KSE Pavilions is a temporary educational infrastructure located in Kyiv, Ukraine. The campus structure is dynamic and is defined as much by its interiors as by the spaces between the pavilions: lawns, trees, paths, and distances. The project treats temporary architecture as a precise, operational system rather than a provisional substitute for permanent construction. Readily available materials and a visible assembly logic establish adaptable settings for learning, gathering, and informal exchange. Construction is not concealed behind a finished surface; it becomes part of the architecture’s identity.

Ukraine is participating in the 18th International Architecture Exhibition curated by Lesley Lokko (20 May – 26 November 2023), with a Pavilion at the Arsenale (Sale d’Armi) and an installation in the Spazio Esedra at the Giardini. Before the Future is the title of the participation, organized by the commissioner Mariana Oleskiv, and curated by Iryna Miroshnykova, Oleksii Petrov and Borys Filonenko. Ukraine had not participated in the Biennale Architettura since 2014.

A design proposal for the Christo and Jeanne-Claude Center in Gabrovo, Bulgaria — the city where Christo was born. The project transforms a former Textile Technical College from the 1970s into a new cultural institution dedicated to the oeuvre of two artists.
The existing reinforced-concrete frame is retained as the project’s primary architectural resource. Three targeted interventions work within this structure. Two gallery atriums at opposite ends of the building bring daylight deep into the floor plan and establish vertical continuity across all levels. Vertical circulation and service cores are relocated to the building’s ends, leaving the central areas of each floor as continuous, uninterrupted space. The ground level is lowered around the building, forming a cross-shaped plaza at −3.00 and exposing the basement as the Centre’s primary public level, adding significant floor area to the public programme without increasing the building’s volume.

Eight Fragments | 여덟 개의 단편

Busan has always been easier to see in pieces than as a whole. The city is pressed into a narrow strip between mountains and sea, and much of it is built on slopes, so its residents know it as a sequence of partial views: the harbour at the bottom of a stair, the cranes of Yeongdo between two apartment blocks, a ridge passing in a train window. For well over a century the port and its railway held the waterfront, and the sea was something the city looked at across a fence. The redevelopment of the North Port is giving that edge back. With it comes a question the city has rarely had to answer: how it wants to look at itself. Korean offers a word for this condition. 단편 can mean a fragment; written with a different character, the same sound names the short form, the short story or the short film. Both senses describe something complete on its own terms and candid about what it leaves out.

The project provides a unique solution for the planning structure, which adds new qualities to the area. The residential area with the cultural centre is located in the centre of the regular lattice of the Rybalsky peninsula general plan. Its unique role for the district is expressed by the transformation of the shape of the plan: an oval volume is inscribed in the quadrangular perimeter.

Reconstructing Kounellis’s work from 1997 in Ukraine today is to recognize that Kounellis was an artist informed by war, having lived through World War II and the Greek Civil War. His integration of industrialized materials common to wartime production as remnants of destruction, spoke as much to the postwar human condition as it did to fracture and disruption. As the artist noted, “since the war, we have only contradictions.”

Since the beginning of the war in Ukraine, essential routes were equipped with defensive fortificationsーcheckpoints. All of them were built hastily from locally available materialsーconcrete, metal, wood, earth, or sand.
A checkpoint provides movement control and defense and can be part of a more extensive fortification system with surveillance, cover, and fire functions. The most effective protection of defensive structures is provided when combined with natural obstacles, such as mountains and ravines, rivers and lakes, swamps, and impenetrable forests.

“Exhibitions of Achievements: Workers Who Left the Factory,” curated by Maria Noshchenko and Maksym Khodak focuses on the figure of the worker and the accompanying concepts of “commodity,” “consumer,” “product,” and “production,” exploring how this vocabulary is appropriated by culture. The exhibition brings together video works by Allan Sekula, Harun Farocki, Jean-Luc Godard, Yarema Malashchuk and Roman Khimei.

The exhibition “Our Years, Our Words, Our Losses, Our Searches, Our Us” is accompany the opening of the Jam Factory Art Cente on November 18, 2023 and will be the first large-scale exhibition in the history of the art center. The exhibition present the works of Ukrainian artists from 2022-2023 and a longer chronology – from the 19th century to the present.

A competition project for a residential quarter in Lviv, situated on a terraced site between natural landscape and new urban development in the city’s northern district.
The project begins from the premise that a city marked by trauma cannot be reconstructed through repetition. Standardisation, which underpins most contemporary housing models, operates as a form of spatial violence: it erases difference precisely where difference becomes critical. Rejecting the logic of typological replication, the proposal argues that equality is not achieved through sameness, but through the recognition and coexistence of difference.

Originally opened in 1967 to showcase Ukraine’s coal industry, the building is one of several pavilions on the National Complex Expocenter of Ukraine (VDNG) campus. Commissioned by RIBBON International, the project marks a turning point in Ukraine’s approach to Soviet architectural heritage, reframing Pavilion 13 as a dynamic platform for contemporary culture and launching a new chapter in the history of the independent institution Pavilion of Culture.

The idea of the building as architectural incarnation of synthesis of vision and hearing, metaphor of music as a complicated system of simple primitives, as a shell for sound experiments, multifunctional stage for learning Hungary Music in all it’s manifestations.

The core of the building is the rooms that make up the complex space of "volumes" and "voids". This multifunctional spaces provide an active social life inside. Their shared amenities brings together professionals into friendly companies and can exist as a neutral zone for presentations or negotiations. A children's room, a shared dining area, or a small movie room and game room will allow to work overtime but not neglect rest or family.

In recent years, the rethinking of the purpose of industrial architecture has become a representative practice in which possibilities are determined by research. Architects are facing the situation, where the proposal must justify a certain set of functions and goals of the object. The architectural design of Promprylad. Renovation can be considered as a proper example to explore.

044 House is a new residential complex in Podil district in Kyiv, designed by ФОРМА. The project was created on the principles of ecological urban development on the basis of in-depth study of “industrial Podil” and its historical architecture. The conducted research of residential buildings from 1980th, their rhythm, proportions and color scheme, gave an opportunity to develop a balanced design solution.

ФОРМА was involved in the organization of Cxema parties from 2015 to 2019, rethinking from the perspective of architectural practice the typology of rave and creating a holistic visual image of the space. Every season had a specific concept that directly influenced spatial and lighting solutions.

The land in places that are surrounded by protected areas - such as Yaremche - is of exceptional value. The way construction and further management are carried out directly affect the local ecosystem. The boundaries where human activity encounters in the natural heritage are the most vulnerable. Our research investigates both scenarios of such interactions—the centres of destruction and the environment where new valuable connections between human and nature are formed.

The Biennale takes place at a time of the greatest doubts of Ukrainian men and women regarding personal life and professional strategies, a time of rethinking the role of architects in wartime, and a time of transforming relationships with space due to the experiences of war and experiences of regular terrorist attacks on Ukrainian cities and civil infrastructure. But at the same time, at the moment of greatest need to be present in the international dialogue, speaking on our behalf.

The publication featured a conversation between Nazar Bagnyuk and Mark Wasiuta, paired with a new visual essay by Elena Subach and Viacheslav Poliakov, documenting three days inside the Laboratory of Walking, where engineers, rehabilitation specialists, psychologists, and patients worked together to produce new steps.

The Second Biennale of Young Art was held in 2019 in Kharkiv and became the second edition of the biennial project, initiated by the Ministry of Culture of Ukraine in the aim to support and represent contemporary Ukrainian art.

Today, the space of Babyn Yar is filled with multiple scenarios. They are played out daily in the area, which rather disorients and makes it impossible to spend time consciously within the memorial and preserved areas. This study is an attempt of a comprehensive look at further work with the territory based on the landscape analysis of Kyiv ravines.

Yalta European Strategy (YES) is a leading forum for discussing Ukraine’s European future and global context. YES fosters new ideas. It connects Ukraine to international partners, supports forces for change in the country, and builds networks of supporters for a new Ukraine worldwide.
Together with an architect Oleksander Burlaka, ФОРМА developed the project for the main pavilion.

The Armenian sailing vessel “Kilikia” being a true copy of a merchant ship of the Middle Ages, from 2004 to 2006 was able to overcome the route from Yerevan around Europe, having passed through seven seas. In the Middle Ages the ship was a symbol of the unification of nations, and travellers and merchants played an important role in the intercultural dialogue and exchange. In the 21st century the participants of world discourse are artists. The story of the journey of “Kilikia” was the inspiration for our decision. Squeezed in the city structure The NPAK building today is the part of the architectural ensemble that had lost its original function.

As part of the global PhotoVogue initiative and aiming to support and promote Ukraine’s creative talents on the international scene, Vogue Ukraine is launching a new initiative in contemporary photography and a dedicated digital platform.

We adapted the 60s glass modernist pavilion into a space for electroacoustic performances. Scene 13 is series of music concerts that features academic multichannel electronic music and held on the 17-18th of August by the Pavilion of Culture in collaboration with the Cultural Platform.

"The display symbolizes exhaustion on many levels. Besides the obvious – depletion of humanity’s resources and credit with the environment – it’s about psychological exhaustion due to social media abuse, the pandemic and economic recession." Pavlo Makov

Project is awarded an Honorary Mention at the International Ideas Competition for Busan Opera House in South Korea. The competition was promoted by the Busan Metropolitan Mayor's Office seeking international ideas to build an opera house that would become "a future-oriented cultural space that can raise local performing art culture one level up with its hi-tech facilities and differentiated contents".

Reflecting the landscape of Ukrainian photography today, Essential Goods is a group
exhibition featuring works by more than 20 young artists. Produced from 2014 to 2024,
their varied projects are held together by a common thread: of what it means to make
art in and of a time of war. When the future is uncertain, they ask: ‘what constitutes an
essential good?’
Opening in Kyiv on the 23rd May, Essential Goods is set across the Pavilion of Culture:
a 1967 modernist landmark, now a curatorial institution at the intersection of contemporary
visual art, music and architecture. With the outbreak of full-scale war, its programme was
suspended, and its buildings became a depot for humanitarian aid.
The question "Is culture the first necessity during the ongoing war?" formed the basis of the architecture of the exhibition Essential Goods with which the Pavilion of Culture begins a new season of activity after a two-year pause.
The uncanned building with the remained items of aid form the body of the exhibition, creating the possibility of coexistence between wartime needs and art.

i am u are is a platform for empowering the creative industry of Ukraine. Fair & exhibition will take place in New York on March 24-26th at the heart of NYC, Skylight at Essex Crossing.

Promprylad.Renovation is an investment center on the territory of a revitalized former factory in Ivano-Frankivsk. The project embodies the idea of impact-investment and combines the advantages of commercial and socially significant enterprises. Based on the intersection of four different directions, which are new economics, urbanism, contemporary art, and non-formal education, Promprylad aims to become the center of the creative potential of the city and thus influence the development of the region.

The main reason why Kyiv islands have become a wasteland is that they almost have no access from both sides of the river. For a 12-kilometer piece of land of Trukhaniv and Muromets islands there are only three points from which one can get into the area (from the Northern bridge, from the pedestrian bridge and from Hydropark). Hardly anybody can cover the distance on foot and get pleasure from walking and contemplation.

“It seems like the most genuinely and painfully cool party left on earth.”
Electronic Beats, INT

"Skystone" is a new type of prefabricated building with a 360º screen projection system presented at the General Assembly of the International Astronomical Union in Beijing."Skystone" is a self-sufficient prefabricated building in a hall with 250 seats with interactive technology. The building is closed from outside and looks monolithic. It will let people get an immersive experience in understanding the universe

ФОРМА was invited by 'goodwine' to develop a strategy for the renovation of buildings and the territory of the former Tetrapak factory.

Gamma factory (Zaporizhzhia, Ukraine) was built at the beginning of 1960th, specialized on the production of high-tech electronic products for the space, aviation and nuclear industries. After 1991 the company declared bankruptcy and declined. ФОРМА’s proposal for the mix-used development was based on the idea of creating a cultural, business and retail core of the city.

Before the Future marks the return of the Pavilion of Ukraine to the Biennale Architettura 2023 after a nine-year absence. The catalog contains texts and images by the curators and collectives, as well as additional articles and essays that expand on the discussions initiated within the project.
In the exhibition and its accompanying program, the grass-covered defensive earthworks in the Giardini and the dark, enclosed shelter in the Arsenale are spaces for Ukrainian architects and practitioners from various fields to raise questions—questions about telling stories during wartime, about the value of collective action in the face of threat, about the multitude of topics that unite architects in Ukraine today, about questions that must be asked today, before the future.
Over a period of four months, five temporary collectives create a program of changing exhibitions in both locations of the Pavilion—about reconstruction, ecology, care, commemoration, and the future. These exhibitions originate from within the Ukrainian context and involve a wide range of participants, with the aim of creating spaces and dialogues fostering mutual understanding.

The important stage in the implementation of a major renovation project of the Promprylad factory in Ivano-Frankivsk. As part of an ecosystem, the space of interaction and cooperation promotes a new culture of innovation. It facilitates the creation of projects and supports those who change the rules of the game.

Cxema is the life-changing party forging the new sound of the Ukrainian underground. Mixmag

Galicia, a play written and directed by Richard Maxwell, will be staged for the first time at the Ivan Franko National Academic Drama Theater in Kyiv, Ukraine, from Friday, August 22 through Monday, August 25. Commissioned by Faktura 10, as curated by Marta Kuzma, Artistic Director and Chief Curator of Faktura 10, Galicia is a continuation of Federico García Lorca’s seminal play La Casa de Bernarda Alba (1936), a tragedy that takes place in a small village in Spain.

JOMO is an abbreviation of “joy of missing out”, which could be interpreted as the concept of abandoning the internet and technology without compunction. The JOMO burger cafe seems to be ironic about its surroundings and context: space is located in a bustling area, full of office workers and students. Rejecting the trivial representation of burger cafes, ФОРМА created a holistic clean space, disposed of unnecessary decoration.

GARAGE is a new gastronomic venue by @goodwine located on the territory of the former Tetra Pak plant in the Podil industrial zone. The building is divided into two independent parts. In the general planning approach, the function of the garage is retained – technological and service blocks are disposed not along the perimeter of the venue, but deliberately moved to the center. This provides the adaptability of the space to temporal scenarios, ensures democracy between volumes and free movement around the area. The blank industrial building becomes public and open, emphasized by the glazed line of the facade.

The most significant cultural projects of modern Ukraine are initiated by independent researchers, curators, and artists. The potential of these independent creators, intellectual and artistic level of their work is much more ahead of the existing institutional capacity. There is a lack of institutions in Ukraine, that could provide a decent level of support and development of cultural initiatives. This absence of institutional sustainability led to the idea of creating the Pavilion of Culture – an institution that will provide the audience, space, and opportunities for the realization of the leading cultural creators.