Who owns the idea of transformation?
The new KIT pavilion at VDNH can be safely called a win-win project. Firstly, the city has received a new large-scale platform for events in the openspace format: markets, concerts, fairs and other public events that can simultaneously gather a large number of people. Secondly, a truly high-quality renovation was implemented on the basis of the pavilion and gave a "new life" to the old Soviet building - although it was not an outstanding heritage site, it certainly deserved a professional rethinking. In addition, the renovation fits into current trends in sustainable development.
Presentation of the KIT pavilion for journalists. Speakers from left to right: founder of the Kurazh market Alyona Gudkova, general director of Expocentre Yevgeny Mushkin, co-founder of the FORMA architectural bureau Oleksiy Petrov, founder of the Big City Lab urban bureau Max Yakover, chairman of the board of Universal Bank JSC Iryna Starominska and director of the KIT pavilion Anna Lukashevich. Photo: Mykyta Zhuravlev
This initiative, however, was not born in the architectural or urban community. The idea belongs to Alena Gudkova, the founder of the Kurazh market, which will now become a permanent resident of the KIT. Previously, Kurazh held all its events in pavilion No. 19 at VDNH - this modernist building, built in the spirit of Mies van der Rohe, unfortunately, demolished in 2022. Since then, the project has been left without a permanent venue. After a long pause and events in other locations, Alena Gudkova decided to return the "Courage" events to VDNH - with their characteristic scope and scale.
Together with the general director of Expocentre, Yevgeny Mushkin, Gudkova began looking for a new venue. Pavilion No. 9 caught her eye — an old, virtually abandoned building that resembled a hangar in its appearance and shape: elongated, with high walls and an arched roof. By the way, it was the shape of the pavilion’s roof that prompted her to call it a “whale” — the metal protrusions on the side of the roof resemble the outlines of a whale’s ribs. Gudkova saw in this building the potential and the stage for a new life for “Courage”: together with Mushkin, she assembled a team that decided not just to renovate the pavilion, but to transform and modernize it — and with respect for the original design.
Founder of the Kurazh market Alyona Gudkova and General Director of Expocentre Yevgeny Mushkin. Photo: Mykyta Zhuravlev
The space was planned from the very beginning as multifunctional — to hold not only the events of "Courage", but also a number of other cultural events. Still, the area of over 3600 m² and the high vaulted ceiling are a considerable potential for expansion. The new space is also planned to localize a venue for the Kyiv electronic scene: Gudkova's team says that the KIT will easily be able to host raves and even large-scale theatrical productions — an agreement has already been reached with the National Philharmonic about an open rehearsal of the symphony orchestra.
Alena Gudkova: "We want to create a large, curated squat where people can come literally any day and know that something is happening here"
“KIT is our contribution to the cultural infrastructure of the city. There will be “Courage” here, there will be concerts, lectures, inclusive events, performances, educational events. Many cultural and educational initiatives in Ukraine have something to say — we want these voices to have a space where they will be heard,” says Alyona Gudkova. “We want to create such a large, curated squat where people can come literally any day and know that something is happening here.”
Co-founder of the architectural bureau "FORMA" Alexey Petrov and founder of the urban bureau Big City Lab Max Yakover in the renovated KIT pavilion. Photo: Nikita Zhuravlev
The architectural bureau "FORMA" was involved in the work on the project, which already has experience working with industrial heritage: in particular, it worked on the revitalization of the "Gamma" factories in Zaporizhzhia and "Promprylad" in Ivano-Frankivsk. "FORMA" under the leadership of Alexey Petrova developed the concept of adapting the pavilion, and the Big City Lab urban bureau team, led by the founder, was responsible for implementing the idea. Max Yakover.
“Our task was to rethink the pavilion as a flexible, multifunctional space — not just an event venue, but a full-fledged cultural platform. We wanted not only Courage to “live” here, but also the strongest cultural initiatives of Kyiv. I believe that culture nourishes our identity. Working with culture, supporting it, promoting it — it is always timely,” said Max Yakover, founder of the urban bureau Big City Lab.
The KYT is positioned as a “barrier-free performance pavilion,” paying attention to both physical accessibility and overall cultural inclusion. Photo: Mykyta Zhuravlev
The team placed the most important emphasis on the barrier-free nature of the space: KIT is positioned as a “barrier-free performance pavilion,” paying attention to both physical accessibility and general inclusivity in a broader, cultural sense. Alyona Gudkova explained that the pavilion should become a kind of entry point for initiatives that are just starting to develop: “We plan to support projects that have already invested their resources, time, and experience in development and are now looking for new opportunities, a new audience. I would like KIT to become a kind of boost for talented initiatives, and together we would look for common ground.”
Gudkova also said that the concept of internal and external lighting for the WAT was developed by Mykola Kabluka's Expolight company. Inside, dynamic architectural lighting with the possibility of programmable scenarios was provided: one of them emphasizes structural elements and at the same time complies with the principles of inclusive design - for example, contrasting lighting will highlight potentially dangerous areas. Also, lighting of stairs, ramps and other elements was provided - for safety in the dark.
A hybrid of industrial and modernism: how pavilion No. 9 became the WHIT
The building that was modernized and converted into the KIT is one of the pavilions of the Expocenter, built back in the 50s. In the original design, pavilion No. 9 had a canopy structure and consisted only of a sheet arched roof standing on metal supports - for some time it worked like this, serving as an exhibition space for agricultural machinery and machine tools.
In the original design, Pavilion No. 9 had a canopy structure and served as an exhibition space for heavy equipment and machine tools. Archive photo provided by urban bureau Big City Lab
In 1979, the building was rethought: walls were added around the entire perimeter of the roof, and the entrances to the pavilion were decorated with facade systems in the spirit of late modernism. The result was something like a symbiosis of industrial and modernist aesthetics. Today, this building can hardly be attributed to the outstanding objects of the era, especially since it pales against the background of the magnificent architecture of the Expocenter, which is full of references to antiquity. However, "number nine" still has many expressive details and structural elements that make it recognizable among the VDNH ensemble.
During the independence period, the pavilion lost its main functional purpose and for some time served as a concert venue — in particular, the fantasy show “Guardians of Dreams” was filmed here. “For the last 10 years, we have only seen this pavilion from the outside and did not know what was inside. It was a Black Box in the literal sense — when we got into the premises, we saw only black fabric that wrapped the walls,” says Yevgeny Mushkin, General Director of Expocenter.
Facade systems of the pavilion, completed in the 80s. Image: advertising video about the production of artificial diamonds, Tsentrnaukfilm, 1987
The FORMA architectural bureau has been working with the pavilion since September 2024. Co-founder of the bureau, Oleksiy Petrov, said that at the start there were several ideas for transformation, including radical ones. But in the end, the team decided to return the space to its maximum authenticity — in particular, the idea of new zoning seems to reincarnate the original idea of multi-disciplinary exhibitions.
"The architectural concept is based on revealing the design of an authentic project and creating the infrastructure needed to use the building. In fact, we restored the exhibition function of the space, but also added a performative one. Now the building provides for almost all public scenarios. We thought of the WHITE not as a static form, but as a mechanism that responds to different event formats, loads, and the presence of people," said Oleksiy Petrov, co-founder of the FORMA bureau.
Another step towards authenticity was the restoration of the facade window systems: they were restored, and the glass was replaced with new ones. The facade systems consist of two layers: the outer one was decided to be restored only, and the inner one was replaced to improve thermal insulation.
The pavilion's exterior system has been restored in the spirit of modernist aesthetics. Photo: Nikita Zhuravlev
The floor of the pavilion was also restored: the top layer of paint was removed, the concrete was polished, and the damaged areas were locally reinforced. During these works, the team found an interesting detail: in the center of the space, the symbol of Kyiv, a chestnut, and the inscription “Kyiv 1500 years old” laid out in mosaic concrete were preserved. Apparently, pavilion No. 9 was modernized precisely for the 1500th anniversary of Kyiv, which was celebrated in 1982.
One of the most recognizable elements of the WHIT is the metal “trusses,” which are the structural basis of the roof. The team decided to leave the original structures, having previously tested them for strength: each of the supports can withstand about 2,5 tons. The columns were painted and covered with fire-retardant materials on the outside. Interestingly, the shade chosen for the supports was “ODOT Green” — a deep green that has not only visual recognition, but also a unique history.
The color was first used to paint bridges in Oregon in the 1930s. The name “ODOT Green” refers to the Oregon Department of Transportation. Before that, bridges in the United States were only painted black or gray for aviation safety reasons, but when engineer David Steinman won a competition to design a bridge in Portland, he suggested painting it green — so that the structure would visually blend into the city’s hills.
Visualization of the "Kurazh" market in the renovated KIT pavilion. One of the most expressive elements of the space is the "farms" painted in the color "ODOT Green". Image source: FORMA architectural bureau
In the context of the Kyiv pavilion, color works as a delicate but expressive solution that returns to authenticity: originally the structures were also green.
KIT as a model for revitalizing the Soviet heritage: an interview with the FORMA bureau
The experience of the Kyiv-based FORMA office, which worked on the KIT project, organically resonates with a similar typology of objects. The team works at the intersection of architecture and cultural industries, combining large-scale revitalization projects with artistic expressions. The office's portfolio includes not only reimaginings such as the Promprilad and Gamma factories, but also the curatorship of the National Pavilion of Ukraine at the Venice Architecture Biennale in 2023.
In addition, FORMA already has experience working at VDNH: since 2021, the architects have been developing an independent art space in Pavilion No. 13, where they introduce practices that work at the intersection of contemporary visual art, music, and urbanism. Pavilion No. 13, by the way, is located just opposite the renovated WHIT.
However, according to the founder of "FORMA" Alexey Petrov, the approach to these two objects was fundamentally different: if in the case of Pavilion 13, the team focused on creating an underground art space, then when working with KIT, they were inspired by the original design idea, and the main task was to "relieve the building of everything superfluous" and restore the space in the form in which it was originally conceived by the architects.
PRAGMATIKA.MEDIA asked Oleksiy Petrov about FORMA's approach to the renovation of such objects, as well as about the potential of renovating the heritage of modernism.
PRAGMATIKA.MEDIA journalist Oleksandr Dmytruk and co-founder of the architectural bureau "FORMA" Oleksiy Petrov. Photo: Mykyta Zhuravlev
PRAGMATIKA.MEDIA: Is working with the WHIT pavilion a restoration, reconstruction, or renovation?
Alexey Petrov: This is definitely not a reconstruction, because we did not interfere with any structural elements of the building. But it is also not a restoration, because we did not seek to return the building to its authentic originality. The most appropriate term is restoration. In fact, we returned the space to the configuration it had at the start of its operation, but made it modern, taking into account the norms of inclusivity, sanitary standards, etc.
The Promprylad plant in Ivano-Frankivsk after renovation. The project was designed by the FORMA architectural bureau. Photo: Roman Nemo
The interior of the Promprylad plant in Ivano-Frankivsk after renovation. The project was designed by the FORMA architectural bureau. Photo: Roman Nemo
PM: Renovation of the Promprilad plant in Ivano-Frankivsk and the transformation of KIT - how different are the approaches to working with these two facilities?
OP: In the case of KIT, the nature of the request was somewhat different. Here, our experience with such large events as Cxema, Iskra, with theatrical productions, with exhibition projects was more important. This pavilion does not have a fixed function, it is a transforming pavilion. And Promprylad is a classic renovation, we really changed the configuration of the premises there, facade solutions, there were much more active construction activities. In this case, everything is based on flexible planning, which will give us additional scenarios - but this is already the second stage of implementation. As for work with the building - we simply put it in order.
Oleksiy Petrov: "In the process of work, we saw the value in what we have and decided to maximize this potential"
PM: You mentioned flexible scheduling—what would that entail?
OP: It adapts to the events planned in the space: conventionally, if it is "Courage", then the space is transformed into an open space, if we are talking about theatrical performances - we designed and provided for a system for arranging amphitheaters in the project. It is very flexible, technological and makes it possible to quickly adjust the space for theatrical performances, transforming it into a hall with amphitheaters with a capacity of up to a thousand people.
Visualization of the entrance to the WHIT pavilion from the end side, the image shows the view after all stages of the building's modernization. Image source: FORMA architectural bureau
PM: Tell us about the working method of "FORMA" in the context of revitalization. What aspects do you primarily consider: spatial, historical, functional? How do you integrate modern technologies into an existing structure?
OP: We always start with a dialogue with partners - this allows us to understand their needs more deeply and find out how realistic it is to implement them in a specific environment. We formulate key questions and seek answers to them together. In the case of KIT, the initial solutions were much more ambitious, more expressive - both in terms of spatial organization and planning logic. But already in the process of working with the object, we saw the value in what we have - and decided to maximize this potential.
PM: And if globally, and not just in this case? What is your approach to working with heritage that needs rethinking, modernization?
OP: Globally, it is always about working with context and a research approach. No matter what the case is: our method is always based on a clear understanding of spatial logic and how functional aspects work, how human flows work, zoning. We always correlate all this with the expected scenarios of space use and then develop solutions.
Visualization of the interior space of the KIT pavilion after completion of all stages of revitalization. Image source: FORMA architectural bureau
PM: Going back to the pavilion, how did you come to the decision to restore the authenticity of the space and did you see the potential in this?
OP: When we first got into the building, it was completely sewn up with fabrics and plasterboard from the inside, we didn't see any structures, the whole building was divided into three separate blocks, they were visually separated by partitions. And all this accumulated and turned into some kind of pseudo-architecture. So we started by completely cleaning this space. When we removed everything, we saw that, apart from the metal trusses that support the roof, there was practically nothing left in the pavilion - pure open space. Seeing this incredible space, these metal trusses, we came to the understanding that everything here should be left as it was from the very beginning. If we talk about any design, then there is practically none here.
Visualization of the facade systems of the KIT pavilion after revitalization in the evening. Image source: FORMA architectural bureau
PM: One of the details of the renovated pavilion that reminds me of modernist architecture is the facade systems. They have a very attractive appearance.
OP: We call them stained glass windows - they weren't in the original building. They were added much later, along with the walls. At what point is unknown. But we completely restored them, that is, we aligned the structures, replaced the glass.
"The potential of a project depends on the people who work on it, who launch it, and then also carry out operational activities," — Oleksiy Petrov
PM: They restored only the outer layer, but decided to update the inner one?
OP: Yes, because the internal profile was cold, and the new one will be warm and technologically more functional - it will have a sliding system for better accessibility. Visually, it will be the same as the external one, and will remain as similar as possible to the original: it will be anodized aluminum, which fully meets the passport characteristics of what was before. But first of all, we replaced the profile so that the internal space would become warmer: the new system will significantly improve thermal insulation.
PM: Have you worked in general with aspects such as thermal modernization and energy efficiency of the building?
Restoration of facade systems. Photo: official kyt.kyiv pavilion page on Instagram
OP: Yes, we developed a project for energy efficiency and adaptation of the building to modern standards. It provided for insulation and, in parallel, a completely new heating system that corresponds to the configuration and total volume of the room. This will be infrared heating on the ceiling, which heats not the air, but only the structure: that is, it does not use resources to heat the entire volume - it heats only objects, it heats everything that is in the pavilion. Such systems are often used in rooms with a large volume, in large gyms, exhibition centers. This system is included in the project, but these are all subsequent stages of implementation. The peculiarity of the project is that it has a phased implementation. KIT will change with each new event and be saturated with the solutions that we have designed.
We also included in the project the reconfiguration of engineering systems. It should be understood that the engineering systems here are somewhat outdated: ventilation was added to the pavilion from the outside sometime in the 2000s. We proposed to preserve this engineering, without depriving it of its functionality, but with some improvements.
Preparation of the KIT pavilion for the first "Courage" market. Photo: Mykyta Zhuravlev
PM: Does the KIT Pavilion have the potential to become a model and inspire others to rethink the Soviet legacy?
OP: The potential of a project depends on the people who work on it, who launch it, and then also carry out operational activities in the project. For example, if we take "Promprylad" and this case, they are similar in that they are projects that are set in motion by cool teams of like-minded people, close to us in their ideas, intentions, and ambitions. And that is why these projects live their own lives, develop.
PM: But does the Soviet legacy have any potential at all, in particular modernist architecture?
OP: The modernist heritage undoubtedly has potential — but it still needs to be seen. And here everything rests either on the ability to implement bold projects, or on the presence of political will. In my opinion, the problem is not that we do not understand how to work with this architecture — the approaches have long been clear. The problem is that most of such objects do not have a protected status, there are no clear protocols for interacting with them, there is no awareness of their value at the level of local authorities. But projects such as "Promprylad" or KIT, in fact, prove that the heritage of the Soviet era can have considerable potential, that it can be worked with, that it can be, in the literal sense, a tabula rasa — an ideal basis for work.
*A photo of Nikita Zhuravlev was used for the cover of the article
