of some of the designs by Lygija Marija Kislauskaitė-Stapulionienė from her rich legacy of works. Her chairs designed for Vilnius Palace of Concerts and Sports, Vilnius University spaces, and the new wing of the Ritual Service Building are to be attributed to the prestigious designs of the Soviet period.The seventh chapter of the book discusses "The Old Basement" chair design by Eugenijus Algimantas Guzas. The annex to the chapter discusses the differences between the mass-produced design items and pieces of tailored-made furniture. It also explores the idea of design as a theatre decor approaching scenography, a concept characteristic of E. A. Guzas work. In light of this concept, two designs by E. A. Guzas are analysed, namely, his pieces of furniture designed for Lithuanian National Opera and Ballet Theatre, and those found in the Palace of Marriage of Vilnius City. The eighth chapter is dedicated to the works of Dalia Siaurusaitienė. It discusses her key designs and stages in her career. It also explores the mass-produced chairs named “Nida" and her pieces of furniture kept at the main Parliament Building of the Republic of Lithuania which are considered to be the most important ones in her career. The ninth chapter focuses on the artistic pieces of furniture designed by Jūratė and Albertas Krajinskai. The joint work of these designers embodies a different attitude to design which emerged among the young-generation designers after Lithuania regained its independence. The tenth chapter provides the analysis of the items produced by Venta, a Šiauliai-based furniture cooperative (hereinafter - Šiauliai BGS Venta). It explores the former role of this manufacturer in the context of the furniture industry of the Soviet period, looks into its former designs and attempts to define the trajectories of its design evolution. This study is complemented by two stories of chairs for the Philharmonic Concert Hall and the so-called Norwegian chairs. [From the publication]