(The access to this section of the Triennale is from a somewhat anonymous direct entrance from the atrium of Palazzo dell'Arte or from a secondary access which we suggest and which passes through Corridoio Rosso (the Red Corridor), a space designed by Margherita Palli for the exhibition of the same name curated by Giovanni Agosti and Jacopo Stoppa). The general layout of the 20 international pavilions was curated and designed by Francis Keré (Pritzker Architect 2022) with an almost abstract and orderly language, following an orthogonal grid of white walls resulting in long corridors that lead to rooms/spaces, then rearranged by the single nations. The space can thus be explored along multiple trajectories that slow the pace at certain circular and permeable volumes, enclosed within suspended curtains made of small metal rings, in which sound works require the visitor to pause before resuming the journey.
The main supports were printed directly (by WASP, a world-leading Italian company for 3D printing) in the halls of the Triennale, using poor materials such as clay mixed with rice husks (in collaboration with RiceHouse, recent winner of the Compasso d'Oro 2022 for its research) and with the intention of recycling these elements and materials after use. The tops are made of transparent glass shaped ad hoc and allow a glimpse of the internal structure, which is also designed according to some curvilinear lines that derive from a graphic grid visible all over the floor, which punctuates and redesigns the perception of the “curved” exhibition gallery according to a new formal logic, deformed and orbital, which gravitates around the central fulcrum. Referring to the new methods that are being studied for future lunar constructions, where 3D printing is used as a technical model that can be used with extraterrestrial matter, the installation was conceived as an experimental laboratory. The main themed exhibition, “Unknown Unknowns”, features a layout designed by Space Caviar, with Joseph Grima returning to his Triennale (he was among other things Director of the Design Museum) and returning to the theme of exhibition design by reconsidering some of his earlier ideas, proposing a project that interpreted the curator's initial suggestions.
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