俄罗斯联邦馆：敞开？

策展人：伊波利托·佩斯泰利尼·拉帕雷利/2050+工作室

在过去的两年里，俄罗斯联邦馆探索了文化机构在全球危机时期的公共作用与社会意义，并希望在更坚实和包容的基础上重建自己。

为了重塑其建筑结构和体制结构，俄罗斯馆找到了一处理想的试验场，在不同维度之上的——实体的、数字的以及介于两者之间的一切维度——无定形、模糊空间中尝试更富同理心与意义的联盟及亲属形式。正是在这种局面下，“敞开”项目为第17届建筑双年展策展人哈希姆·萨基斯提出的问题找到了初步答案：我们将如何共同生活？

俄罗斯馆探讨了我们如何通过重叠的视角反思文化机构：其自身实体建筑的改造、我们每天接触的数字环境以及人际网络与居住在其中的个人。

“敞开？”这一在线平台因第17届建筑双年展的延期而诞生，也让这3个维度第一次碰撞出火花。2020年初，面对严格的封锁，我们的社交和文化交流一度中断。俄罗斯馆便移至线上，继续承担杂志一角来展示新的内容及合作成果。同时，它又与花园展区周边的观众建立联系，并为即将到来的双年展建立档案。原本的实体空间逐渐成为庞大的艺术家、建筑师和思想家群体的虚拟聚会场所。

今天，这一探索之旅在这里具体化为3个相互关联的部分：

（1）建筑：在2050+工作室的指导下，成立不久的俄罗斯/日本联合事务所——KASA 建筑事务所 （亚历山德拉·科瓦列娃和佐藤敬）承接了该展馆的改造项目。这栋几乎空无一物的建筑便为他们提供了发挥空间。KASA事务所经由公开征集入选，其方案不仅再现了展馆建筑师阿列克谢·舒谢夫的作品，还通过面向花园与泻湖的开放式展馆融入了对建筑、人和生态系统的不同关怀模式。

（2）游戏室：通过3款精心挑选的俄罗斯独立电子游戏（其中包括一款米哈伊尔·马克西莫夫创作的特别委托作品）、一系列理论贡献、一个以俄罗斯及其他视角进一步研究游戏和数字文化的电影项目，“游戏室”探索了数字环境作为世界建筑实践与机构建立的试验场的潜力。

（3）《（向其他制度）发声》：本书收录了28篇委托作品，提出了一系列跨学科的观点，以探讨在文化机构内不同的思考和行动方式。这本书最初于2020年5月-2021年5月间在线上平台“敞开？”上出版。

1 展馆内景/Interior view of pavilion

为了不辜负俄罗斯馆对自身的期望——即作为一个更有渗透性、包容性、批判性和自我批判的文化机构——随着时间的推移，“敞开”项目已逐渐成型。在过去艰难的几个月里，它继续系统性地审视自己，最终进化成一种集体努力——将一个机构作为一种“活物”来策划与关注。

建筑改造

俄罗斯联邦馆坐落在威尼斯花园展区，由建筑师阿列克谢·舒谢夫设计，于1914年向公众开放。一个多世纪以来，它一直是威尼斯双年展里俄罗斯文化的发祥地。

这项改造项目通过设计新的空间契约来解决展馆实体改造及其线上版本之间的冲突。今天，俄罗斯联邦馆这一改建项目的所在地借鉴了“关怀”和“包容”的模式，在建筑环境及数字环境、人与生态系统之间建立了更富有同情心和意义的联系。

翻新项目重振了舒谢夫建筑的原始精神，再次塑造出一个富有开放性和透明性的角色，诠释了建筑中根深蒂固的历史痕迹。二层现已恢复为原本样貌，拥有白色的墙壁和橡木地板，而首层则被设计成粗犷的实验空间。窗户已重新打开，门换成了玻璃表面，外墙也恢复成原来的颜色。

通过在北边房间新增电梯和楼梯来改善无障碍可达性与流通性，该设计旨在突出楼层的原始高度，并重新呈现露台和远处泻湖的景致。几扇门最初建于1960年代末，与花园展区齐平，现已重新打开，用来扭转该建筑的通行路径——直接在首层开放展览空间。

作为改造项目的一大新特色，北边的房间现在适合摆放大型装置，并有可能将其变为双层通高：临时地板安装在沿新楼梯阳台放置的一系列横梁上，打造出能够满足不同策展需求的空间。

因设计了一系列的入口，首层则变成了一个多孔空间。这些入口连接了每个房间、新洗手间以及露台下方的新画廊——后者第一次对外开放，扩展了展览空间和策展形式。

俄罗斯联邦馆作为俄罗斯文化的发祥地已有100多年的历史，翻新后的展馆如今已摇身变为当代艺术的剧场机器。它不仅建立了新的空间联系，还为创作和展览提供了其他可能性。这样一来，访客便能重新定义文化机构的含义，参与对建筑、人和生态系统的不同关怀模式。

第17届国际建筑展的国际评审团授予俄罗斯国家馆特别提名奖，以表彰其“对花园展区的历史展馆进行了敏感而细致的建筑改造，并面向周围环境与未来开放”。□（王单单 译）

2.3 展馆外景/Exterior view of pavilion

4.5 展览装置/Exhibition installations

6 展馆内景/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 展馆内景/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 展馆内景/Interior views of pavilion

10 细节/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 façade 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".□

项目信息/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+

策展人团队/Curator's Team: Erica Petrillo and Giacomo Ardesio/2050+, Vladimir Nadein, Liza Dorrer and Dasha Nasonova, and managed by Anastasia Karneeva/Smart Art

参展/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, Ismaël Joffroy Chandoutis, Antoine Chapon, Dina Karaman, Lawrence Lek, Benjamin Nuel, Total Refusal, Keiken & George Jasper Stone

展陈设计/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

设计监制及艺术指导/Design Supervision and Art Direction: 2050+/Ippolito Pestellini Laparelli, Giacomo Ardesio, Chiara Tomassi

视觉设计/Visual Identity: Lorenzo Mason Studio/Lorenzo Mason, Dafne Pagura, Simone Spinazzè

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

总设计协调及施工监理/General Design Coordination and Construction Supervision: MAP Studio Magnani Pelzel Associati/Francesco Magnani, Traudy Pelzel with Matteo Sirinati, Gabriele Martella

结构工程设计/Structural Engineer: Tecnobrevetti Team Engineering/Luigi Cocco with Anna Toso, Marco Toso, Giulia Fontana

传播策划/Communication: Jeremy Higginbotham, Sander Manse, Elena Kurbatskaya

摄影/Photos: Marco Cappelletti

11-13 展馆内景/Interior views of pavilion