Architektas Karolis Podčašinskis

LTKaroliui Podčašinskiui Lietuvos architektūroje teko svarbi misija - apibendrinti klasicizmą ir vienam iš pirmųjų tiesti kelią į istorizmą. Jo veikla buvo įvairiopa: architektas projektuotojas, statybų ir remontų vykdytojas bei organizatorius, pedagogas, mokslininkas teoretikas. Jis gyveno ir kūrė itin sunkiais Lietuvai laikais: tragiškai pasibaigęs 1794 m. sukilimas, valstybės padalijimas, Rusijos imperijos priespauda, per 1812 m. karą atsiradusios ir žlugusios viltys, 1831 m. sukilimas, Universiteto uždarymas, intensyvi rusifikacija. Šie įvykiai lydėjo Podčašinskį visą gyvenimą. Anot Pauliaus Galaunės, tokiais atvejais mūzos tyli. Tad sunkia nelaisvės našta suvaržyto meno anuometinė padėtis lėmė ir jo kūrybą, kuri kitokiomis sąlygomis tikriausiai būtų atsiskleidusi kitaip. Architektas iki gyvenimo pabaigos neišsižadėjo nei racionalizmo, nei klasikos idealų, tačiau neišvengė ir romantizmo, kuris kaskart labiau smelkėsi į jo kūrybą. Podčašinskis yra Lietuvos romantizmo architektūros pradininkas, išugdęs visą plejadą šios meno srovės tęsėjų, žymių architektų - Julijoną Grosą, Karolį Gregotovičių, Fulgentą Rimgailą, Tomą Tišeckį, Kazimierą Chščonovičių ir kitus, mažiau pasireiškusius. Jo kūrybinis palikimas nemažas, daug darbų išliko, nors ne visi išaiškinti. Be to, yra neįvykdytų projektų. Podčašinskio darbai išplito nuo Peterburgo iki Podolės Kameneco Ukrainoje, tačiau daugiausia kūrinių įgyvendinta Lietuvoje ir Baltarusijoje, buvusios Vilniaus švietimo apygardos ribose.

ENKarolis Podčašinskis (1790 - 1860), born in Byelorussia, well known for his teaching activities at Vilnius University and his writings in Polish, spent most of his life in Vilnius. He was well acquainted with Litu- anian folk architecture, its peculiarities and construction terms. His creativity was based on the deep knowledge of Lithuanian traditions, construction techniques and local materials. The architect’s creative career began with the preparation of his first design attempt in 1815 to be subsequently finished in the fifties of the XIXth century. The peak of the „pure” style of classical expression - classicism - was replaced by other retrospective forms. This manifested itself in simultaneous existence of the late classicism and romanticism in the middle of the XIXth century. Representing both trends K. Podčašinskis was the last notable figure of classicism and the initiator of romanticism in Lithuania’s architecture. His historical mission was to review and close the epoch of classicism as well as lay foundations for mature historicism. It was determined by the historical situation which led to the closure of Vilnius University as a result of which Lituania was left without a school of architecture. K. Podčašinskis was its last professor and leader respecting Lithuanian traditions to be later cherished and propagated by his students. Being a versatile creator of multi-purpose architectural objects he would design secondary schools, palaces, churches, urban dwellings, rural buidings, fine architecture as well as interior furnishings. On one hand his creative work was mainly based on the principles of classicism set by Italian and French examples and his local predecessors, while on the other hand he tried to avoid hackneyed design schemes. He sought to adapt the antique experience to the local needs which was a failure of the former Lithuanian classicists (for example, the design of Vilnius Evangelic Church).The architect did not neglect the trend of romanticism, either. K. Podčašinskis used a wide range of artistic expressive means inherited from antique classicism, he was one of the first to introduce the „rounded arch” style (Rundbogenstil) in Lithuania and opened the way for historical retrospective later developed by his students. Despite the architect’s versatility it is possible to distinguish the following features of his creative heritage: rationality, solemn although unpretencious ornamentation, harmony of well sought proportions. The most characteristic elements applied in his works are corinthian order and caissonic ceiling previously not used by the representatives of Lithuanian classicism. In his designs, teaching activities and theoretic works the architect referred to French theoretician J.N.L Durand’s utilitarian doctrine. He broke the accepted idea of comfort, solidity and beauty as the basic criteria of architecture which used to consider beauty as a feature of minor importance. It transfered architecture from the sphere of art into the domain of science and engineering, started the development of a rationalistic point of view. K. Podčašinskis extended his knowledge of techniques (materials, constructions) and solved complicated engineering problems. He also paid his attention to the consolidation of decaying vaults, walls, towers and the design of hydrotechnical equipment. It made his work technically based, rational, tectonic, and allowed him to avoid mistakes usually made by his predecessors, for example, M. Schulz. It is the established fact now that the utilitarian doctrine found more supporters in Lithuania. They were K. Podčašinskis contemporaries and followers: Kazimieras leiskis, Ipolitas Rumbovičius, Kajetonas Garbinskis and Jonas Sobolevskis. [...].