俄羅斯聯(lián)邦館：敞開？

策展人：伊波利托·佩斯泰利尼·拉帕雷利/2050+工作室

在過去的兩年里，俄羅斯聯(lián)邦館探索了文化機(jī)構(gòu)在全球危機(jī)時(shí)期的公共作用與社會(huì)意義，并希望在更堅(jiān)實(shí)和包容的基礎(chǔ)上重建自己。

為了重塑其建筑結(jié)構(gòu)和體制結(jié)構(gòu)，俄羅斯館找到了一處理想的試驗(yàn)場，在不同維度之上的——實(shí)體的、數(shù)字的以及介于兩者之間的一切維度——無定形、模糊空間中嘗試更富同理心與意義的聯(lián)盟及親屬形式。正是在這種局面下，“敞開”項(xiàng)目為第17屆建筑雙年展策展人哈希姆·薩基斯提出的問題找到了初步答案：我們將如何共同生活？

俄羅斯館探討了我們?nèi)绾瓮ㄟ^重疊的視角反思文化機(jī)構(gòu)：其自身實(shí)體建筑的改造、我們每天接觸的數(shù)字環(huán)境以及人際網(wǎng)絡(luò)與居住在其中的個(gè)人。

“敞開？”這一在線平臺(tái)因第17屆建筑雙年展的延期而誕生，也讓這3個(gè)維度第一次碰撞出火花。2020年初，面對嚴(yán)格的封鎖，我們的社交和文化交流一度中斷。俄羅斯館便移至線上，繼續(xù)承擔(dān)雜志一角來展示新的內(nèi)容及合作成果。同時(shí)，它又與花園展區(qū)周邊的觀眾建立聯(lián)系，并為即將到來的雙年展建立檔案。原本的實(shí)體空間逐漸成為龐大的藝術(shù)家、建筑師和思想家群體的虛擬聚會(huì)場所。

今天，這一探索之旅在這里具體化為3個(gè)相互關(guān)聯(lián)的部分：

（1）建筑：在2050+工作室的指導(dǎo)下，成立不久的俄羅斯/日本聯(lián)合事務(wù)所——KASA 建筑事務(wù)所 （亞歷山德拉·科瓦列娃和佐藤敬）承接了該展館的改造項(xiàng)目。這棟幾乎空無一物的建筑便為他們提供了發(fā)揮空間。KASA事務(wù)所經(jīng)由公開征集入選，其方案不僅再現(xiàn)了展館建筑師阿列克謝·舒謝夫的作品，還通過面向花園與瀉湖的開放式展館融入了對建筑、人和生態(tài)系統(tǒng)的不同關(guān)懷模式。

（2）游戲室：通過3款精心挑選的俄羅斯獨(dú)立電子游戲（其中包括一款米哈伊爾·馬克西莫夫創(chuàng)作的特別委托作品）、一系列理論貢獻(xiàn)、一個(gè)以俄羅斯及其他視角進(jìn)一步研究游戲和數(shù)字文化的電影項(xiàng)目，“游戲室”探索了數(shù)字環(huán)境作為世界建筑實(shí)踐與機(jī)構(gòu)建立的試驗(yàn)場的潛力。

（3）《（向其他制度）發(fā)聲》：本書收錄了28篇委托作品，提出了一系列跨學(xué)科的觀點(diǎn)，以探討在文化機(jī)構(gòu)內(nèi)不同的思考和行動(dòng)方式。這本書最初于2020年5月-2021年5月間在線上平臺(tái)“敞開？”上出版。

1 展館內(nèi)景/Interior view of pavilion

為了不辜負(fù)俄羅斯館對自身的期望——即作為一個(gè)更有滲透性、包容性、批判性和自我批判的文化機(jī)構(gòu)——隨著時(shí)間的推移，“敞開”項(xiàng)目已逐漸成型。在過去艱難的幾個(gè)月里，它繼續(xù)系統(tǒng)性地審視自己，最終進(jìn)化成一種集體努力——將一個(gè)機(jī)構(gòu)作為一種“活物”來策劃與關(guān)注。

建筑改造

俄羅斯聯(lián)邦館坐落在威尼斯花園展區(qū)，由建筑師阿列克謝·舒謝夫設(shè)計(jì)，于1914年向公眾開放。一個(gè)多世紀(jì)以來，它一直是威尼斯雙年展里俄羅斯文化的發(fā)祥地。

這項(xiàng)改造項(xiàng)目通過設(shè)計(jì)新的空間契約來解決展館實(shí)體改造及其線上版本之間的沖突。今天，俄羅斯聯(lián)邦館這一改建項(xiàng)目的所在地借鑒了“關(guān)懷”和“包容”的模式，在建筑環(huán)境及數(shù)字環(huán)境、人與生態(tài)系統(tǒng)之間建立了更富有同情心和意義的聯(lián)系。

翻新項(xiàng)目重振了舒謝夫建筑的原始精神，再次塑造出一個(gè)富有開放性和透明性的角色，詮釋了建筑中根深蒂固的歷史痕跡。二層現(xiàn)已恢復(fù)為原本樣貌，擁有白色的墻壁和橡木地板，而首層則被設(shè)計(jì)成粗獷的實(shí)驗(yàn)空間。窗戶已重新打開，門換成了玻璃表面，外墻也恢復(fù)成原來的顏色。

通過在北邊房間新增電梯和樓梯來改善無障礙可達(dá)性與流通性，該設(shè)計(jì)旨在突出樓層的原始高度，并重新呈現(xiàn)露臺(tái)和遠(yuǎn)處瀉湖的景致。幾扇門最初建于1960年代末，與花園展區(qū)齊平，現(xiàn)已重新打開，用來扭轉(zhuǎn)該建筑的通行路徑——直接在首層開放展覽空間。

作為改造項(xiàng)目的一大新特色，北邊的房間現(xiàn)在適合擺放大型裝置，并有可能將其變?yōu)殡p層通高：臨時(shí)地板安裝在沿新樓梯陽臺(tái)放置的一系列橫梁上，打造出能夠滿足不同策展需求的空間。

因設(shè)計(jì)了一系列的入口，首層則變成了一個(gè)多孔空間。這些入口連接了每個(gè)房間、新洗手間以及露臺(tái)下方的新畫廊——后者第一次對外開放，擴(kuò)展了展覽空間和策展形式。

俄羅斯聯(lián)邦館作為俄羅斯文化的發(fā)祥地已有100多年的歷史，翻新后的展館如今已搖身變?yōu)楫?dāng)代藝術(shù)的劇場機(jī)器。它不僅建立了新的空間聯(lián)系，還為創(chuàng)作和展覽提供了其他可能性。這樣一來，訪客便能重新定義文化機(jī)構(gòu)的含義，參與對建筑、人和生態(tài)系統(tǒng)的不同關(guān)懷模式。

第17屆國際建筑展的國際評(píng)審團(tuán)授予俄羅斯國家館特別提名獎(jiǎng)，以表彰其“對花園展區(qū)的歷史展館進(jìn)行了敏感而細(xì)致的建筑改造，并面向周圍環(huán)境與未來開放”。□（王單單 譯）

2.3 展館外景/Exterior view of pavilion

4.5 展覽裝置/Exhibition installations

6 展館內(nèi)景/Interior view of pavilion

For the past two years, the Russian Federation Pavilion has explored the public role and social relevance of cultural institutions in times of global crisis, with a will to rebuild itself on more solid and inclusive grounds.

Striving towards the reconstruction of both its architectural and institutional structures, the Russian Pavilion has located an ideal testing ground to experiment with more empathetic and meaningful forms of alliances and kinships in the amorphous, nebulous space suspended across different dimensions - the physical, the digital and everything in between. It is in this tension that Open has found a tentative answer to the question posed by the curator of the 17th Architecture Biennale, Hashim Sarkis: How will we live together?

The Russian Pavilion considers how we can rethink cultural institutions through overlapping perspectives: the transformation of its own physical architecture, the digital environments that we access daily, and the network of relationships and individuals that populate them.

These three dimensions first converged in Open?, the online platform that was conceived in response to the postponement of the 17th Architecture Biennale. In early 2020, in the face of harsh lockdowns that put a break on our social and cultural exchange, the Russian Pavilion migrated online and continued to serve as a journal for new contents and collaborations, while connecting to audiences beyond the perimeter of Giardini and building up an archive for Biennales to come. What was meant to be a physical space for encounters gradually became a virtual gathering venue for a vast ecosystem of artists, architects, and thinkers.

Today this exploratory journey has crystallised here in three interconnected components:

(1)The showcase of an almost empty architecture, giving space to the project of transformation of the pavilion developed by the young Russian - Japanese office, KASA Architects (Aleksandra Kovaleva and Kei Sato) under the guidance of 2050+. Selected through an open call and reflecting on the legacy of the pavilion's architect Alexey Schusev, KASA's proposal engages with different models of care towards architecture, people and ecosystems, by opening up the architecture towards the gardens and the lagoon.

7 展館內(nèi)景/Interior view of pavilion

(2) A gamer room that explores the potential of digital environments as a testing ground for worldbuilding practices and institution-making through a curated selection of three Russian indie video games, including a special commissioned work by Mikhail Maximov, accompanied by a series of theoretical contributions and a film programme that further investigate gaming and digital culture through a Russian lens and beyond.

(3) A book entitled Voices (Towards Other Institutions), featuring a collection of 28 commissioned texts that put forward an array of interdisciplinary perspectives into alternative ways of thinking about and acting within cultural institutions. Voices was originally published between May 2020 and May 2021 on the online platform Open?.

In the attempt to live up to the expectations the Russian Pavilion had set for itself - that of effectively functioning as a more porous, inclusive, critical and self-critical cultural institution - Open has taken shape gradually, over time. Throughout the past, difficult months, it has continued to systematically interrogate itself, eventually evolving into a collective effort to curate and care for an institution as a "living object".

Renovation of Architecture

The Russian Federation Pavilion at the Venice Giardini, designed by the architect Alexey Schusev, opened its doors to the public in 1914 and has been a home to Russian culture at the Venice Bienniale for more than a century.

The transformation project began by devising a new spatial contract that occupies the tension between the physical renovation of the pavilion and the creation of its online counterpart. Today the seat for the renewed institution of the Russian Federation Pavilion draws on "care" and "inclusivity" as a model to establish more empathetic and meaningful connections between built and digital environments, people and ecosystems.

8.9 展館內(nèi)景/Interior views of pavilion

10 細(xì)節(jié)/Detail

The renovation project revives the original spirit of Schusev's architecture, forging a character that speaks once again of openness and transparency, interpreting the historical traces ingrained in the building. The upper floor is now restored to its original appearance, with its white walls and durmast flooring, while the ground floor is conceived as a rough, experimental space. Windows reopened, doors transformed into glazed surfaces, and the fa?ade returned to its original colour.

Accessibility and circulation are improved by the addition of an elevator and new stairs in the northern room designed to mark the original height of the floor and recover the view of the terrace and the lagoon beyond it. The re-opening of several doors, built originally at the end of the 1960s on level with Giardini, introduces the opportunity to reverse the circulation path of the building, opening up the exhibition spaces directly on the ground level.

The northern room, as a new feature of the renovation, is now suitable for large scale installations with the possibility of turning it into a double height: a temporary floor is installed on a series of beams rolling along the balcony of the new staircase, devising a space that is able to adapt to different curatorial demands.

The ground floor is instead transformed into a porous space, generated by the introduction of a series of portals that connect each room, a new bathroom and a new gallery under the terrace - the latter, made accessible for the first time, expands the repertoire of exhibition spaces and curatorial formats.

With its history as a home for Russian culture for over 100 years, the architecture of the renewed Russian Federation Pavilion turns today into a theatrical machine for contemporary arts. It establishes new spatial connections, and alternative possibilities for producing and exhibiting. This enables visitors to redefine the meaning of cultural institutions, engaging with different models of care towards architecture, people and ecosystems.

The international Jury of the 17th International Architecture Exhibition has awarded special mention as National Participation to Russia for "a sensitive and careful architectural renovation of a historical pavilion at the Giardini that opens it to its immediate surroundings and to the future".□

項(xiàng)目信息/Credits and Data

委托方/Commissioner: Teresa Iarocci Mavica, director of the V-A-C Foundation

策展人/Curator: Ippolito Pestellini Laparelli / 2050+

策展人團(tuán)隊(duì)/Curator's Team: Erica Petrillo and Giacomo Ardesio/2050+, Vladimir Nadein, Liza Dorrer and Dasha Nasonova, and managed by Anastasia Karneeva/Smart Art

參展/Projects Participants: KASA - Kovaleva and Sato Architects, Mikhail Maximov with music by Vladmir Rannev, Lion & Unicorn with Dasha Nasonova and Dimitri Vesnin, Yuliya Kozhemyako aka Supr, Ilia Mazo, Electric Red, Volchok, Pavel Milyakov aka Buttechno

撰稿/Contributors: Alice Bucknell, Federico Campagna, Emanuele Coccia, Cat Goodfellow, Daria Kalugina, Alina Nazmeeva, Alexander Vetushinsky

影片/Movies: Alice Bucknell, Isma?l Joffroy Chandoutis, Antoine Chapon, Dina Karaman, Lawrence Lek, Benjamin Nuel, Total Refusal, Keiken & George Jasper Stone

展陳設(shè)計(jì)/Exhibition Design: 2050+/Kamil Hilmi Dalkir, Camilla Morandi, Guglielmo Campeggi, Mattia Inselvini, with KASA - Kovaleva and Sato Architects

文字/Texts: Ramon Amaro, Sepake Angiama, Paola Antonelli, Alessandro Bava, Daniel Blanga-Gubbay, Giovanna Borasi, Francesca Bria, Alice Bucknell, Konstantin Budarin, Ilya Budraitskis, Anna Kamyshan, Adrian Lahoud, Beatrice Leanza, Chus Martínes & Markus Reymann, Timothy Morton, Gabriella Gómez-Mont, Ivan L. Munuera, Alina Nazmeeva, Elise By Olsen, Marina Otero Verzier, Kiril Serebrennikov, Sergei Sitar, Jonas Staal, Léa-Catherine Szacka, Jenna Sutela, Pelin Tan, James Taylor-Foster, Oxana Timofeeva

設(shè)計(jì)監(jiān)制及藝術(shù)指導(dǎo)/Design Supervision and Art Direction: 2050+/Ippolito Pestellini Laparelli, Giacomo Ardesio, Chiara Tomassi

視覺設(shè)計(jì)/Visual Identity: Lorenzo Mason Studio/Lorenzo Mason, Dafne Pagura, Simone Spinazzè

出品/Production: ALTOFRAGILE/Lapo Gavioli, Francesco Rovaldi, Giulia Mainetti

總設(shè)計(jì)協(xié)調(diào)及施工監(jiān)理/General Design Coordination and Construction Supervision: MAP Studio Magnani Pelzel Associati/Francesco Magnani, Traudy Pelzel with Matteo Sirinati, Gabriele Martella

結(jié)構(gòu)工程設(shè)計(jì)/Structural Engineer: Tecnobrevetti Team Engineering/Luigi Cocco with Anna Toso, Marco Toso, Giulia Fontana

傳播策劃/Communication: Jeremy Higginbotham, Sander Manse, Elena Kurbatskaya

攝影/Photos: Marco Cappelletti

11-13 展館內(nèi)景/Interior views of pavilion