La Biennale di Venezia di Architettura 2016 – Padiglione STATI BALTICI

Castello 2132, Calle S. Biagio, Venice, Italy

34. Baltic PavilionStates (ESTONIA, LATVIA, LITHUANIA)

Commissioner Estonia: Raul Järg. Commissioner Latvia: Janis Dripe (Ministry of Culture of the Republic of Latvia). Commissioners Lithuania: Ona Lozuraité, Jonas Žukauskas. Curators: Karlis Berzinš, Jurga Daubaraite, Petras Išora, Ona Lozuraityte, Niklavs Paegle, Dagnija Smilga, Johan Tali, Laila Zarina, Jonas Žukauskas. Exhibitors: Architekturos Fondas, Eesti Arhitektuurikeskus.

Venue: Palasport G.B. Gianquinto, Castello, Calle S. Biagio

The Baltic Pavilion project is an attempt to be inside many definitions tracing different kinds of ways infrastructure relates (to) resources. The exhibition brings all concerns and ideas together, without the establishment of a finished text, but just showing the relationships between ideas and things; objects, artifacts and brought together in one place and viewed as material presences. At the same time distilling what kind of spatial practice would be appropriate for the Baltics.

The Palasport, the location of the Baltic Pavilion, is a pure example of Brutalist architecture. The building is named after Giobatta Gianquinto, a Venetian, a member of the Italian Communist Party and Mayor of Venice from 1946 to 1951. Its Brutalist, cast in-situ bare concrete form carried the ethical program at the time it was built in 1977. Architecture then, was concerned with communicating the development of building technology with social purposes. Palasport exemplifies the kind of statements or architectural brief issued at that time: to formulate and provide spaces for the society that were previously unavailable. In the context of the historic city, the “Palace of Sports” had a new purpose that it still carries. It is used intensively for sporting activities and communal events. The process of using the space is complex and intertwined not only with its calendar, but also with its general function for celebrating activities by groups of people. Perhaps it is not an accident that the meaning of its ethical architectural form enhances the Baltic Pavilion installation enabling it to continue adapting and changing form through time.

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