Tashkent’s Solar Legacy Reimagined: Uzbekistan Pavilion at Venice Architecture Biennale

The Uzbekistan Pavilion at the upcoming 19th International Architecture Exhibition of La Biennale di Venezia (May 10–November 3, 2025) will present A Matter of Radiance, an ambitious exhibition exploring the scientific, cultural, and architectural relevance of the Sun Institute of Material Science near Tashkent. Curated by GRACE studio founders Ekaterina Golovatyuk and Giacomo Cantoni, and commissioned by the Art and Culture Development Foundation (ACDF) of Uzbekistan, the exhibition critically revisits the country’s modernist legacy and opens a dialogue about its potential role in addressing future global challenges.

Responding to the Biennale’s central theme, Intelligens. Natural. Artificial. Collective., curated by Italian architect Carlo Ratti, the Uzbekistan Pavilion invites visitors into a multi-layered reflection on the Sun Institute—originally known as the Sun Heliocomplex—built in 1987 as one of the final scientific achievements of the former USSR. This solar furnace, still one of only two of its scale worldwide, was designed to study material behavior under extreme solar heat, symbolizing the intersection of utopian science and monumental Soviet architecture.

The exhibition at the Arsenale site in Venice will consist of spatial fragments and reimagined components of the original institute, offering both literal and conceptual reinterpretations. Some of these fragments have been brought from Uzbekistan and modified; others are constructed specifically for the show but intended for later integration into the Sun Institute itself. These adaptations aim to question and expose the latent meanings and unrealized potential of the complex.

The curators underscore the ambivalence embedded within the structure: monumental and technologically visionary on one hand, yet limited in present-day utility. Rather than viewing this duality as a flaw, A Matter of Radiance considers it an opportunity to reassess the building’s architectural and scientific value in today’s context.

A Constellation of Voices

The pavilion’s narrative is enriched by contributions from diverse Uzbek and international voices across disciplines. Among them are writer Suhbat Aflatuni, artists Azamat Abbasov, Ester Sheinfeld, and Mukhiddin Riskiyev, as well as scientists Odilkhuzha Parpiev and Sultan Suleymanov. Their participation expands the interpretation of the Sun Institute into a shared cultural story of experimentation, memory, and vision.

Importantly, the exhibition will also serve as the scenography for a theatrical performance, reinforcing its immersive and interdisciplinary scope. This approach aims to explore not only what the furnace was, but what it might become—scientifically, culturally, and architecturally.

The legacy of Sadyk Azimov, the Uzbek physicist who championed the Sun Institute’s construction and research mission, is also honored in the exhibition. His dedication underscores the broader narrative of how architectural heritage can serve as a platform for knowledge exchange and innovation.

A Foundation of Research and Preservation

The Venice exhibition builds upon the landmark research project Tashkent Modernism XX/XXI, which began in 2021 and was also coordinated by GRACE studio under ACDF’s leadership. This multi-year initiative involved international experts in the documentation, evaluation, and reinterpretation of 24 key modernist structures in Tashkent.

As a result of the project, 21 buildings were successfully designated as national heritage sites, reinforcing their importance to the city’s urban identity. The initiative also marked a turning point in shifting the narrative around late modernist architecture—from one of obsolescence to one of relevance and possibility.

The findings from the project are chronicled in two major publications: Tashkent Modernism XX/XXI (Lars Müller Publishers, Spring 2025), which includes contributions by Boris Chukhovich, Davide Del Curto, Ekaterina Golovatyuk, and features interviews with figures such as Rem Koolhaas; and Tashkent: A Modernist Capital (Rizzoli New York, November 2024), showcasing photographs by Karel Balas with a foreword by Chris Dercon.

Looking Forward

Gayane Umerova, Chairperson of the ACDF, remarked, “Uzbekistan is a country with a rich cultural heritage, and this pavilion is a meaningful step in shining a spotlight on the brilliant and under-recognized Tashkent Modernist legacy. The exhibition also reflects our national commitment to innovation and meaningful contributions to global discourse.”

Curators Golovatyuk and Cantoni emphasized the significance of this platform: “Curating the Uzbekistan Pavilion allows us to share a powerful yet lesser-known chapter of architectural history with the world. The pavilion becomes a site of dialogue—one that connects Uzbekistan’s past with future global concerns.”

A Matter of Radiance ultimately transcends a preservationist agenda. It embraces adaptive reuse, interdisciplinary collaboration, and future-focused thinking to reintroduce a monumental structure not as a relic, but as a lens through which contemporary and future societies can reimagine their relationship with energy, architecture, and cultural memory.