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，俄羅斯聯邦館探索了文化機構在全球危機時期的公共作用與社會意義，并希望在更堅實和包容的基礎上重建自己。

為了重塑其建筑結構和體制結構，俄羅斯館找到了一處理想的試驗場，在不同維度之上的——實體的、數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盟及親屬形式。正是在這種局面下，“敞開”項目為第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如何通過重疊的視角反思文化機構：其自身實體建筑的改造、我們每天接觸的數字環(huán)境以及人際網絡與居住在其中的個人。

“敞開？”這一在線平臺因第17屆建筑雙年展的延期而誕生，也讓這3個維度第一次碰撞出火花。2020年初，面對嚴格的封鎖，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)承擔雜志一角來展示新的內容及合作成果。同時，它又與花園展區(qū)周邊的觀眾建立聯系，并為即將到來的雙年展建立檔案。原本的實體空間逐漸成為龐大的藝術家、建筑師和思想家群體的虛擬聚會場所。

今天，這一探索之旅在這里具體化為3個相互關聯的部分：

（1）建筑：在2050+工作室的指導下，成立不久的俄羅斯/日本聯合事務所——KASA 建筑事務所 （亞歷山德拉·科瓦列娃和佐藤敬）承接了該展館的改造項目。這棟幾乎空無一物的建筑便為他們提供了發(fā)揮空間。KASA事務所經由公開征集入選，其方案不僅再現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)的不同關懷模式。

（2）游戲室：通過3款精心挑選的俄羅斯獨立電子游戲（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、一個以俄羅斯及其他視角進一步研究游戲和數字文化的電影項目，“游戲室”探索了數字環(huán)境作為世界建筑實踐與機構建立的試驗場的潛力。

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

1 展館內景/Interior view of pavilion

為了不辜負俄羅斯館對自身的期望——即作為一個更有滲透性、包容性、批判性和自我批判的文化機構——隨著時間的推移，“敞開”項目已逐漸成型。在過去艱難的幾個月里，它繼續(xù)系統(tǒng)性地審視自己，最終進化成一種集體努力——將一個機構作為一種“活物”來策劃與關注。

建筑改造

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

這項改造項目通過設計新的空間契約來解決展館實體改造及其線上版本之間的沖突。今天，俄羅斯聯邦館這一改建項目的所在地借鑒了“關懷”和“包容”的模式，在建筑環(huán)境及數字環(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系。

翻新項目重振了舒謝夫建筑的原始精神，再次塑造出一個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。二層現已恢復為原本樣貌，擁有白色的墻壁和橡木地板，而首層則被設計成粗獷的實驗空間。窗戶已重新打開，門換成了玻璃表面，外墻也恢復成原來的顏色。

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

作為改造項目的一大新特色，北邊的房間現在適合擺放大型裝置，并有可能將其變?yōu)殡p層通高：臨時地板安裝在沿新樓梯陽臺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。

因設計了一系列的入口，首層則變成了一個多孔空間。這些入口連接了每個房間、新洗手間以及露臺下方的新畫廊——后者第一次對外開放，擴展了展覽空間和策展形式。

俄羅斯聯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)楫敶囆g的劇場機器。它不僅建立了新的空間聯系，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構的含義，參與對建筑、人和生態(tài)系統(tǒng)的不同關懷模式。

第17屆國際建筑展的國際評審團授予俄羅斯國家館特別提名獎，以表彰其“對花園展區(qū)的歷史展館進行了敏感而細致的建筑改造，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 展館內景/Interior views of pavilion

10 細節(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+

策展人團隊/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

展陳設計/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

設計監(jiān)制及藝術指導/Design Supervision and Art Direction: 2050+/Ippolito Pestellini Laparelli, Giacomo Ardesio, Chiara Tomassi

視覺設計/Visual Identity: Lorenzo Mason Studio/Lorenzo Mason, Dafne Pagura, Simone Spinazzè

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

總設計協調及施工監(jiān)理/General Design Coordination and Construction Supervision: MAP Studio Magnani Pelzel Associati/Francesco Magnani, Traudy Pelzel with Matteo Sirinati, Gabriele Martella

結構工程設計/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 展館內景/Interior views of pavilion