It’s called “Unbuild Together: Archaism vs. Modernity.” This is the title of the Uzbekistan Pavilion at the 18th International Architecture Exhibition – La Biennale di Venezia. It’s a project of collective deconstruction, aimed at rethinking contemporaneity in light of the ancient roots of this remote Central Asian republic, which remained almost unknown to the Western world during the long years of Soviet dominance. Today, it’s projected towards the future and international engagement, playing a role in the new Silk Road. The chosen emblem to represent this interplay between archaism and modernity in Venice is the brick, used in Uzbekistan to construct qalas, ancient fortresses of the Karakalpakstan region, part of the Khorezm civilization’s heritage. The brick is a cornerstone of Uzbekistan’s architectural heritage. Gayane Umerova, Executive Director of the Art and Culture Development Foundation of the Republic of Uzbekistan, explains: “Traditional Uzbek bricks, made using centuries-old techniques, are durable, sustainable, and aesthetically pleasing. Crafted from natural materials, they are still resilient and can last for millennia, making them an excellent choice for projects designed to withstand the test of time.”
“Unbuild Together the Modernity,” located within the Arsenal near the Grand Basin, is a project that challenges the concept of archaism. It’s a convergence of diverse horizons within architectural heritage, recognized as tools to build the future. The clump of earth molded into bricks offers numerous construction opportunities, from the mythical and archetypal – if not poetic – form of the labyrinth to residential construction, allowing us to learn from traditional materials and find innovative solutions for modern living. Known for their structural solidity, these bricks transcend time and territories, resisting the typical wear and tear of matter.
Gayane Umerova continues: “Looking to the future, our ancient heritage can help us reconsider the path of humanity and the role architecture plays in shaping our collective destiny. By analyzing architectural remnants of societies from the past, we can understand the values, beliefs, and techniques that shaped their worlds. This, in turn, can influence our design choices and decision-making processes as we work to build a better future.” The Uzbek Pavilion adds: “The chief curator of this edition of the Architecture Biennale, Lesley Lokko, christened it ‘The Laboratory of the Future,’ asking participating architects to consider it as a laboratory for the future: the Unbuild Together: Archaism vs. Modernity pavilion strives to be a commitment to collaborate.”
It brings together a diverse team of curators, researchers, artisans, and artists to (re)discover the ruins of the qalas. The pavilion’s curation is entrusted to the talent of the Franco-Maghrebi studio KO, founded by French architects Karl Fournier and Olivier Marty, the same designers behind the Yves Saint Laurent Museum in Marrakech. Studio KO had already undertaken ambitious projects for the Central Asian Republic, such as the ACDF Foundation in the capital Tashkent, a former diesel station transformed into the future Center for Contemporary Arts (CCA), the country’s first contemporary art hub. In response to the curator’s request, the pavilion conveys its message through extensive intellectual collaboration, reproducing the mythical form of the labyrinth as if paying homage to the labyrinthine streets of Venice.
Studio KO collaborated on the project with students and faculty from the Ajou University in Tashkent. They were joined by artists Abdulvahid Bukhoriy (creator of the enamels adorning parts of the bricks), El Mehdi Azzam, Emine Godze Sevim, and Miza Mucciarelli. The impact of the result in this section of the Arsenal is significant, achieved also through scientific collaboration with Irina Arzhantseva, a scholar of the qalas. Gayane Umerova shares: “Dr. Arzhantseva’s extensive and profound knowledge helps us approach the qalas and the traditional techniques used in their construction with scientific accuracy. Her research provides valuable insight into the relationship between these fortresses and the surrounding populations, and how these structures have shaped the region’s identity over time.
Looking to the future, our ancient heritage can help us reconsider the current trajectory of global development and the role that architecture plays in shaping our collective destiny. By analyzing the architectural remains of past societies, we can understand the values, beliefs, and techniques that shaped their worlds. All of this can influence our design choices and decision-making process, aiming to build a better and more sustainable future.”
Saida Mirziyoyeva, Head of Communication and Information Policy at the Administration of the President of the Republic of Uzbekistan, concludes: “Our country boasts a rich and diverse cultural heritage; its ancient qalas and traditional craftsmanship represent a significant component of this legacy. The qalas, spread across the entire national territory, are an indelible symbol of the Uzbek people’s resilience and strength, testifying to the country’s long and complex history.” The same history that intersected with the legendary journey of Venice’s Marco Polo, leading him from the Grand Canal to China, passing through Samarkand.
