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With each of the more than 23,000 breaths we take per day, air travels through the respiratory system into the lungs, where vital gas exchange occurs: oxygen is absorbed, and carbon dioxide is expelled. This involuntary and essential act also triggers another, less visible but deeply impactful process—our perception of smell. As air passes through the nasal cavity, odor molecules come into contact with olfactory receptors located in the olfactory epithelium. These receptors send signals directly to the olfactory bulb, which is part of the limbic system—the area of the brain linked to memory and emotion. Far from being a secondary sense, smell acts as a direct bridge between the environment and our deepest emotional responses. Scents carry a unique power to evoke vivid memories, elicit comfort or immediate aversion, and influence our emotional state almost instantaneously.

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Qatar has announced that architect Lina Ghotmeh, founder and principal of the Paris-based studio Lina Ghotmeh — Architecture, has been selected to design its permanent national pavilion in the Giardini della Biennale, the historic venue of La Biennale di Venezia since 1895. The new building will be on a site adjacent to the Book Pavilion and commissioned by H.E. Sheikha Al Mayassa on behalf of the State of Qatar. With this addition, Qatar becomes one of only 31 countries with a permanent pavilion in the Giardini, joining a select group of nations with dedicated exhibition spaces. Only two new national pavilions have been inaugurated there in the past 50 years: Australia in 1988 and the Republic of Korea in 1996. Lina Ghotmeh's new Qatar Pavilion will serve as a lasting platform for showcasing the country's artistic and architectural contributions, with rotating exhibitions presented during each edition of the Biennale.

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When we speak of intelligence at the 2025 Venice Biennale, the main exhibition broadly categorizes it into three domains: natural, artificial, and collective. While much attention has been drawn to robotic performances, future-forward material experiments—such as Boonserm Premthada's elephant dung bricks, or Canada's display of mesmerizing picoplankton, one often overlooked yet critical form of collective intelligence lies in the act of archiving.

Several national pavilions showcase this collective intelligence through beautifully curated exhibitions—the Spanish Pavilion's witty play on scale, for instance, features meticulously crafted models that invite close reading and delight. These curated collections offer a snapshot of the present, and in some cases, gestures toward the future. But without critically engaging with the past, without documenting and making sense of our shared spatial and architectural knowledge, the potential of collective intelligence remains incomplete. Archiving is not simply an act of preservation; it is a generative tool for projecting new futures.

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