© Ilia Ivanov

伊利亚·伊万诺夫

架构师提供的文本描述。这个展馆是由俄罗斯领先的房地产开发商PIK集团为野餐“Afisha”音乐节组织的“露天公寓”项目的一部分。象征着抽象公寓房间的弹出式建筑坐落在科洛门斯科耶公园的不同区域，自2007年以来，这个节日就一直在那里举行。

Text description provided by the architects. This pavilion is a part of a project “Open-Air Flat” organized by PIK Group – a leading real estate developer in Russia – for Picnic “Afisha” music festival. Pop-up structures that symbolized the rooms of an abstract flat were situated in different areas of Kolomenskoye park, where the festival has been taking place since 2007.

Text description provided by the architects. This pavilion is a part of a project “Open-Air Flat” organized by PIK Group – a leading real estate developer in Russia – for Picnic “Afisha” music festival. Pop-up structures that symbolized the rooms of an abstract flat were situated in different areas of Kolomenskoye park, where the festival has been taking place since 2007.

 © Ilia Ivanov

伊利亚·伊万诺夫

 Floor plan

 © Ilia Ivanov

伊利亚·伊万诺夫

该对象是对起居室的重新解释，该起居室是任何平面中用于通信和活动的公共空间。不是偶然的，它坐落在食品法院和主乐舞台上最拥挤的节日之一。这个特定的位置暗示了展馆是一个艺术对象，也有一个明确的实用目的。

The object is a reinterpretation of a living room which is a common space for communication and activity in any flat. Not by chance it was situated in one of the most crowded areas of the festival just between food court and main music stage. This specific location implied the pavilion to be an art object as well as having a clear practical purpose.

The object is a reinterpretation of a living room which is a common space for communication and activity in any flat. Not by chance it was situated in one of the most crowded areas of the festival just between food court and main music stage. This specific location implied the pavilion to be an art object as well as having a clear practical purpose.

 © Ilia Ivanov

伊利亚·伊万诺夫

 © Ilia Ivanov

伊利亚·伊万诺夫

用彩虹色的塑料管建造的半透明墙，使展馆从周围环境中脱颖而出。在这座建筑里分为不同的隔间。它们中的每一个都有一个单独的结构，形成一个精确的矩形形状，填充一个不规则的白色金属框架和塑料管网格。故意不平衡的部分创造了一个动态和富有表现力的构图，给这个看似简朴的形状带来了轻微的涟漪。位于明亮的绿色草坪上的多色起居室展馆可以与CGI景观中突然出现的小故障进行比较。

With its semi-transparent walls constructed out of rainbow-colored plastic tubes, the pavilion truly stood out from the surroundings. Inside this building is divided into various compartments. Each of them has a separate and individual structure forming together an accurate rectangular-shaped form filled in with an irregular grid of white metal framework and plastic tubes. Deliberately uneven sections create a dynamic and expressive composition that brings a slight ripple into this seemingly austere shape. Situated on a bright green lawn, the multi-colored living room pavilion can be compared with a glitch effect that had suddenly appeared in a CGI landscape.

With its semi-transparent walls constructed out of rainbow-colored plastic tubes, the pavilion truly stood out from the surroundings. Inside this building is divided into various compartments. Each of them has a separate and individual structure forming together an accurate rectangular-shaped form filled in with an irregular grid of white metal framework and plastic tubes. Deliberately uneven sections create a dynamic and expressive composition that brings a slight ripple into this seemingly austere shape. Situated on a bright green lawn, the multi-colored living room pavilion can be compared with a glitch effect that had suddenly appeared in a CGI landscape.

除了其卓越的设计，展馆也意味着一个功能寒冷的地区。每个节都安装了舒适的扶手椅和休息室，供参加节日的人使用。这些家具与咖啡桌和灯具被合并成轻量化的结构。展馆的清晰，让参观者可以看到节日的其他地方发生了什么，甚至在主舞台上观看表演，而不离开空间。

Apart from its remarkable design, the pavilion was also meant to be a functional chill out area. Comfortable armchairs and loungers for festival goers had been installed in every section. These pieces of furniture were merged together with coffee tables and lamps into light-weight constructions. Pavilion’s lucidity allowed the visitors to see what was going on in the festival’s other areas and even watching the show on main stage without leaving the space.

Apart from its remarkable design, the pavilion was also meant to be a functional chill out area. Comfortable armchairs and loungers for festival goers had been installed in every section. These pieces of furniture were merged together with coffee tables and lamps into light-weight constructions. Pavilion’s lucidity allowed the visitors to see what was going on in the festival’s other areas and even watching the show on main stage without leaving the space.

 © Ilia Ivanov

伊利亚·伊万诺夫

尽管有一个客厅，这座建筑还是一个单层的豪宅，需要考虑20世纪的经典，比如VillaSavoye和FarnsworthHouse。它的家具也受到马赛尔布雷耶和勒科布耶的标志性设计的启发。该展馆虽然受到现代主义建筑的高度影响，但却对国际风格的私人住宅提供了自己的看法。

Despite being a living room, the building is more of a one-story mansion that calls to mind such 20th century classics as Villa Savoye and Farnsworth House. Its furniture is also inspired by the iconic designs of Marcel Breuer and Le Corbusier. Though highly influenced by a modernist architecture, the pavilion offers its very own outlook on the international style private mansions.

Despite being a living room, the building is more of a one-story mansion that calls to mind such 20th century classics as Villa Savoye and Farnsworth House. Its furniture is also inspired by the iconic designs of Marcel Breuer and Le Corbusier. Though highly influenced by a modernist architecture, the pavilion offers its very own outlook on the international style private mansions.

 Elevations

这个展馆的极度透明不同于菲利普·约翰逊的玻璃屋或已经提到的密斯·范德罗的法恩斯沃斯宫。它的空虚是一个清澈的棱镜的空虚，它在等待一道光线变成彩虹。这种模棱两可的印象被不规则的框架网格所放大，它象征着建筑物完全解构的结果，以及尚未建造的建筑物的布局。一种闪烁且不断演变的结构与20世纪60年代的概念架构组(如阿奇格拉姆(Archigram)和超级工作室(Superstudio)的作品有关-它们都在乌托邦式项目中使用网格，认为它是他们实验的终极永无止境的棋盘几十年后，“网络空间”在科幻小说中被永久化。使用它的解构版本，在这个当代，但复古未来主义的展馆是一个聪明和优雅的解决方案。

The extreme transparency of this pavilion is different from that in Philip Johnson’s Glass House or the already mentioned Mies van der Rohe’s Farnsworth House. Its emptiness is an emptiness of a clear prism that is waiting for a ray of light to turn into a rainbow. This ambivalent impression is amplified by an irregular framework grid that symbolizes the result of the building’s total deconstruction as well as a layout of a building that hasn’t been constructed yet. A flickering and always evolving structure relates to the works of 1960s conceptual architecture groups such as Archigram and Superstudio – they both were using grid in their utopian projects considering it an ultimate never-ending game board for their experiments. Few decades later the grid was immortalized in science-fiction cliché of “cyberspace”. Using its deconstructed version in this contemporary yet retro-futuristic pavilion is a smart and elegant solution.

The extreme transparency of this pavilion is different from that in Philip Johnson’s Glass House or the already mentioned Mies van der Rohe’s Farnsworth House. Its emptiness is an emptiness of a clear prism that is waiting for a ray of light to turn into a rainbow. This ambivalent impression is amplified by an irregular framework grid that symbolizes the result of the building’s total deconstruction as well as a layout of a building that hasn’t been constructed yet. A flickering and always evolving structure relates to the works of 1960s conceptual architecture groups such as Archigram and Superstudio – they both were using grid in their utopian projects considering it an ultimate never-ending game board for their experiments. Few decades later the grid was immortalized in science-fiction cliché of “cyberspace”. Using its deconstructed version in this contemporary yet retro-futuristic pavilion is a smart and elegant solution.

 © Ilia Ivanov

伊利亚·伊万诺夫

Architects project eleven

Location Moscow, Russia

Lead Architects Igor Chirkin, Pavel Prishin

Area 400.0 m2

Project Year 2016

Photographs Ilia Ivanov

Category Temporal Installations