策展人：亞歷山德羅·梅利斯

1 展覽裝置/Exhibition installation

在2021年建筑雙年展上，意大利館的這個(gè)名稱——復(fù)原性社區(qū)——將展覽的焦點(diǎn)從其生動(dòng)的戲劇性本質(zhì)轉(zhuǎn)向氣候變化問(wèn)題以及建筑所面臨的嚴(yán)峻挑戰(zhàn)。它著重凸顯了氣候變化對(duì)城市、生產(chǎn)和農(nóng)業(yè)系統(tǒng)的可持續(xù)性所造成的嚴(yán)重影響，并強(qiáng)調(diào)了當(dāng)前的關(guān)鍵領(lǐng)域和面臨的機(jī)遇。

意大利館的主要目標(biāo)是讓參觀者以一種全新的方式反思社區(qū)的復(fù)原性機(jī)制：不論是在恢復(fù)城市空間和生產(chǎn)領(lǐng)域之間的新型互動(dòng)形式方面，還是在尋求跨學(xué)科技能、非確定進(jìn)化邏輯、過(guò)渡時(shí)刻的核心元素方面，這都是詮釋這些方面的重中之重。

意大利館的策展人亞歷山德羅·梅利斯評(píng)價(jià)道：意大利館本身即是一個(gè)復(fù)原性社區(qū)，由14個(gè)“子社區(qū)”組成，這些社區(qū)根據(jù)兩個(gè)基本方向可被視為運(yùn)營(yíng)工作坊、研究中心或案例研究——通過(guò)展示意大利著名建筑師的作品，反思意大利和全球城市適應(yīng)性的發(fā)展現(xiàn)狀；關(guān)注方法論、創(chuàng)新以及橫跨建筑學(xué)、植物學(xué)、 農(nóng)學(xué)、生物學(xué)、藝術(shù)和醫(yī)學(xué)等領(lǐng)域的跨學(xué)科實(shí)驗(yàn)研究。斯蒂芬·杰伊·古爾德和伊麗莎白·弗爾巴通過(guò)引入“擴(kuò)展適應(yīng)”，即自然選擇的非確定性機(jī)制，這一術(shù)語(yǔ)徹底改變了生物學(xué)分類學(xué)。意大利館探索性地將建筑“擴(kuò)展適應(yīng)”作為多樣性、可變性和多余性的表現(xiàn)形式，挑戰(zhàn)確定性的審美同質(zhì)性，以支持創(chuàng)意結(jié)構(gòu)的多樣性。正如人類的大腦和基因組一般，展館是一片棲息著奇怪生物的叢林，人們?cè)谶@里聆聽(tīng)震耳欲聾的背景噪音，借助新的知識(shí)范式做出充分的回應(yīng)。在 2021年建筑雙年展策展人哈希姆·薩基斯提出的愿景下，展館強(qiáng)調(diào)體驗(yàn)和沉浸感的各個(gè)方面。為了能夠走進(jìn)并提高廣大年輕公眾的意識(shí)，該項(xiàng)目不僅重視那些色調(diào)與模式受賽博朋克文化啟發(fā)的圖畫小說(shuō)和游戲的表達(dá)形式，更借助了行業(yè)內(nèi)公認(rèn)大師的作品。

作為一項(xiàng)全新的特色，2021年建筑雙年展的意大利館已近乎碳中和。為了實(shí)現(xiàn)這一目標(biāo)，除了永久遷移所有需要制造的東西外，還將2019年第58屆威尼斯國(guó)際藝術(shù)雙年展意大利館的材料拆除并整合。這就仿佛是一個(gè)獨(dú)特的機(jī)會(huì)，不僅展示了與方案目標(biāo)一致的作品，還研究了適應(yīng)性環(huán)境下開(kāi)發(fā)的生命周期?！酰ㄍ鯁螁?譯）

2 展覽主題分布/Exhibition programme

項(xiàng)目信息/Credits and Data

委托方/Commissioner: General Directorate for Contemporary Creativity (MIC), Onofrio Cutaia

策展人/Curator: Alessandro Melis

意大利館設(shè)計(jì)/Italian Pavilion Design: Heliopolis 21: Gianluigi Melis, Alessandro Melis, Nico Panizzi

策展裝置/Curatorial Installations:

Cyberwall:

設(shè)計(jì)/Design: Alessandro Melis/Heliopolis21

合作/Partnership: Iris Ceramica Group

Genoma:

設(shè)計(jì)/Design: Alessandro Melis/ Heliopolis21, PNAT (Stefano Mancuso, Cristiana Favretto, Antonio Girardi), Liam Donovan-Stumbles

合作設(shè)計(jì)/With: Alberto Favretto, Dzhumhur Gyokchepanar

合作/Partnership: Artesella

技術(shù)顧問(wèn)/Technical Advisor: Gyokay Ahmed Spandrel:

設(shè)計(jì)/Design: Liam Donovan-Stumbles, Alessandro Melis/ Heliopolis 21, PNAT (Stefano Mancuso, Cristiana Favretto, Antonio Girardi)

合作設(shè)計(jì)/With: Monica Battstoni. Patryk Ciemierkiewicz, Dzhumhur Gyokchepanar

合作/Partnership: Orto Botanico, Università di Padova

Mutual Aid:

設(shè)計(jì)/Design: PNAT (Stefano Mancuso, Cristiana Favretto, Antonio Girardi)

漫畫/Comics: Riccardo Burchielli

項(xiàng)目面積/Project Area: ca 2000 m2

設(shè)計(jì)時(shí)間/Design Time: 2020-2021

建造周期/Construction Period: 2021.01-2021.05

竣工時(shí)間/Completion Time: 2021.04.23

攝影/Photos: Andrea Avezzù

圖片來(lái)源/Courtesy: La Biennale di Venezia

3-5 展覽裝置/Exhibition installations

6-8 展覽裝置/Exhibition installations

9 回收材料/Recycling of materials

10 裝置分區(qū)軸測(cè)/Axonometric of installation sections

Resilient Communities, this name chosen for the Italian Pavilion at the Biennale Architettura 2021 turns the focus of the exhibition, in all its vividly dramatic nature, onto the issue of climate change and the demanding challenges for architecture. In particular, it aims to underscore how climate change is seriously straining the sustainability of the urban, productive, and agricultural system, and to emphasise the critical areas and opportunities in our own present time.

The main objective of the Italian Pavilion is to cause visitors to reflect in a new way upon the resilience mechanisms of communities, a key priority for interpretation in recovering a new form of interaction between urban space and productive territory, in pursuit of interdisciplinary skills and nondeterministic evolutionary logic, central elements in moments of transition.

The Italian Pavilion - comments the curator Alessandro Melis - is itself a resilient community, consisting of 14 "sub-communities" understood as operating workshops, research centres or case studies in accordance with two essential lines: a reflection on the state of the art in the matter of urban resilience in Italy and the world through the showing of works by eminent Italian architects, and a focus on methodologies, innovation, and research with interdisciplinary experiments straddling the ground between architecture, botany, agronomy, biology, art, and medicine. Stephen Jay Gould and Elizabeth Vrba revolutionised taxonomy in biology by introducing the term "exaptation": the nondeterministic mechanism of natural selection. Heuristically, the Italian Pavilion promotes architectural exaptation as a manifestation of diversity, variability, and redundancy, challenging deterministic aesthetic homogeneity in favour of the diversity of creative structures. Like the human brain and genome, the pavilion is a jungle inhabited by strange creatures, in which to listen to the background noise that is already deafening and requires an adequate response, by resorting to new knowledge paradigms. In the vision provided by the curator of Biennale Architettura 2021, Hashim Sarkis, the Pavilion emphasises the aspects of experience and immersiveness, privileging forms of expression linked to graphic novels and gaming in tones and modes inspired by cyberpunk culture, while relying on the contribution of undisputed masters in the sector, in order to be able to approach and hopefully increase the awareness of a young, broad public.

11展覽裝置/Exhibition installations

12 展覽裝置/Exhibition installations

And in a wholly new feature, the Italian Pavilion at the Biennale Architettura 2021 is virtually carbon neutral. To achieve this goal, removal + integration of the materials of the 2019 Italian Pavilion for the 58th International Art Exhibition - La Biennale di Venezia has been arranged, in addition to the permanent relocation of everything that will be produced. This presents a unique opportunity not only to exhibit works consistent with the proposal's objectives, but also an occasion to study the life cycle of a development in a setting of resilience.□

13-15 展覽裝置/Exhibition installations