Gayane Umerova

It will be a transformative journey that bridges epochs. This exhibition embraces the paradoxical dance between traditional craftsmanship and contemporary architectural language. It’s a platform for dialogue, sparking new conversations on the coexistence of past and future. At its core, this exhibit seeks to challenge and inspire by examining the symbiosis of the old and the new, celebrating the dynamic interplay of archaism and modernity that makes architecture a living testament to human ingenuity.

Uzbek architecture offers an evocative narrative that transcends bricks and mortar. It is an embodiment of the vibrant tapestry of our cultural history, telling tales of civilisations past, of trade along the Silk Road, of exquisite craftsmanship passed down generations, and of a deep-rooted resilience to time and change. It is not simply about structures, but about the confluence of people, stories, and ideas. The dialogue between tradition and innovation within Uzbek architecture is a unique chorus, adding a distinctive voice to the global architectural symphony. It speaks to our shared humanity, bridging the gaps between cultures, and illuminating the unifying threads of our collective pasts and futures.

Our journey with Studio KO has not just been confined to the walls of our workshop or the confines of the pavilion, but has extended far beyond. Even after the workshops concluded, they have remained in close contact with the students, continuing their mentorship and fostering a connection that runs deeper than a typical student-teacher dynamic. Their warm and nurturing relationship with the students exemplifies their commitment to the next generation of architects, nurturing them to adopt a mindful and respectful approach towards our architectural heritage as they move towards the future. This sense of camaraderie and shared passion for architecture have greatly contributed to the success of ‘Unbuild Together’ and the overall enriching experience at the Biennale. We are truly grateful for their ongoing engagement and investment in our students, for it’s in this personal growth where we see the true impact of their work.

Not at all. In fact, we see it as a harmonious dialogue between the past and the future. The ‘Laboratory of the Future’ invites us to envision and shape our future, but this cannot be achieved without understanding and drawing from our past. Our project, ‘Unbuild Together: Archaism vs. Modernity’, embraces this duality. Our past, symbolized by our rich architectural heritage, is a repository of wisdom and knowledge. By studying traditional techniques, materials, and designs, we unlock a vast wealth of resources to guide our future construction and architecture. In ‘Unbuild Together’, we aim to bridge the gap between traditional and modern architecture, demonstrating how one can inform and enhance the other. This intertwining of the old and new reflects the very essence of a laboratory or, alternatively, a craftsman’s workshop, where experiments lead to innovation. So, in our view, a journey through the past to shape the future is not a contradiction, but rather a necessary and meaningful path to follow.

Traditional Uzbek bricks embody a combination of history, culture, craftsmanship, and environmental sustainability. They are made using locally sourced materials and age-old techniques, reflecting the wisdom of our ancestors who understood the importance of harmonizing with nature. It’s always a direct way to connect to a landscape – by transforming carefully the piece of it. Each brick tells a story of the earth it was crafted from, the hands that shaped it, and the community it has served. There are several reasons why these bricks could be key to designing the future. Firstly, they symbolize sustainable practices. As we grapple with the effects of climate change, returning to building techniques that use locally available, natural resources can help reduce the environmental impact of our infrastructure. Secondly, they remind us of the value of craftsmanship and human touch in an increasingly automated world. The skills, knowledge, and care involved in creating these bricks provide a deep sense of connection and authenticity that cannot be replicated by machines. Lastly, these bricks serve as a tangible link between our past, present, and future. By incorporating them into modern designs, we are not just preserving our heritage, but actively engaging with it, allowing it to inform and inspire our future. This is how we ‘unbuild’ – by dismantling preconceived notions of what modernity should look like and reimagining it in harmony with our cultural roots and environmental obligations.

Qalas have stood as witnesses to time, weathering centuries of change. They symbolize resilience, endurance and the seamless integration of human creation with nature. The accompanying catalogue is a significant component of this journey of exploration. It begins by presenting a series of images that offer a sensory immersion into the themes we have chosen to explore: the concept of ruins, labyrinths, earth, and the historical and physical landscapes of Uzbekistan. In the second section, we delve deeper into these themes with contributions from distinguished experts in various fields. We are privileged to include academic insights from renowned archaeologists like Irina Arzhantseva, Oktyabr Dospanov and Rocco Rante, who offer invaluable perspectives on the co-existence of archaism and modernity. The catalogue takes readers on an exploratory journey, retracing the legacy of Sergey Tolstov’s expedition to Khorezm and Igor Savitsky’s persistent following of his footsteps. We delve into the fascinating journey of the brick in Central Asia and Bukhara, and explore the myth of the labyrinth. The third part, a personal diary, comes to life through the lens of Emine Gözde Sevim, who accompanied the students and artists during the two-week workshops organized by Studio KO in Uzbekistan. Her photographs offer an intimate glimpse into the qalas of Karakalpakstan, the monuments of Bukhara, and the capital Tashkent. But most importantly, her images invite viewers into the emotional journey of these students – their passion, wonder, doubts, and discoveries. ‘Unbuild Together’ is not merely an exhibition but an immersive journey that we hope will inspire a deeper understanding and appreciation of Uzbekistan’s rich architectural legacy and its relevance to our collective future.

Indeed, the choice of a labyrinthine structure for the Uzbek Pavilion resonates deeply with the winding, maze-like streets of Venice. It’s a deliberate, poetic reflection of our journey through the complex layers of architectural history and cultural identity. Venice, much like the ancient cities of Uzbekistan, is a living testament to the layers of time, a labyrinth where past, present, and future are intertwined. The labyrinth serves as a metaphor for our shared journey of exploration and discovery. It invites visitors to lose themselves, to wander, and in doing so, to encounter unexpected perspectives, insights, and connections. Through the structure of the labyrinth, we want to evoke the spirit of exploration and the joy of discovery that is central to the human experience. Just as one navigates through the winding streets of Venice, the journey through our pavilion is not simply about reaching the end, but about the experiences.

I believe that the relative unfamiliarity of Uzbek art on the global stage can be attributed to several factors. First and foremost, it’s a reflection of the historical geopolitical situation. For much of the 20th century, Uzbekistan, as part of the Soviet Union, had limited cultural exchange with the West. During this period, local artistic traditions continued to thrive but were often overlooked in international discussions of art. Moreover, Uzbek art is deeply rooted in a history and cultural context that is unique to Central Asia. The symbolism, aesthetics, and narratives embedded in our artistic traditions may not be immediately accessible to those unfamiliar with this context. This adds to the perceived exoticism and mystery of Uzbek art, and perhaps, to its underrepresentation. However, the recent exhibitions of the Art and Culture Development Foundation of the Republic of Uzbekistan at the Louvre and the Institut du Monde Arabe in Paris signal a turning point. They demonstrate an increasing interest in, and recognition of, the rich artistic traditions of Uzbekistan. As cultural dialogues become more global and inclusive, we expect Uzbek art to gain the recognition it deserves, allowing the rest of the world to appreciate its depth, diversity and beauty.