Teatro del Mondo, Venice 1979. Image by Antonio Martinelli
The first edition of the Venice Architecture Biennale took place in 1980, immediately revealing its role as a platform for images and ideas that would become essential references in contemporary architectural theory and practice. This disruptive character was embodied from the very beginning by the strangely familiar floating structure designed by Aldo Rossi, titled Teatro del Mondo. At once temporary and archetypal, the project introduced central themes that would shape Italian architectural discourse in the years that followed. To this day, it continues to inspire reflections on timelessness, imagination, and the memory embedded in cities.
The installation and exhibition representing Estonia at the 19th International Architecture Exhibition of La Biennale di Venezia is curated by architects Keiti Lige, Elina Liiva, and Helena Männa. Titled Let Me Warm You, the national exhibition explores different dimensions of sustainability by questioning whether insulation-driven renovations in Estonia are simply compliance measures to meet European energy targets or whether they can also serve as opportunities to enhance the spatial and social quality of mass housing districts. To make this point, the Estonian installation covers the façade of a Venetian building with insulation panels, replicating how they are commonly installed in Estonia for mass housing renovations.
The Serbian Pavilion at the 19th Venice Architecture Biennale consists of an immersive installation made of wool. The exhibition, titled Unraveling: New Spaces, was curated by architect Slobodan Jović and designed by an interdisciplinary team composed of Davor Ereš, Jelena Mitrović, Igor Pantić, Sonja Krstić, Ivana Najdanović, and Petar Laušević. The interior space of the Pavilion, located in the Biennale's Giardini, is occupied by an ephemeral installation that follows the principles of circular design, effectively producing no waste. The installation consists of a broad woven wool fabric that gradually unknits according to a guided choreography of algorithmic precision, completely disassembling by the end of the Biennale's exhibition.
The 19th edition of the Venice Architecture Biennale officially opened to the public on May 10, becoming a significant international platform for exploring the current state of global architecture and sparking conversations about the challenges the discipline faces today—both shared and specific to each territory. This year’s theme, "Intelligens. Natural. Artificial. Collective," proposed by general curator and Italian architect Carlo Ratti, invites reflection on architecture’s interconnection with other fields—such as art, artificial intelligence, and technology—while also emphasizing the importance of territories, landscapes, and, above all, the people who collectively shape our built environment.
The proposal by Argentinian architects Marco Zampieron and Juan Manuel Pachué for the Argentinian Pavilion at the 19th Venice Architecture Biennale 2025 is clear from the outset: upon entering Siestario, visitors are immersed in a space of dim lighting and evocative sound, and immediately encounter—at the center of the room, stretched across its width, and acting as the undeniable protagonist—a large, inflated pink bag that instinctively invites repose. This is a silobag, an object commonly used in the Argentinian countryside to store grain and a potent symbol of the country’s export-driven economy. In this setting, the silobag becomes more than a spatial intervention; it also introduces a temporal dimension: an invitation to pause and reflect amid the relentless rhythm of the Biennale.
Architect Andrea Faraguna is the curator of the Kingdom of Bahrain's national pavilion at the 19th Venice Architecture Biennale. The exhibition, titled Heatwave, is a site-specific installation that explores passive cooling strategies for public spaces, inspired by Bahrain's traditional architecture and reimagined through contemporary approaches. Its technical response to the global challenge of rising urban temperatures was recognized by the Biennale's international jury, which awarded it this year's Golden Lion for Best National Participation. While on site in Venice, ArchDaily's editors had a chance to discuss with curator Andrea Faraguna about the context that gave rise to the pavilion, the mechanisms put in place, and his perspective on events such as the Venice Architecture Biennale.
As one of the most important and visited contemporary architecture exhibitions worldwide, the Venice Architecture Biennale extends beyond the grounds of the Giardini and the Arsenale, aiming to engage the entire city in discussions on relevant issues, challenges, and opportunities within the architectural profession. This year's Biennale, curated by Carlo Ratti, explores the theme "Intelligens. Natural. Artificial. Collective," inviting visitors to consider how architecture, technology, and nature intersect to shape the future.
As part of this year's event, 11 collateral exhibitions organized by various national and international institutions offer a range of perspectives on topics such as sustainability, cultural landscapes, and adaptive architecture. These exhibitions, spread throughout Venice, contribute to the broader conversation on the evolving role of architecture in addressing global challenges and promoting a more sustainable and interconnected future.
Built on a cluster of 118 small islands in the shallow Venetian Lagoon, the city of Venice, Italy, has captivated the imagination of architects and tourists alike. The area has been inhabited since ancient times, becoming a major financial and maritime power during the Middle Ages and Renaissance, as proven through the rich architecture that characterizes the city to this day. With influences from the Byzantine, Gothic, and Renaissance styles, the city represents a palimpsest of architectural narratives, overlapping and influencing each other. In recent years, Venice has become a major attraction for architects drawn to the La Biennale di Venezia, the most important Architectural Exhibition featuring national pavilions, exhibitions, and events to explore new concepts and architectural innovations.
Beyond the Biennale, Venice itself is an open-air museum for architecture lovers. While the city is best known for its historical buildings, Modernist and contemporary interventions add a new layer of interest, with many contemporary architects working with the historical fabric, like OMA's intervention and rehabilitation of Fondaco dei Tedeschi, or David Chipperfield's renovation of Procuratie Vecchie, one of the buildings that define Piazza San Marco. In addition to what the city has to offer, the site of the Venice Biennale is also marked by interventions by famous architects such as Carlo Scarpa, Sverre Fehn, and Alvar Aalto, made permanent due to their outstanding qualities.
As a result of the ideas competition organized by the governments of Sweden, Finland, and Norway in 1958, Sverre Fehn's Nordic Pavilion won first prize, becoming one of the most significant works of his career and one of the most outstanding Scandinavian architectural achievements during the mid-20th century. Designed to create a space at the Venice Biennale for the biennial exhibitions of these countries, Fehn's proposal addressed several key architectural challenges—ranging from its integration with the site and incorporation of pre-existing elements to the handling of physical boundaries and uniform natural lighting. His design explored the interaction between architecture and trees, the flexibility in the exhibition space, the filtering of light, the connection between interior and exterior, the concept of movement through space, and the display of artworks.
During a live presentation for the 19th International Architecture Exhibition, curator Carlo Ratti offered a glimpse into the programming of this year's edition. The 2025 Venice Architecture Biennale will include 66 National Pavilions, with 4 countries represented for the first time: the Republic of Azerbaijan, Sultanate of Oman, Qatar, and Togo. The exhibition, divided between the Giardini (26), at the Arsenale (22) and in the city center of Venice (15), explores the theme of "Intelligens. Natural. Artificial. Collective", gathering over 750 participants, including individuals and organizations forming interdisciplinary and multigenerational teams. According to the numbers released, this year's edition is shaping up to become the largest Architecture Biennale held in Venice.
The design incorporates a specific type of low-carbon concrete, which aims to emit 30% less CO₂ than standard concrete. The prototype will be featured in the Time Space Existence exhibition, organized by the European Cultural Centre.The goal of the project is to test the sustainability of a housing prototype in response to the ongoing climate and humanitarian crises.
In his book "Curation: The Power of Selection in a World of Excess," Michael Bhaskar defines curation as "using acts of selection and arrangement (but also refining, reducing, displaying, simplifying, presenting, and explaining) to add value." Originating from the Latin word curare, meaning to take care of, the curator's role in dissecting our understanding of the world around us cannot be overlooked. Over time, as the definition morphs into different bodies, the practice of curation continues to evolve, filling the roles of caretakers of our built environment and thinkers of different forms for the overall bettering of society.
Architects Lesley Lokko and Marina Tabassum have been selected in TIME Magazine’s ‘100 Most Influential People of 2024.’ Known as the TIME 100, the list is an annual compilation of individuals who have made significant impacts on the world in various fields such as politics, technology, entertainment, and more. Each person on the list is profiled by a guest writer, often someone who is also prominent in their field. Selected by Sarah M. Whiting, Dean of the Harvard Graduate School of Design, Marina Tabassum features in the Innovators chapter, while Lesley Lokko, selected by filmmaker Ava DuVernay, is recognized as a Pioneer.
Black Females in Architecture (BFA) is a social enterprise supporting a membership of more than 450 Black women in built environment professions worldwide. Founded by architects Neba Sere, Selasi Setufe, and Akua Danso, the group advocates for diversity, race and gender equity across all sectors of the built environment, including architecture, urbanism, landscape, engineering, design, and construction.
We are happy to premiere their short film "A Voice for the 450 Plus" to a global audience for the first time since it was shown at the 2023 Venice Architecture Biennale. The film is a celebration of the ongoing contributions of Black women in the built environment fields, showing the world how they contribute to shaping the future of our cities.
When it comes to contemporary Portuguese architecture, the initial association often leans towards tradition. The historical significance of the program, the importance of typologies for the locals, and the construction methods all play a role. These associations are not unfounded, but they are not limiting either. In this context, Portugal boasts a prominent figure who exemplifies this balance: Álvaro Siza Vieira.
Siza is the foremost representative of Portuguese architecture. There are many reasons for this distinction. It is not only because he was the first Portuguese architect to receive a Pritzker Prize in 1992 or for the Golden Lion at the Venice Biennale in 2012. It is not solely due to his extensive and prolific career. Above all, his unique and simultaneously universal approach to architecture sets him apart. His involvement on national and international fronts highlights a characteristic likely intrinsic to his nature: the ability to embody many facets within a singular entity, just like his compatriot Fernando Pessoa.
