This research explores the professional lives of female architects in Soviet Lithuania between the 1960s and 1980s, with a particular focus on Nijolė Bučiūtė and her design of the National Opera and Ballet Theatre. The study commences by outlining the historical context of Lithuania that shaped its architectural industry, examining how changing ideological and political reforms influenced the profession. Although the Soviet Union’s official rhetoric claimed gender equality, a deeply rooted patriarchal system limited women’s professional journeys. In this context, Bučiūtė‘s appointment to design the National Opera and Ballet Theatre in Vilnius in 1960 was a groundbreaking achievement, as women architects were rarely entrusted with leading projects. Gender biases within the Lithuanian architectural community are then examined, revealing how they shaped the reception of Bučiūtė‘s work. While the architect developed a distinct and innovative architectural vision, her work was frequently met with opposition. By maintaining confidence in her identity, she challenged the dominant canon of Lithuanian modernism, yet her legacy remains underacknowledged to this day.

Bučiūtė’s unique position within the architectural field in Lithuania offers a critical lens through which to investigate the broader gender dynamics of the Soviet Union’s industry. Lithuanian architectural archives and historical narratives have predominantly focused on male practitioners, leaving women’s contributions largely undocumented. By situating Bučiūtė’s career within the intersecting forces of political ideology, institutional barriers, and societal expectations, this research narrates an untold part of history, exploring how women navigated the profession’s male-dominated environment. Incorporating evidence from archival material, press coverage, and interviews with Bučiūtė’s colleagues and family members, alongside a detailed analysis of the National Opera and Ballet Theatre design process, this study aims to reveal the gender inequalities in the field. Notably, gender disparities in recognition and historiography persist, despite women comprising 40% of currently practising architects in Lithuania. Ultimately, the need for a critical feminist re-evaluation of Lithuanian architectural history is highlighted, advocating for a more equitable acknowledgement of women architects’ contributions to the discourse.