4

I was born in an artist family hence I had a splendid opportunity to observe creative changes happening around me also to express myself from my early childhood. It enabled me to put it in practice in my further activities.

as soon as I had the opportunity of trying myself in an architectural practices, I took the chance. Individually and being part of a group, I have been awarded in number of competitions, workshops. What is more is that the vast majority of my projects done in my studies in Lithuania, spain, the netherlands and Denmark were marked with the highest grades and my final bachelor project in 2009 was awarded for the best project of bachelor’s architecture and urbanism in Lithuania.

a process orientated approach to architecture and urbanism is essential to me. Each particular project implements different subject matter in architecture, urban planning, sociology, economics, engineering, media, design and other spheres. I seek creative, innovative and sustainable solutions that allow achieving collaborative goals while complementing the context.

foto: e. bazaraite

cvIgnas UogIntas

birth 1986 09 29Lithuanian EU nationality

current addressc/o ChristensenNakskovvej 24,2 TV2500 ValbyDanmark

tel + 4550250732email ignas@uogintas.comweb http://ignas.uogintas.lt

5

work experIence

MaXWan aRCHItECts anD URBanIsts BVRotterdam the Netherlands; architect2010 09 - 2013 06

anDRE BaLDI aRCHItECtURE anD URBanIsMVilnius, Lithuania; architect2007 03 - 2010 09

DZIEWonsKI LUKasZEWICZ aRCHItEKCIWroclaw, Poland; architect2008 07 - 2008 10

tERRa aRQUItECtURa stUDIoValencia, Spain; architect2007 12 - 2008 01

a. CERnIaUsKas aRCHItECtURE stUDIoSiauliai, Lithuania; assist. architect2006 06 - 2006 10

edUcatIon

RoyaL DanIsH aCaDEMy of fInE aRtssCHooL of aRCHItECtUREmaster of architecturegraduation project: “change the block” 2013 - now

aCaDEMy of aRCHItECtUREaMstERDaM sCHooL of tHE aRtsmaster of architecture1st semester academic project awarded ”for the creativity” in “centras” competition, 2011, vilnius2010 - 2011

VILnIUs gEDIMInastECHnICaL UnIVERsItybachelor of architecture and urban planning with distinctiongraduation project: “urban regeneration of vilnius snipiskes district” was awarded for the best project in Lithuania2005 - 2009

UnIVERsIDaD PoLItÉCnICa DE VaLEnCIaerasmus exchange programme2007 - 2008

sIaULIaI aRt sCHooLdiploma in visual arts2001 - 2005

LangUages

Lithuanian, English, Russian

coMpetItIons, worksHops

EURoPan 12Seraing, Belgium; with D. Zakaite2013 06

sIKon XXVstudents ideas workshop; Vilnius, Lithuania; with D. Zakaite, L. Zakas2012 07

oPEn soURCEinternational library competition; Daegu Gosan, South Korea; with D. Zakaite, A. Borejszo, J. Hilgefort2012 11

KaUnas CastLEarchitecture and urban design competition; Kaunas, Lithuania; with L. Rekevicius, A. Neniskis, T. Jonauskis, J.Muliuolyte, E. Matulaityte2012 09; IIIrd prize

offICE nEXt to LaKEcreative center; Trakai, Lithuania; with V. Vaiciulis, J. Dudenas2012 09

aRCHfonDasactivity in voluntary, independent non-profit organization, active in architecture, education and culture2009 12 - 2010 09

East - East II; JaPan Vs LItHUanIaregeneration of Markuciai district workshop; Vilnius, Lithuania; tutors: T. Ashihara, L. Naujokaitis 2009 06

MaPPIng VILnIUs - MoDELIng VILnIUsinterdisciplinary workshop; tutors: choreographer J. Garcia, artist S. Bürkle, video artist J. Sucari2009 06

DEsIgn of ogMIos DIstRICtworkshop; Vilnius, Lithuania; with Karres en Brands Landschapsarchitecten2008 10; Ist prize

aRCHItECtURE PaRKworkshop; Vilnius, Lithuania; with Andre Baldi Architecture2008 06

EVERyVILLE, La BIEnnaLE DI VEnEZIacompetition; with D. Zakaite, J. Klybaite, E. Kazdailyte2008 05

sIKon XXstudents ideas workshop; Vilnius, Lithuania; with D. Zakaite, G. Segzdavicius, Z. Urbas2007 06; grandprix for “the most drastic work”

sIKon XIXstudents ideas workshop;Siauliai, Lithuania; with G. Segzdavicius2006 06; IInd prize

coMpUter skILLs

autodesk: auto CaD (2d, 3d), 3Ds Max with Mental Ray & Vrayadobe suite : Photoshop, Illustrator, InDesign Rhinoceros, sketchUp, CorelDraw

6

soUtH HarBoUrat MaxwanHelsinki, Finlandcompetitionurban and public space design

net-workat MaxwanPaphos, Cypruscompetitionculture center design

overscHIeat MaxwanRotterdam, the Netherlandsresearchdevelopment scenarios

skoLkovo skIesat MaxwanMoscow, Russiacompetitionmasterplan and design of housing complex

BrUUL streetat MaxwanMechelen, Belgiumcompetitiontechnical projectpublic space design

BargeLaanat MaxwanLeiden, the Netherlandstechnical projectsquare and street design

aaLto UnIversItYat MaxwanHelsinki, Finlandcompetitionuniversity camp. extension

wenZHoU UnIversItYat MaxwanWenshou, Chinacompetitionuniversity masterplan, volume design

oUrs2013

06semi-finals

work

201108

1st place

work

201106

work

201102

work

201302

work

201306

1st placerealized

work

201305

realized

work

201210

work

201208

open soUrceself initiativeDaegu Gosan, South Korea competitionpublic library design

oUrs2012

09

cHange tHe BLockat KARCHVilnius, Lithuaniamastergraduation projectrenovation of micro-rayon

stUdY

2013 09 - now

kaUnas castLewith colleaguesKaunas, Lithuania competitionurban design, renovation

oFFIce next to tHe Lake with colleaguesTrakai, Lithuania competitionoffice building and public space design

oUrs

201210

3rd place

oUrs

201212

coMMercIaL centreat MaxwanWadala, Indiacompetitionmasterplan

work

201212

wIJHHaven 2at MaxwanDen Haag, the Netherlandsresearchrenovation

work

201205

eUropan 12with colleaguesSeraing, Belgiumcompetitionmasterplan, housing and public space design

LIvIng rooMat AHKAmsterdam, the Netherlands4rd semester individual projectcommunity center

stUdY

201106

tHe waLLat AHKAmsterdam, the Netherlands3rd semester individual projectsingle family house

stUdY

201103

genk acadeMYat MaxwanGenk, Belgiumcompetitioncultural, academic and residential complex

work

201103

2nd place

7

perForUMat MaxwanTallinn, Estoniacompetitionart schools and culture center

Love coveat MaxwanKaoshiung, Taiwancompetitionmaritime and pop music cemtre competition

FeZ reMIxat MaxwanFez, Moroccocompetitionmaritime and pop music cemtre competition

work

201101

work

201010

work

201011

rUtosat Andre BaldiVilnius, Lithuaniacompetitionsingle family house

LIvIng HIstorY parkat Andre BaldiLebartai, Lithuaniaresearch, technical projectlandscape, pavilion design, exhibition design

new art gaLLerYat Andre BaldiMaribor, Sloveniacompetitioncontemporary arts centre design

work

201001

1st place

work

201005

work

201004

LItUanIcaat Andre BaldiKaunas, Lithuaniaorganization of international competition and workshop

MIkaLoJUs HoteLat Andre BaldiVilnius, Lithuaniarealisationhotel design

work

200911

work

200911

tU deLFtat Andre BaldiDelft, the Netherlandscompetitionvisions for new faculty of architecture

orpHanageat Andre BaldiChagcharan, Afganistancompetitionorphanage for boys and girls

park HoUsIngat Andre BaldiGargzdai, Lithuaniaproject, realizationapartment housing complex

kIte sUrFIng centerat Andre BaldiSvencele, Lithuaniarealisationsport campus

work

200910

1st place*

work

200902

work

200807

3rd place

work

200806

snIpIskeLesat VGTUVilnius, Lithuaniabachelor graduation project architecture, urban design

stUdY

200906

best in Lt

vIsorIUkaIat VGTUVilnius, Lithuania7th semester individual projectprimary school design

stUdY

200812

MUseUMat D. LukaszewiczWroclaw, Polandcompetitioncontemporary art museum

work

200809

MaIn sQaUreat D. LukaszewiczStarachowice, Polandcompetitionpublic space design

work

200808

2nd place

MonUMentat VGTUVilnius, Lithuania6th semester individual projectpublic library

stUdY

200806

awarded

eUropan 9at Andre BaldiTallinn, Estoniacompetitionmasterplan, housing and public space design

work

200706

enclosed spaces have boundaries that are defined by surfaces. these surfaces might limit and shape more than one space at once and yet remain the same. the surface is what divides and connects different spaces.

we have walls to divide and through walls we connect. we use walls for protection and separation. we use walls for creating specific settings and various environments. we use walls to create conditions for being what we really are.

some walls last longer than others. If it lasts long enough it becomes a symbol for change (it might also be called time, movement, history, etc.). this symbol evokes a feeling of a memory or a dream. this dream might take us to the richest spaces imagined.

the territory is full of aura from the wrecked church. the only ele-ment in the site that still connects to the memory of the church is a remaining wall. this brick wall with arches used to belong to the cellars in the basement.

now it is an exposed wall that plays its part in the landscape of existing garden. therefore, the organization of a new design is based on this element. Moreover, the site has already grown into the mental city as a garden with a playground for kids.

new design does not implement something radically new but tries to emphasis existing values – to enrich the garden, to extend the vari-ous spatial experiences for kids and to lay emphasis on the church remains.

Main entrances to the gallery are located next to the street. the urban staircases connect to the garden and the main inner courtyard space. the shape of the design is not blocking the views of the inner courtyard. Furthermore, lifted corners of the design correspond to the heights of surrounding structures and main entrances. the inner courtyard is slickly connected to the garden. therefore, all the functions have visual connections towards the stream of vegetation. Functionally the volume is segregated into three zones: living zone, working zone and exposing zone.

tHe waLL

inside-out (architectural design)amsterdam, the netherlandsmaster 3rd semester 8 week individual projectamsterdam academy of architecture

tutor lars r. van es i_on_s@hotmail.comevaluation - “exellent”2011 02 - 2011 03

9the wall

#1 gallery space190 m2

#2 art garden450 m2

#3 workshop space90 m2

#4 living space72 m2

#1

#2 #3

#4

functional organisation

inside lives family that creates arttwo young artists live in this area.

the creations of their talent are exposed in the gallery space. sometimes kids from the kindergarten are coming

to their workshop to see their process.

existing elements integratedthe territory is full of aura from the wrecked church. the only element in the site that still connects to the

memory of the church is a remaining wall. this brick wall with arches used to belong to the cellars in the

basement.

openings, function, patio spacethe inner courtyard is slickly connected to the garden.

therefore, all the functions have visual connections towards the stream of vegetation. the volume is segre-

gated into: living zone, working zone and exposing zone.

flows, views, public entrancesthe urban staircases connect to the garden and the main

inner courtyard space. the shape of the design is not blocking the views of the inner courtyard. furthermore, lifted corners of the design correspond to the heights of

surrounding structures.

11the wall

tectonicsthe volume consists

of three main elements: the base, the pillars and the roof.

the spaceinterior can open up if needed; it

creates an intimate dialogue with the surroundings.

the volumean object becomes a dominant in the space and plays important role as a

community building.

Kleiburg residential expansion (amsterdam Zuidoost) is designed in sixties by siegfried nassuth of the city planning department. archi-tecture of the Bijlmer was intended as a green, light and spacious urban scheme.

today we find sober and homogeneous houses, schools and shops. the functionalist feeling is greatly enhanced by the industrial build-ing methods that express social equality. an abundance of open spaces and collective gardens compensated for the small houses; the transparency and openness of the public greenery represents a modern, open urban society. Like most post-war utopias, ideal Kleiburg soon expected serious difficulties. Instead of fostering social cohesion, the neighbourhood units promoted a feeling of contingency and a lack of variety. after a while the inexpensive flats became a refuge for immigrants, many of them from independent surinam. Increase of socially weaker groups transformed the area into something that was soon became known as the ghetto.

Monofunctional volumes are about to be demolished, a new “tabula-rasa” architecture is about to take the place. no creation without destruction. But is it the right way to go?

Materials and buildings that are no longer used might take on new functions through reinterpretation and reorganization. through the reforming of existing material, it is expected to enhance social trans-formations in problematic Kleiburg social environment. new function

is about to rise out of old Kleiburg building elements and will invite all to reinterpret the future of an area from inside-out.

the new reincarnation - Kleiburg culture centre consists of 4 main spaces: the main hall, lobby (city’s living room) and two rehearsal studios. the volume is situated on the water therefore it needs a stable and strong construction. nine pillars are placed on a massive base. the space frame for the roof is made of recycled copper pipes. therefore the roof is light and transparent. the volume is covered with plastic scaffolding used during constructions. Light roof structure provides the spaces with daylight and creates a feeling of lightness. a walk around the main stage provides views to Bijlmer’s landscapes. technical rooms and toilets are located under the balcony of the stage.

the roof is constructed from used copper water pipes from Kleiburg building. space framed roof is covered with used glass for rain protection. the facade is made out of used plastic scaffolding that is windproof and waterproof. Used glass facade panels as well as interior walls from Kleiburg building are used for the new volume. they are designed to fit exactly so there is no need to cut the panels or glass facade elements. the pillars are done out of concrete balcony elements. the pillars go to the soil and hold the structure stable on the water. the floor elements of Kleiburg volume are used for the floor. the rhythm of 2.8 x2.27 meters dictates the proportion of all the elements and spaces. the beams out of interior Kleiburg concrete walls are holding the floor and are making all the structure extremely strong.

new kLeIBUrg

x-change architectural design - constructamsterdam, the netherlandsmaster 4th semester 8 week individual projectamsterdam academy of architecture

tutor jeroen van mechelenstudio@studiojvm.nlevaluation - “goed”2011 04-05

X 42122459 X

2459 X

13new kleiburg

existing elements of Kleiburg building are reconfigured to construct a community centre

15new kleiburg

combining all uses in one building allows for semi public spaces to be shared, maximizing them and increasing their grandeur

kaoshiung pop music and culture centerkaohsiung, taiwaninternational competitionmaxwan a+uhiroki matsuura (partner in charge),j. hilgefort (team leader), a. borejszo, l. cho, i. uogintas, n. ogasahara

personal roleinvoved in all stages of the project: site analysis, program analysis, overall concept developement, urban concept, architecture concept, 3d model produc-tion, site plan, plans, sections, elevations, postproduction of visual information

225 personal working hours2010 09-10

contact personhiroki matsuurahirokim@maxwan.comt +31 (0)10 415 2999

for a true icon of the maritime and pop culture industries, the space should be more than simply formally symbolic; it should function as a visual display of bustle of the actual workings and events of pop and maritime culture. By exposing the reality of the maritime and pop industries, people can engage with these cultures. this allows for people to interact not with static, historic depictions of these cultures, but instead to get in touch with the contemporary high tech realities of these industries and societies. Via the showcasing of these cultures, the space can become a true gateway that serves to link the harbor, the city, the landscape, and the people.

In taiwan open space is a precious commodity. the choice was made to maximize the available open space on site. Currently, a few elements exist that should remain: the wood pedestrian and bike way, many existing trees, and the railroad tracks. these are already successful elements on site and the rail tracks can serve as a reminder of the rich history of the site. In preserving these elements, a clear link is made from the Love River open space system, through our site, to adjacent parks. the paths are pulled back from the waterfront to allow for easier movement of people along the paths and to permit a diverse and more intimate array of functions adjacent to the waterfront. the ability to interact with water is integral to the public space design. a series of spaces ranging from an urban ‘beach’, yacht marina, a series of small water dimples, a children’s water play area, an interactive reflecting pool, an ecological education space, the world class passenger harbor, and an outdoor aquarium labyrinth. all of these spaces permit all ages of visitors to interact with water for a variety of experiences.

the site can be thought of in terms of three general zones. a thin strip on the east of the site is an ideal spot to allow the city to spill out onto an urban ‘beach’ with kiosks for eating and drinking and photovoltaic plazas for visual display. the large space to the north is a grand city plaza. Heading toward the Love River, there is an ecological education zone, with a small pavilion that is capped by the helipad. the existing viewing deck can be maintained and used to view the concert while the underside could house vendors for big events. the passenger harbor is kept near its current position and allows visitors to step off the boat out onto a deck dotted with relics of the shipping industry of long ago.

the building Is the connecting structure from east to west, creating a vibrant retail bridge with views out over the cove. the building is given a thin profile, in order to press the activities against the façade, giving the public greater visual access while also providing those in the building constant views out toward the harbor. Putting all uses into one building accomplishes two goals: 1) it allows a combining of functional areas, thus minimizing them; 2) it simultaneously allows for semi public spaces to be shared, maximizing them and increasing their grandeur. Each use is given its own vertical zoning to allow for ease of use for both visitors and employees, and making for a separate access to each zone. topping the building is a sky park. Linked directly to the ground via an escalator, the public is given a floating green space with expansive views over the city. the maritime center is suspended over the Love River, creating an iconic gateway of maritime activity and objects.

Love cove

17love cove

a new visual icon is created, not merely in terms of formal architecture, but in terms of highlighting activity and events

18love cove

a thin profile presses the function to the facade, exhibiting the life of the building to the public

roof floor plan

4th floor plan

1st floor plan

section diagram

Performance

Pop Marine

P

P PLoadingLoading

Loading

CentreStage

City Plaza

Urb

an B

each

Retail Link

ACTIVITY!

19love cove

01 maximize open space02 link east to west03 showcase maritime and pop activity

04 preserve good existing elements05 connect love river to adjacent parks06 series of interactive water spaces

07 public spaces to match entrances08 multiple parking and loading zones09 activity themes tied to context

01

04

07

02

05

08

03

06

09

21love cove

the rich history of rural life in the area is being swallowed by suburban and touristic development. the project seeks to embrace the rural history of the site and serve as a protector and perhaps even incubator of it. simultaneously, it seeks to foster the future evolution of these cultures. the proposal looks to put down roots in its history, yet allows for new development to sprout fresh ideas and spaces.

the site is strategically located. It sits at the point where the culture and activity of the city meets the rural character and lifestyle of the countryside. addtionally, one of the main entrances to the city from the airport passes directly by the site. this allows it to be a gateway into the city and a marker of the transition from urban to rural culture. In this regard the site is seen as a place to showcase contemporary and historic agri-culture.

the natural instinct is to preserve the buildings on site, but perhaps the most significant preservation is that of the rural culture/lifestyle/heritage. the specified program seeks to act as an incubator for these activities – crafts, animal livestock, traditional cooking, organic farming, etc. In doing so, the buildings seek to match the scale of these activities and to occupy the entire site - thereby engaging with the land itself via a series of small scale structures. Instead of one large gesture in the landscape, a series of small gestures are spread across the landscape. It is the preservation of ‘culture’ [agri-culture] we seek via architectural heritage.

Perhaps the most iconic part of the proposal is the net. It, in fact, functions on many levels. for one, it acts as a simple gesture to

physically link all elements of the project. Related to that, it also gives a sense of unity to what is a quite diverse set of programs and spaces. formally, it allows for a wide range of spatial experiences while also blurring the distinction of what is inside and what is outside. symbolically, it is a clear reference to the farming nets used in many farmlands. functionally, it allows for users of the site to enjoy being outside amongst the landscape, while still being in a cooled space. It essentially creates one big shadow that allows for a large amount of public space to be cooled and occupieable. However, perhaps its most significant contribution is through the creation of excessive amounts of usuable space. through the addition of the net, 8000 sqm of additional useable [aka out of the sun] ‘programmed’ space is added to the 3000 sqm of interior space. and all added at a tiny cost.

the programming of the spaces extends beyond the building envelope and over the landscape, creating districts of activity that bleed into one another, not merely buildings containing fixed program. the garden for the restaurant leads to the agriculture reseach center, which has a open farm that leads toward the agriculture workshop area, which leads through a farmed landscape which leads to the animal/play area. new, more structured, programs such as a Museum for Rural Culture, an agriculture research center/library, a organic/local restaurant, gallery space, and a hostel mix with the landscape elements and the spaces that are less structured, which allow for markets, workshops, amphitheater, playgrounds, and animal farms. In essence, all components of the space are mutually shareable, symbiotic within each other.

combining all uses in one building allows for semi public spaces to be shared, maximizing them and increasing their grandeur

architectural competition for the restoration, definition and utilization of germaninas farmspaphos, cyprusinternational competitionmaxwan a+uhiroki matsuura (partner in charge), j. hilgefort (team leader), a. borejszo, l. cho, a. karavanas, i. uogintas

personal roleinvoved in all stages of the project: site analysis, program analysis, overall concept developement, urban concept, architecture concept, 3d model production, vr production, site plan, plans, sections, elevations,postproduction of visual information

385 personal working hours2011 08 - 09

contact person - hiroki matsuurahirokim@maxwan.comt +31 (0)10 415 2999

net-work

23network

a new visual icon is created, not merely in terms of formal architecture, but in terms of highlighting activity and events

24network

layered preservationthe natural instinct is to preserve the buildings on site, but perhaps the most significant preservation is that of the rural culture/ lifestyle/heritage. the specified program seeks to act as an incubator for these activities – crafts,

animal livestock, organic farming, etc. in doing so, the buildings seek to match the scale of these activities and to occupy the entire site - thereby engaging with the land itself via a series of

small scale structures. instead of one large gesture in the landscape, a series of small gestures are spread across the landscape.

talKing buildingsthe existing structures can be reused in a number of ways. obviously, key

structures need to be reconstructed and represent their original spatial qualities. other structures can intentionally be left to function as ruins,

allowing one to see their a captured moment in history. other’s require new elements to complete the buildings, but can be added onto

in a manner that clearly dilineates old from new – rough/raw old, smooth/clean new. What were once small buildings can now function as the interior

courts of larger, new structures.

representative landscapein terms of landscape, the first step is to keep as much of the quality

landscape that already exists on site – primarily existing trees. a sampling of traditional plant elements – ranging from cyprus trees, local vegetables, and orchard trees, such as potatoes and olives – are brought onto the site. diverse types of plants supports new activities on site; cooking and restaurants, arts

and craftsmenship, animal grazing and educational recreation.

the netnet acts as a simple gesture to physically link all elements of the project. related to that, it also gives a sense of unity to what is a quite diverse set of programs and spaces. Formally, it allows for a wide range of spatial

experiences while also blurring the distinction of what is inside and what is outside. it allows for users of the site to enjoy being outside amongst the

landscape, while still being in a cooled space.

agri + culturethe site is strategically located. it sits at the point where the culture and

activity of the city meets the rural character and lifestyle of the countryside. addtionally, one of the main entrances to the city from the airport passes

directly by the site. this allows it to be a gateway into the city and a marker of the transition from urban to rural culture. in this regard the site is seen as

a place to showcase contemporary and historic agri-culture.

linKed squarethe historic buildings frame a natural central space. this references the history of the sites layout. however, the current site context has a series of opportunities for linkages, which is key in this slightly ‘off-road’ site.

the strategy was to allow the square to function like a central node and to stretch/reach out to grasp these outlying opportunities. as a whole, the

proposal ensures unity while encouraging individual diversity.

25network

cinema under the net

birds view

animal barns

play space

picnic spot

organic vegetable farm for local market & education

servicevehicle route

artist & farmer’sworkshops

temporary out-door exhibition space

short-termstay / hotel

water & irrigation lab

short-termstay / hotel

27network

water & irrigation lab

agriculture & culinary research lab

orchard

orchard

servicevehicle route

organic food shop & bakery

water fountain& wells

grand entrance & exhibition gallery

exhibition &administration

amphiteatre

restaurant

outdoorgarden

Kiteboarding and windsurfing center in Curonian Lagoon

since the end of the soviet era, the model of implementing large-scale urban ideas tout de suite in Lithuania has become almost impracticable, and with the looming economic crisis of recent years, even more so. so what if you have an ambitious project of urban de-velopment, and giving up on or freezing your ideas for an unlimited time is not an option? the svencele kiting sports centre suggests an alternative, simple, low-cost, quick and eye-catching idea that offers an effective solution to enhance this particular site, and could work as a catalyst for the further development of the area in the future.

Being a remote outpost, the village of svencele lacks services and a decent transport infrastructure, and seems to be neglected by eve-ryone, except for one category of enthusiasts. stretching along the picturesque shore of the Curonian Lagoon, a place endowed with winds that never cease, svencele is one of the most famous spots for kite surfing in the country. Having for decades experienced the beauty as well as the discomfort of the wild, empty beach, some five years ago visitors and locals were presented with an urban concept for the total resurrection of the area. the masterplan envisioned a 30-hectare complex of residential quarters, a harbour and a service and sports centre. While the big plans have been suspended until

more prosperous times, the first stage, a surf camp occupying one hectare, was implemented as a pilot fragment to test the urban concept and to enhance public awareness of the place.

thirty seven one or two-storey refurbished shipping containers are distributed regularly along the wooden pathways heading towards the water. the front line of the quarter, offering views of the lagoon, is dedicated to public functions, such as a restaurant with an open-air terrace, surf schools and equipment shops, while the residential units and a block of conveniences are located further inland.

simple, sugar-free exteriors, tiny rooms, equipped with basic furni-ture and large, glazed doors, correspond to the concept of prioritiz-ing communication over privacy. It seems, however, that this moder-ate level of comfort totally satisfies the abundant youthful and active visitors, who are drawn by kiting facilities combined with a cultural programme, which includes concerts and well-being festivals.

Built in three months with an unbelievably modest investment of 45,000 euros, the svencele camp is a fresh urban intervention, and proves that even small steps in the process of urban development, if designed carefully and with ingenuity, can result in a significant push forward.

svenceLe kItIng

kiteboarding and windsurfing centerpersonal office initiative projectsvencele, lithuania

andre baldi architecture and urbanism (in collaboration with aketuri studio)andre baldisiute(team leader), ignas uogintas, lukas rekevicius, milda rek-eviciene, algis neniskis

personal roleinvoved in: overall concept, technial drawings, presentation24 personal working days2009 04- 2009 06

contact person - andre baldisiuteandre@andrebaldi.ltt +370 652 448 28

photography - algis neniskis

“metras” award for being one of 5 best lithuanian realisation of 2010-2012

nominee for european union prize for contemporary architecture mies van der rohe award 2012

current situation svencele village as planned

29svencele kiting

a view from the curonian lagoon; foto - a. neniskis

30svencele kiting

plans and sections of the campus

from the inner street; foto a. neniskis

31svencele kiting

night events on campus, foto a. neniskis

restaurant terrace, foto a. neniskis

33svencele kiting

IgnaS UogInTaSporTfoLIo. prevIeW

+ 4550250732ignas@uogintas.com

http://ignas.uogintas.lt

2014 01

“During his involvement in Maxwan projects Ignas carried out tasks relating to the analysis the conceptual stages, the overall and detailed design, the visualization/ presentation and the realization, such as the Bargelaan in Leiden and the Bruul shopping street in Mechelen. The pace at which Ignas has developed himself is remarkable. He is highly motivated and showed the capability to learn fast.

Within months he became a valuable addition to each and every design team that he was selected for. Ignas had no problems dealing with the sometimes highly complicated design tasks and processes that he was confronted with. He is a fast worker; solutions seem to come easily.

We highly appreciate Ignas’ creativity and his dedication. He has been an enrichment to the office.”

Rients DijkstRaSenior architect, managing partner at Maxwan a+u

Dutch Government Adviser on City and Infrastructure Design