• Context

    In Eastern Europe the assimilation of modernism proved to be a rather divergent process, correlated with tumultuous and contradictory sociopolitical events. The urban space suffered successive destructuring, caused by massive industrial insertions with direct impact at urban and demographic level.

    Once industrial sites were closed down, the remaining locations became modern urban ruins, devoid of content, bare of utility, leaving behind an outer landscape, shattering and desolate.

  • The pavilion

    Thus the Romanian Pavilion brings industrial architecture as generator of modernity into discussion. It suggests creating an initiatory journey from inter-war and socialist industrialization to post-industrial urban voids.

    Glory and void, past and present are mirrored and laid out to be contemplated, to raise awareness and be re-approached.

  • Islands

    “projecting the future”

    The “islands” will have a hyperboloid shape, referring to the silhouette of old industrial cooling towers, witnesses of the vanished industry, elevated towards the sky. Their interior void creates a metaphor of the decontextualized zones in the urban areas.

    This long elements compose a neutral space, similar to a blank paper, white and pure, on which the visitor is invited to free his imagination and rewrite the stories told by the industrial relics, to give a new purpose for these past monuments.

  • Video projections

    “memories from the past”

    The entire pavilion space reflects the mega urban space of a contemporary city, this being an indistinguishable black box, border-less.

    The black box represents in fact the city as background of the entire exhibition, faded, almost invisible. The only recognizable landmarks remain the three urban islands, animated by video projections of the industrial past ran in cinematic loops.

  • Entrance

    “passing through present”

    After the communist regime, the factories lost the state support and one by one they collapsed in ruin. Modern ruins. Today they are perceived by citizens, as being stains on the urban landscape, unaesthetic zones.
    However the value of these sites consists in their perception as an “imagination playground”, flexible, spaces that are waiting for a new identity. They have a particularly aesthetic, decadent, being in divergence with the regular public spaces of a contemporary city. They are spaces with a narrative potential, spaces of liberty that encourage many types of attitudes, especially a beginning of a new story.

The pavilion
Video projections