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GROTTO CAVE

VINERY + RESIDENTIAL

ECHO PATHWAY

PHILOSOPHICAL RESERCH OF SACRED SPACE THROUGH EMPTINESS

IN BETWEEN PAVILION

VAIKYSTĖ

PRIMARY SCHOOL + KINDERGARDEN

VILLA LAJOS RESTAURANT

INKLIUZAS

AN URBAN CONCEPT FOR RAŽĖ RIVER ACCESS

VILLA MARJONOVIC

RESIDENTIAL HOUSE

VILLA S&J

PRIVATE HOUSE ARCHITECTURE, LANDSCAPE & INTERIOR

RE:PLANT

WASTE TO ENERGY PLANT CONCEPT FOR AWECT

APARTMENT M&M

RESIDENTIAL INTERIOR

MUSIC THEATRE

KLAIPĖDA STATE MUSIC THEATRE INTERIOR

LVSO HALL

SYMPHONY ORCHESTRA HALL AND PUBLIC SPACES INTERIOR

GROTTO CAVE

VINERY + RESIDENTIAL

UPLISTICIKHE

SAKARTVELO

2021

The residential structure is built on the edge of a mountain path. Both locals and travellers exploring the area will inevitably enter a cultural complex isolated from civilisation.

The site has three main functional axes: residential, public-indoor (winery, restaurant) and public-open (courtyard and indoor swimming pool). Both the public and the residential parts are connected by a garden on the bridge, which serves not only as a gathering space but also as a viewpoint. The garden, constantly fed by the steam of the waterfall, is like an oasis of greenery in the rocky mountain structure.

The living spaces are divided into two parts - the semi-enclosed cave at the slope and the inner part. In the inner part, underground springs are activated in order to meet visual and ventilation needs, and are concentrated in an inner pool. This space is covered by arched trusses that support the wide dimension of the cave space.

The apartments, which are concentrated on the slope, are divided by light corridors, thus aiming to maximise the light in the cave structure and to reduce claustrophobia, but also to provide visual channels to the attractive mountain terrain.

The concept of the designed cave forms three main blocks of the complex: residential (cave-apartments on either side of the inner pool), community recreational (a winery, a café, an amphitheatre and other ancillary functions on the second level of the building) and anthropogenic (the inner pool and the hanging gardens on the bridge to be formed). The internal spaces of the complex formed on the slope ledge do not have a fixed base elevation. As the internal walkways are constantly ascending or descending, the parallel spaces react to changes in the ground.

Water springs are activated at the foot of the hill. The water forms an internal pool and at the same time serves as cooling for the building. The river flowing from the hill supplies the cave with electricity, as its current is used as the base energy for the mini-hindra power plant. A pathway at the foot of the hill becomes the link between all the blocks without interrupting their function or privacy.

ECHO PATHWAY

PHILOSOPHICAL RESERCH OF SACRED SPACE THROUGH EMPTINESS

ANTWERP BELGIUM

2022 master’s degree diploma project

The final master’s thesis examines the phenomenon of emptiness in architecture. The analysis of it’s shape involves sacred,memorial, meditation types of architectural objects. The forms of emptiness interpretation was discovered through the expermentaly through clay research. The main purpose: by the architectural shape define universal language of sacredness, which would not consist anyreligious implication. From it is structured universal meditation typology, which does not limit subject, neither by doctrines, neitherby set order. Meditation park combines monasteries, community centers and public space functions. By the designed object -meditation park is aimed to explain existence phylosophy of Taoism, nothingness sameness of entirety, existing things temporalitythrough infinite time. Thesis consists of two parts, research and design: meditation park in Antwerpen, Belgium project.

What defines space as sacral or not? Does only tagged buildings only include sacral experience? Maybe it should not be defined by category, as well as it self named church not essentially will be sacral to everyone, as well as just simple pavilion, where by the most simple life experience a subject could discover beauty of life and excagerate his as soul unity with environment.

To understand the choice of typology. There is any. Utopian promenada. Just a motive going through city. Basically, it is a pathway, with dinamic perspective. Along with changing shapes the city perspectives changes. BEING IN BETWEEN and hearing echos of city life it self could summarize life of person in this time, in this city, being between those people, and just simply feeling the generalized atmophere being in there

The location was not a simple choice. At first there was an intention to do such spaces in nature surroundings, but it misses the main point. To summarize your own life it was necessary to retreat from afar and see your own life in bigger scale. For such assignment from my own experience was chosen shore of Scheldt in Antwerp, Belgium. The area is just next by turn of river and even flat tarrained city is clearly visible with all different layers. Oldtown roofs is layered behind recuntructed port warehouses with vivid music and entertainments sound. Behind the river is forest with residential houses and in the north -

So it’s not really about the building, ether architecture, or it’s shape, but about it’s use as a tool of space to reveal life perpectives of city and subject position IN BETWEEN. The rising forms enclosure and countours view ares. By every step growing and fading out walls gives the experience of seeing the city in the suprise moment.

IN BETWEEN PAVILION NEMIRSETA, LITHUANIA

2023

TEAM:

MARIUS MATEIKA AUDRONĖ PAKALNIŠKYTĖ

Behind the dunes, just at the beginning of the forest, here comes projection of sand shapes - the restaurant. Place becomes a pathway and a connection between the beach and a town among trees entourage. The structure acts as invitation to experience Nemirseta resort just right in the wildness.

The organic structure frames the lines of the dunes like a landscape element, seamless and indivisible. The space serves as a gateway between the forest and the seaside. The wall and the roof are a solid monolith. The path is defined only by vertical elements that follow the relief of the silhouette. The passer-by’s journey towards the sea briefly freezes as he soaks up the emphasised lines of nature.

VAIKYSTĖ

PRIMARY SCHOOL + KINDERGARDEN

VILNIUS

LITHUANIA

2018

Kindergarden - primary school project location - Vilnius, Pašilaičiai district. The area is known as residential soviet architecture neighborhood built in the ending of XX century.

The surrounding building is wide spreaded between each other. Area has a lot of free space, but does not have the ragular urban connections system. By this project was solved urban planning problems, free space was used as new created park for residents and also for kids from school.

The project has two main parts - primary school and kindergarden which is separated in two different blocks. Between them is created connecting area with common fu nctions as library, concert and performances hall, sport activities areas, playground, cafeterea. The builidng blocks are separated by the terrance levels. To avoid losing of space, school part has a hanging construction.

The inner spaces has the greenhouse principle. The main kindergarden principle was to learn kids about ground, the natural cycle of life and live, abouy plants, trees, agro-culture, to learn how people are growing food. Because of that the school has the inner greenhouse. Plants and natural materials such as timber, stone, sand is integrated in the project. According to it, it is one of the ways for healthy living and also to excize the visitors and “residents“ appetite for lide, new experiences, knowledge. To give an opportunity to follow the stages of plant life, the born, the growing and the death. It is the possibility for children to closely see and learn how water, ground, sunlight and air are flowing through whole ecosystem. Close and experienced knowledge foster kids compassion, respect and understanding about matter and energy transition.

VILLA LAJOS RESTAURANT PALANGA LITHUANIA

2023

TEAM: MARIUS MATEIKA AUDRONĖ PAKALNIŠKYTĖ

The focus territory is located in the core of the city of Palanga. It is the heart of the city of Palanga, where recreational, entertainment, cultural, leisure and residential areas are intertwined in the natural urban fabric. The area is dominated by the Rąžės River, which is located along the homestead and free-standing buildings, with the urban axis of the public spaces of Bsanavičiaus Street extending up to the Palanga Bridge.

At present, the area of the Rąžė River does not exploit its potential and is not fully integrated into the network of Palanga’s main spaces. The Rąžė segment does not provide access either to

the active axis of Basanavičiaus Street or to the residential areas. In order to make the river path lead towards the sea, the spatial urban network of Palanga is being reshaped: opening up the links to Basanavičiaus Street and opening up the entrance to the Rąže coast at Vytautas Street.

The urban greenery of the urban line towards the sea is replaced by a pine forest and the villas integrated into it, the principle of which is preserved as one of Palanga’s distinctive values.

This projected relationship is activated not only by the projected dominants, but also by the existing ones: the Palanga Kurhaus Palace, the church, the complex of villas “Pajauta” and “Vilija”, the ensemble of villas “Gražina” with a pavilion and 3 smaller villas, the villa “Vaidilutė” and the villa “Baltoji”. The cultural values are reinforced by the new designed landmarks which are volumetrically significant.

INKLIUZAS

URBAN CONCEPT FOR RAŽĖ RIVER ACCESS PALANGA LITHUANIA 2021

TEAM:

AUGUSTINA RAČKOVSKYTĖ

SKAIDRA PETKEVIČIŪTĖ MATAS ŠTRĖMAS

AUDRONĖ PAKALNIŠKYTĖ

VILLA MARJONOVIC

RESIDENTIAL HOUSE

ALMERE

THE NETHERLANDS

2019

TEAM:

BAS TEN BRINKE SANNE MULDER AUDRONĖ PAKALNIŠKYTĖ

Villa Marjonovic - a family house. Project located in the Netherlands, in Almere, on flat terrain between canals. The idea was to lift the building off the ground and give it a floating feeling. To achieve this, the volumes of the building are seemingly limited by the sandwich of the floor and roof. With the foundations deepened from the perimeter of the building, this composition gives a gliding effect.

The clients wanted a building that was isolated from its surroundings but open inside. To achieve this, a courtyard is formed in the centre of the building, around which the life of the house revolves. The three main blocks consist of a bedroom, a living room and a utility block. The sleeping block consists of 4 bedrooms and 2 bathrooms. The living block contains the kitchen, dining room, living room and leisure and working areas. The ancillary block consists of a guest room, a toilet, a laundry room, a cloakroom and an outdoor storage room.

VILLA S&J

PRIVATE HOUSE

INTERIOR & EXTERIOR

VILNIUS LITHUANIA

2021

TEAM: MARIUS MATEIKA AUDRONĖ PAKALNIŠKYTĖ

RE:PLANT

TEAM:

BAS TEN BRINKE

SANNE MULDER

MARUSHA DOLENC

TAJA KOVIC

ALINA GRIGORAS

ADRIAN PERDICA

AUDRONĖ PAKALNIŠKYTĖ

Designed by 70F Architecture for AWECT Amsterdam, RePlant is based on waste-to-energy plant concept and performs as a complete recycling and upcycling village. Not only does the AWECT-plant generate energy from burning waste in the most effective way possible, but it also provides space and jobs in order to support the locals as a part of the process. In addition, it features an auditorium and educational center connected to an eco-park, which incorporates a restaurant serving food from the greenhouse. The latter is powered by the CO2 attained from the burning process of the plant. The vegetation in the park can be used as a filter for water waste and for extracting heavy metals from polluted soil. Accessible to both staff and the public, the park features a pool using heat and cleaned water from the plant.

INTERIOR APARTMENT

VILNIUS LITHUANIA 2024

APARTMENT

INTERIOR

VILNIUS LITHUANIA 2024 M&M

TEAM: MARIUS MATEIKA AUDRONĖ PAKALNIŠKYTĖ

The private interior was designed in response to the residents’ desire for a clean, modest and homely space. It is no coincidence that the interior is dominated by a walnut wood finish. It is used on floors, ceilings, furniture and doors. Vertical rusticated timber strips are an important interior detail. They are integrated in doors, sliding shutters across the height of the room, mirrors and wardrobe elements. The verticality is enhanced by Vibia luminaires that emphasise the lines. To counterbalance the warmth of the wood, a concrete-stone mix tile has been chosen. It is used not only in the bathrooms, but also in the kitchen furnishings and the living room furniture. The background of the interior is grey concrete, which allows the main elements to appear without overpowering them, and the furniture has been chosen in accordance with the predominant colours: rusticated wood motifs are used and elements of stainless steel are chosen to contrast the warmth.

MUSIC THEATRE INTERIOR KLAIPĖDA LITHUANIA

2024

TEAM: MARIUS MATEIK A INDRĖ ANKUDAVIČIENĖ A UDRONĖ PAKALNIŠKYTĖ

Klaipėda State Music Theatre is the first newly built theatre in the history of independent Lithuania. The architecture of the theatre is divided by the new and the old parts of the building. During the reconstruction it was proposed to save the old part of the building with the tower as a local landmark. The new part of the building is not remarkable for its height, but for its form expressions and serves as a volumetric landmark.

The main challenge in the interior design was to find a balance between remaining and new, to capture the links between volumes and edifices with radically different expressions and to overcome and emphasise the values in a meaningful way. It is no coincidence that the existing plastics of the Column Hall and the organics of the new part of the building became the starting point. Taking into account the contextual features, the distinctive nature of the seaside and the colour of the natural clay that is typical of the city of Klaipėda, the architectural plastics are continued in the interior, both volumetrically and materially. Organic forms are used in almost all the spaces accessible to visitors. The atrium in the old building’s foyer

is drawn over three floors into a clay-coated ceiling of organic forms, with the preserved historic chandelier as the axis of rotation. The chandelier becomes the dominant feature of the old hall, because without it there are no extravagant elements of a similar typology.

The theatre’s unusual modesty is maintained in both the old and the new parts of the building. Exaggerated decoration is avoided in favour of naturalness. Luxury to be perceived not through empty stickers, but through the nobility of natural form. Clay is ingrained in the foundations of Lithuanian architecture, but has never been perceived as an element of luxury, here it overturns the stereotypes and replaces luxury with a powerful naturalness. The clay masters at “Vabalai” Studio’s brings clay line is carried through the living sand-like walls of the main concert hall.

The space, which has no analogues in the world, is designed to create an intimacy between human and music, dance and theatre. Clay becomes the nourishing matter of the soul.

LVSO HALL

LITHUANIAN STATE SYMPHONY

ORCHESTRA HALL AND PUBLIC SPACES

INTERIOR

VILNIUS LITHUANIA

2024

TEAM: MARIUS MATEIKA

INDRĖ ANKUDAVIČIENĖ

AUDRONĖ PAKALNIŠKYTĖ

The primary focus of the symphony orchestra hall is the listener. Our main objective was to achieve an entirely new acoustic standard, tailored specifically for symphony orchestra performances of the highest caliber. While the building and its designated space were not novel, they encompassed a volume characterized by intricate geometric shapes. We adopted a “lego constructor” philosophy, wherein, in collaboration with acousticians, we meticulously devised several standard elements such as rhombuses, triangles, and both smooth and ribbed planes. Subsequently, we methodically assembled the interior using these components, adjusting their placement — adding or subtracting as necessary — to achieve a harmonious blend of acoustical excellence and aesthetic appeal. The former hall had a complex, aesthetically unappealing form. Therefore, the chosen accoustic - decor has a camouflage function. Illuminated strips hide unappealing wal angles. The wall pattern reflects Lithuanian folk and ancient runic patterns.

Nothing lasts.

SELECTED WORKS 2024 +370 605 219 79 pakalniskyte.audrone@gmail.com

AUDRONĖ PAKALNIŠKYTĖ