Pavilion 13 in Kyiv, Ukraine, a Soviet brutalist-architecture-era exhibition corridor initially designed by SS Pavlovsky, has simply been renovated into a recent artwork centre. The mission, led by ФОРМА architects, not solely brings a modernist structure gem again to life, but additionally presents an necessary cultural house for creatives and artwork fanatics within the Ukrainian capital at a difficult time for the nation, with the battle with Russia ongoing.
Lead architects Iryna Miroshnykova and Oleksii Petrov labored on the scheme, which opened this summer time (2025), internet hosting artist Sam Lewitt, who presents his mission, Шубін (SHUBIN), on website. We caught up with ФОРМА to seek out out extra concerning the constructing and the follow’s journey.
Tour Pavilion 13, Ukraine’s new artwork hub, with its architects, ФОРМА
(Picture credit score: Courtesy Pavilion 13 / Forma)
Wallpaper*: Inform us extra about Pavilion 13 and its significance.
ФОРМА: Pavilion 13 was inbuilt 1967 in Kyiv as half of a giant exhibition advanced that introduced collectively structure, trade, and academic capabilities, selling varied industrial achievements – from horticulture to transportation. Pavilion 13 was initially devoted to the coal trade and mirrored the necessary position of mining within the financial and regional growth of the nation, notably within the japanese areas of Ukraine.
Its worth immediately lies not solely within the topic it as soon as represented, but additionally in how that topic was expressed architecturally. The simplicity of modernist geometry mixed with creative detailing captures a selected second within the evolution of public exhibition areas. It’s a constructing that holds reminiscence, whereas additionally providing house for reinterpretation. By means of its renewal, we aren’t looking for to rewrite its historical past, however quite to supply it a ‘future steady’.
(Picture credit score: Courtesy Pavilion 13 / Forma)
‘As soon as an immersive exhibition function, a decrease degree now capabilities as a bomb shelter. On the identical time, we see it as an important a part of the pavilion’s architectural and cultural legacy’
ФОРМА
W*: What concerning the constructing’s make-up?
ФОРМА: Internally, the pavilion is loosely divided into a number of practical zones. The central half is a big corridor with a glass façade, serving as the primary house for occasions, exhibitions, and performative codecs.
There may be additionally a preserved ‘cinema corridor’ – an area that traditionally hosted movie screenings and public occasions. Whereas the unique seating was misplaced, the projector room stays intact and holds potential for brand spanking new types of use.
A particular function of the constructing is the corridor with a sloped ramp resulting in the underground degree, the place the unique mannequin of a coal mine nonetheless exists. As soon as an immersive exhibition function, this decrease degree now capabilities as a bomb shelter. On the identical time, we see it as an important a part of the pavilion’s architectural and cultural legacy – an area with potential for future archival or curatorial interventions.
(Picture credit score: Courtesy Pavilion 13 / Forma)
As well as, there’s a flexible-use corridor that may be tailored for various codecs – from exhibitions and discussions to screenings or short-term installations.
The current adaptation included the restoration of primary infrastructure: up to date utility methods, new flooring, improved lighting, inclusive restrooms, and areas appropriate for short-term architectural or creative interventions. The pavilion stays as open and adaptable as potential – with out inflexible zoning – so it may possibly reply to the evolving wants of its programmes and customers.
Lastly, it’s value mentioning the orchard behind the pavilion – a small apple grove with outdated timber that also bear fruit. Each autumn, the bottom is strewn with apples. We’ve not too long ago enriched this ecosystem with further vegetation to reinforce the panorama, and anticipate the backyard to resume itself seasonally within the coming yr – changing into one other website of interplay between pure and constructed environments.
(Picture credit score: Courtesy Pavilion 13 / Forma)
W*: Each mission has its challenges. What have been yours on this renovation?
ФОРМА: Every stage of the renovation course of introduced challenges, which is barely pure when working with a construction that had stood uncared for for a few years. The primary difficulties weren’t architectural, however infrastructural: severely deteriorated utility methods, injury from moisture, and undocumented alterations made in earlier a long time. However maybe probably the most troublesome problem was hanging a steadiness between restoration and preservation.
We selected a phased method – gradual, respectful of the present supplies. It takes extra time, however permits for knowledgeable choices that reply to the constructing’s actual situation and historic layers.
‘Heritage isn’t at all times about grand narratives – usually, it resides in refined, ignored particulars that ask for care, persistence, and shut remark’
ФОРМА
(Picture credit score: Courtesy Pavilion 13 / Forma)
W*: What excited you about engaged on the mission? What stunned you?
ФОРМА: One of the crucial stunning discoveries was the central wall of the primary corridor. Beneath layers of white paint, we uncovered an experimental ornamental floor made out of black damaged glass fragments – a method that was as soon as widespread, but uniquely interpreted in every occasion. It turned out to be greater than an aesthetic element: it spoke to the unique designers’ resourcefulness and a focus to materials, working creatively throughout the constraints of their time and talking about ‘coal’ immediately.
Findings like this remind us that heritage isn’t at all times about grand narratives – usually, it resides in refined, ignored particulars that ask for care, persistence, and shut remark.
(Picture credit score: Courtesy Pavilion 13 / Forma)
Supply: Wallpaper
