Architektūros apžvalgos

LTArchitekto Alfredo Paulausko karjerą galima skirstyti į kelis laike ir geografijoje išsidėsčiusius epizodus: Palangos miesto vyriausiojo architekto pareigas (1956-1963), ilgametį Kazlų Rūdos bandomojo miškų ūkio periodą, prasidėjusį 1966 metais, ir Kauno etapą, trukusį beveik penkis dešimtmečius. Šie periodai skiriasi ir darbų apimtimi, ir pobūdžiu. Palangoje architektas tūrinių objektų beveik neprojektavo: vykdydamas vyriausiojo miesto architekto misiją, iš esmės pakeitė kurorto architektūrinį veidą - sutvarkė viešąsias erdves ir žaliuosius plotus. Atidžiau pažvelgus į Paulausko veiklą Kazlų Rūdos miestelyje, kuris tęsėsi praktiškai iki mirties, akivaizdu, jog jis bandė pakartoti Palangos fenomeną: sėkmę, kurią lėmė ambicingas charakteris ir nuoseklus darbas. Čia suprojektuota ir pastatyta Kazlų Rūdos bandomojo miškų ūkio susivienijimo administracinių, rekreacinių bei ūkinių pastatų. Vėliau, po Nepriklausomybės atgavimo, tęsti darbai pagal VĮ Kazlų Rūdos mokomosios urėdijos poreikius. Suprojektuota statinių, atlikta jų priežiūra, kurti mažosios architektūros bei dizaino objektai. Vėlyviausias bei ryškus A. Paulausko darbas miestelyje - tai įmonės "Ginalas" administracinis pastatas. Kadangi architektas be tūrinių objektų rūpinosi ir gyvenvietės estetiniu urbanistiniu formavimu, galima teigti, kad jo veikla prilygo miestelio vyriausiojo architekto pareigoms. [Iš teksto, p. 19]Reikšminiai žodžiai: Alfredas Paulauskas; Architektai; Architektūra; Alfredas Paulauskas; Architects; Architecture.

ENThe career of the architect Alfredas Paulauskas might be split into a few episodes different by the project scope and nature: Palanga episode with the position of the Chief Architect (1956-1963), long-standing episode of Kazlų Rūda Experimental Forestry havings tarted in 1966 and Kaunas episode having lasted for almost 5 decades. In Palanga, practically no volumetric solutions were introduced by the architect: acting as the Chief Architect of Palanga, Alfredas Pautauskas made essential changes to the face of the resort, i.e. composed public spaces and green areas. The touch of the architect is felt at the projects eventually having turned to an integral part of the resort image: central square/public garden of Palanga (1958); Flower Pavilion (1954), reconstruction of Vytauto, Jūratės, J. Basanavičiaus streets (1954-1960); surroundings, pool and base of the sculpture "Jūratė ir Kastytis" (composed by Nijolė Gaigalaitė, 1961), project for construction of the sculpture "Eglė Žalčių karalienė'/Eglė the Queen of Serpents, alternatively Eglė the Queen of Grass Snakes (composed by Robertas Antinis, 1958) in the park of Palanga. Later, to gether with the coauthor and enginee r Z. Vaškevičius, he worked out the project for illumination of the sculpture and entire park (1969). In 1976, the illumination solution under discussion was considered an exclusive installation in the Soviet Union of that time. A closer look at the activity of A. Pautauskas in Kazlų Rūda reveals his obvious efforts to repeat the phenomenon of Palanga: the architect was a more significant person than just an adviser coming only on weekends on a pro-bono basis. He envisaged the recreation alpotential of the territory of Kazlų Rūda Experimental Forestry, there fore, the principles of moderate and location-sensitive architecture were applied in the design process.The most telling projects of the architect in Kazlų Rūda are the following: administration building of the Forestry Enterprise (1978), building and interior of the Nature Museum (1979), building and interior of the Women Council and Dancing (1982), administration/commercial building of the company "Ginalas" (2002-2010), etc. Strongly defending the formation ideas of the Lithuanian seaside resort environment against incautious architectural solutions of colleagues or against the visions of the administrative nomenclature of that time, A. Paulauskas was an authority on recreational environment management. In Neringa, he designed the holiday home "Dobilas"/Clover and quay building in Nida (both in 1969). Being not the copies of the traditional architecture of Neringa, however, the projects were closely connected by semantic links and represented genius loci. In 2001-2002, A. Paulauskas worked out the extension projects of the quay in Nida offering to add the sculpture "Jūratė" to the quay. In the 2nd half of the 20th century, architecture of Lithuania w as exhausted by typical and monotonie construction projects. The first efforts to solve the architecture typification problem through searching for more expressive compositional solutions were displayed in public buildings. Design stories of hotels in Šiauliai (1967) and Kaunas (1980) were unsuccessful (first one was taken over by other architects, construction of an other was not completed), where as the hotel "Nevėžis" constructed in Panevėžys was rated among the highest and most modern hotels of that time. Design proposals, hotel construction projects and design ideas are considered valuable, how ever, im plementation matters were not the strong est creative link of A. Paulauskas. On the other hand, the project of reconstruction of "Laisvės alėja" (Freedom Avenue) into the pedestrian street implemented by the architect and coauthors reveals much more the.Actually, it represents aparticularly independent solution, i.e. a dominant with the narrative and suggestion overpassing the limits of the pure functional programme. To the creative style of A. Paulauskas, reality of the sixties and seventies of the 20th century, i.e. stylistics of the Late Modernism was acceptable. P rojects of A. Paulauskas were occupied gradually by dynamics and expression, by the volum etric shapes getting more and more sophisticated, by a modernistic rectangular trans formed into multiple varieties. In this light, the following should be mentioned; restaurant "Žilvinas" in Joniškis (1975) full of artistic originality exceeding the limits of rational functionality; cafes "Vilnelė"/The Small Wave (1973), "Ekspres" (1976) and "Žėrutis"/Mica (1977) in K aunas representing the successful architectural searches for aesthetical formation and visual character of buildings. Facade of the administration building of the Executive Committee of Kaunas district (1976) shows the industrial construction logics - contrast to the painterly cafes and other public buildings designed by A. Paulauskas. Department store 'Kupa' in Kaunas (1989) represents the dualism of stylistic expression; the striving to respect the surrounding building-up along with the efforts to discover the architectural language of that time. Funeral home in Kaunas (1978) is one of the most distinctive compositions of the architect. Here, the architect pictured an especially dramatic in terpretation in the shape of the sacral building gradually merging into the interior and getting even more energetic therein. R epeating the red bricks and towers of Trakai Castle, the cultural centre in Trakai was considered aparticularly extravagant project in the creation of the architect. Despite the obligatory closeness of the historical value, the role of an attractive and dynamic character was given to the edifice. [...]. [From the publication]