Architekto Algimanto Sprindžio kūryba

LTArchitektas Algimantas Sprindys - ryškus ir populiarus XX a. II pusės Lietuvos architektas. Jo sukurti pastatai bei architektūrinės erdvės suformavo nemenką sovietmečiu modernėjančio Kauno centro dalį bei tapo miesto architektūros simboliniais ženklais - pastatais, pagal kuriuos atpažįstamas Kaunas. Sprindžio indėlis į tuometinės architektūros kultūrą itin svarus. Leidinyje atspindimi esminiai architekto kūrybos bruožai ir savitumai. Jie iliustruojami gausia nepublikuota ikonografija, amžininkų atsiminimais bei šiame kontekste ypač stiprų emocinį ir kūrybinį krūvį perteikiančiais architekto ranka pieštais eskizais. Leidinyje panaudota ikonografinė medžiaga iš architekto Algimanto Sprindžio šeimos archyvo, Kauno apskrities archyvo, Vilniaus apskrities archyvo, Lietuvos nacionalinės Martyno Mažvydo bibliotekos, AB "Lifosa" archyvo, Audrio Karaliaus ir Jono Palio rinkinių.

ENIf we suppose that architecture has fashion trends, Algimantas Sprindys could be classified as one of the most fashionable and popular architects of the 2nd half of the 20th c. The facilities and architectural spaces developed by him have formed a significant portion of modernising Kaunas Centre of the Soviet period and turned into an integral part of architecture culture of that time. In these years, the projects of Algimantas Sprindys discussed and assessed in the pages of newspapers and seen on the covers of the books about the city became symbols of the new architecture of Kaunas, i. e. the edifices identifying the city of Kaunas. Algimantas was born on 28 February of 1928 in Šiauliai, in the family of intellectuals. From 1934 to 1940, he attended Šiauliai Primary School, from 1940 to 1943 studied at Šiauliai Boys' Gymnasium. Then spent a couple of years, i.e. 1943-1944, at Mažeikiai Gymnasium and from 1944 to 1946 continued his studies at Viekšniai Gymnasium. Algimantas was starting seventeen, therefore, his parents suspected the threat of the World War II and possible call-up of the son. Making use of the relations of clergymen from Telšiai, Algimantas left to this town and entered the second year studies at the Priest Seminary, although having no purpose to become a priest. Fireworks of the last day of the war were greeted by Algimantas at the Priest Seminary, whereas in July of 1945 he made an application asking to strike him off the list of the seminary students. Along with intensive preparation for the final examination session at Viekšniai Gymnasium, Algimantas was drawing, taking sports, participating in amateur performances, singing with the choir of the gymnasium at the Song Festival in Vilnius. This was the end of the childhood and of the early youth period, wherein Algimantas was admired by art and especially charmed by graphics.Advised by teachers of Drawing, the lad was going to enter the studies of graphics. What to choose, however? To be an artist, graphic artist or architect? These were the parents who assisted in making the final decision. Advised by them, Algimantas applied for entrance examinations at the Faculty of Architecture at Kaunas State University. Here, Algimantas studied from 1946 to 1952. Later, started practising architecture in Kaunas. be an artist, graphic artist or architect? These were the parents who assisted in making the final decision. Advised by them, Algimantas applied for entrance examinations at the Faculty of Architecture at Kaunas State University. Here, Algimantas studied from 1946 to 1952. Later, started practising architecture in Kaunas. Creative flights of architects were usually restrained by the pseudoclassic principles predominant in postwar architecture of Lithuania. Thus, creative competences of Algimantas Sprindys also started revealing a little later after abandoning unnecessary decor and learning to swim between restrictions and standards. The first strokes of the creative biography were drawn in 1953, when working in the position of an architect at Kaunas Branch of the Urban Planning and Design Institute. The buildings designed in the early creation stage agreed with the tendencies of the epoch rather than disagreed. In this period, the following were designed: portal of the Lithuanian Exhibition Pavilion in Moscow (1953), "Druskininkai" Hotel with 100 beds in the resort under the same name (1956) and "D" Dwelling Quarter in Klaipėda (1959-1963). Another qualitative and stylistic period started around 1965, when A. Sprindys was appointed a chief architect of projects at Kaunas Branch of the Urban Planning and Design Institute.Though at the beginning of his creative biography the architect A. Sprindys designed without any stronger flight feeling restricted by unfavourable limits of the sociocultural environment typical of the Soviet era, later he started declaring more courageously that architecture should change, take a rest from the quotations of historic styles. In the present context, the following projects should be mentioned: interior of the legendary "Rambynas" Beer House in Kaunas (1965), vertical of the Industrial Planning and Design Institute in Kaunas Centre (1965, with co-authors), entertainment club by the order of Kėdainiai Chemical Centre (1965), Hunters' and Fishermen Lodge in Viršužiglis (1973), industrial tailoring centre "Mada" (Fashion) (1966) considered a breakthrough in the historic environment of Laisvės Avenue (Laisvės alėja or Freedom Avenue) of Kaunas. Aesthetics of the tailoring centre represented the beginning of Modernism of the Soviet period and the end of Socialist Realism of the Stalin's era. Although the architect developed a range of design offers, architecture of the sketched building was particularly austere in all of them. A brave rationalism step to the middle of Laisvės Avenue was a distinctive manifesto, a wish to design and create in a modern manner eliminating the historic information charge from the architectural formula. The span of time of twenty three years spent at Kaunas Branch of the Urban Planning and Design Institute was long and relevant. Usually, fresh diploma holders with assignment to position were patronised by senior colleagues. Through joint adjustment of the first projects, correction of mistakes and review of original solutions, the young architects were trained collectively on a continuous basis. Thus, the young generation could grow accumulating the knowledge required for everyday work gradually and acquiring practical experience systematically. [...].