With just a few days left before the six-and-a-half-month 19th Venice Architecture Biennale comes to an end, it is possible to look back on some of the most notable contributions within its thematic framework. Marked by the largest call for participants to date, the Biennale's diversity of topics and the range of installations on display go beyond easy recapitulation. As part of that reflection, several initiatives can be highlighted as illustrative of the principles reflected in the curatorial theme, "Intelligens. Natural. Artificial. Collective." The concepts interwoven in Carlo Ratti's title form a call to address the urgent need for substantial solutions amid the accelerating climate crisis, positioning the Biennale as a platform for diverse design proposals and experiments organized around three forms of intelligence: natural, artificial, and collective. Beyond the national pavilions and numerous collateral events held throughout Venice over the past six months, among the more than 700 participants are projects that, through practice, embody four shared intentions: opening conversations about the future, proposing systemic responses to local realities, placing technology at the center of design innovation, and pursuing material research rooted in local sensitivity.
The Brazilian Pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia, open since May 10, 2025, is curated by Plano Coletivo, a group formed by architects Luciana Saboia, Eder Alencar, and Matheus Seco. Titled "(RE)INVENTION," the exhibition represents Brazil through a multidisciplinary approach that connects architecture, nature, and social infrastructure. Presented at the Giardini pavilion, the project is organized by the Fundação Bienal de São Paulo in collaboration with Brazil's Ministry of Culture and Ministry of Foreign Affairs. The exhibition reflects on the recent archaeological discovery of ancestral infrastructure in the Amazon to examine the socio-environmental contradictions of contemporary cities. It invites visitors to learn from ancestral knowledge and explore the interdependence between humans, land, and nature as a foundation for more sustainable futures.
The European Cultural Centre Italy has organized the ECC Awards since 2010 to recognize artists, architects, designers, and academics in their respective fields. The Awards highlight projects featured in the Time Space Existence exhibition, which runs in parallel with the Venice Architecture Biennale and showcases tangible approaches to building more sustainably, aiming to position architecture as a force for environmental and social repair. The seventh edition of Time Space Existence is a group exhibition spanning three Venetian venues: Palazzo Bembo, Palazzo Mora, and the Marinaressa Gardens. This year, the exhibition focuses on the themes of Repair, Regenerate, and Reuse, emphasizing the essential role of architects and designers as agents of positive change in shaping sustainable, inclusive, and regenerative ways of living.
The Philippines' Pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia presents Soil-beings (Lamánlupa), an exhibition curated by artistic director Renan Laru-an. Through interdisciplinary collaborations, the Pavilion brings together architects, technical experts, indigenous leaders, artists, policymakers, and local communities to explore the cultural, ecological, and technological dimensions of soil. Its objective is to challenge conventional architectural paradigms by shifting the focus from structure to soil, not as a passive material, but as a living force with agency, history, and power.
"La Quadreria" interior photo gallery. Italian Pavilion at the 2025 Venice Architecture Biennale. Image Courtesy of PCM Studio di Paola C. Manfredi
The Italian Pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia is situated in the Tese delle Vergini of the Arsenale and is promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. This year, the Pavilion hosts architectural, scientific, and cultural reflections on the Mediterranean Sea and its neighboring oceans, in an exhibition titled "Terrae Aquae. Italy and the Intelligence of the Sea", curated by Architect and Professor Guendalina Salimei. The exhibition brings together projects from diverse actors in Italian society through an open call, whose objective was to rethink the boundary between land and water as an integrated system of architecture, infrastructure, and landscape. In response to the Biennale's central theme, the exhibition aims to stimulate the awakening of a collective intelligence capable of triggering a renewal in that relationship, starting from the Italian coast and expanding globally.
Strada Brutalissima. Pavilion of the Republic of North Macedonia at the 19th Venice Architecture Biennale, 2025. Image Courtesy of Blagoja Bajkovski
The Republic of North MacedoniaPavilion at the 19th Venice Architecture Biennale is dedicated to the Brutalist architecture of its capital city, Skopje. This architectural movement has given the city a distinctive identity following the earthquake that struck in 1963. According to pavilion curator, architect Blagoja Bajkovski, in the aftermath of the disaster, Skopje embraced Brutalism from a variety of sources. One of the most prominent of these was Kenzo Tange's reconstruction plan, developed after an international competition organized by the United Nations in 1965. The exhibition, titled Strada Brutalissima, recounts this identity, the events that shaped it, and the buildings that continue to represent it through a series of architectural models. Inspired by the 1980 Venice Architecture Biennale's Strada Novissima, the project reinterprets the concept of a curated "street," this time centered on Skopje's Brutalist heritage.
The Republic of Kosovo brings this year to the 19th Venice Architecture Biennale an exhibition titled Lulebora nuk çel më. Emerging Assemblages. The exhibit was commissioned by the National Gallery of Kosovo and curated by the architect, interdisciplinary designer, and researcher Erzë Dinarama. Reflecting on the country's shifting agricultural landscapes in the context of ecological uprooting and embodied knowledge systems under climate pressure, the installation offers a sensorial exploration of Kosovan fieldwork. Combining a range of local soil materials with a hanging olfactory calendar, the Pavilion invites visitors to imagine through touch and smell.
Curated by Anneke Abhelakh, the Albania Pavilion at the 2025 Venice Architecture Biennale, titled "Building Architecture Culture", explores how the country's architecture embodies its political, cultural, and social transformations. Albania's built environment reflects a layered history, from Ottoman and Italian rule to communist isolation and post-socialist transformation, each leaving visible marks on its cities and public spaces. The pavilion examines how architecture both responds to and shapes collective memory, public space, and civic engagement, framing these questions through past, present, and future perspectives.
Nestled amongst the plethora of grandiose and carefully crafted national pavilions in the Giardini della Biennale in the Italian city of Venice is one pavilion by the city's perhaps most well-known modern architect. Sited between the pavilions of Russia and Switzerland is the VenezuelaPavilion, by architect Carlo Scarpa. In many ways, the structure typifies the design approach of its architect but has its idiosyncrasies. Built for Europe's most important biennial art exhibition, it is a member of a cohort of Modernist pavilions that came after the earlier, more classicist pavilions. This is its story.
The Belgian Pavilion at the Venice Architecture Biennale 2025 presents a prototype that integrates landscape architecture into architectural interiors. Designed by Bas Smets in collaboration with Stefano Mancuso, the exhibition transforms the pavilion into a microclimate modeled after the understory of a subtropical forest, creating an indoor jungle that actively regulates temperature and humidity. The curatorial concept, supported by the Flanders Architecture Institute and its director, Dennis Pohl, promotes landscape thinking as an active design force rather than exterior decoration. In this video interview from Venice, Bas Smets and Dennis Pohl explain to ArchDaily editors how the project positions architecture as a platform for climate resilience and proposes a shift in design paradigms, from static images to evolving, living processes.
The Ukrainian pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia explores the intersection of traditional building methods and improvised construction during wartime crises. Under the title "DAKH (ДАХ): Vernacular Hardcore", the exhibition refers to the concept of the roof ("dakh" in Ukrainian) as a primary shelter in architecture, examining the roofs of an "architecture without architects" both in the country's constructive tradition and in the contemporary reality of aerial vigilance over its national territory. Curated by Bögdana Kosmina, Michał Murawski, and Kateryna Rusetska, the Ukrainian display consists of a six-element exhibition at the Arsenale's Sale d'Armi and an accompanying nomadic program titled Planetary Hardcore.
The 2025 edition of the European Cultural Centre's (ECC) Time Space Existenceexhibition in Venice is guided by the mandate to "Repair, Regenerate, and Reuse." Aiming to move beyond surface-level solutions and overused terminology, the exhibition showcases a cohort of practitioners who interpret architecture as an active agent of repair. The most compelling works presented in Venice demonstrate that "repair" is a multifaceted practice, operating across material, social, and historical registers. The varied approaches showcase a shift in the role of the architect, from a master builder and designer of physical objects, to that of a mender, able to combine technology, community, and material intelligence to restore narratives and build stronger cultural systems.
As part of the collateral events of the 2025 Venice Architecture Biennale, the Institut Ramon Llull presents the project "Water Parliaments: Projective Ecosocial Architectures", bringing together the waters of Lleida, Girona, Tarragona, Barcelona, Valencia, the Balearic Islands, and beyond to address the water crisis as an interconnected ecosocial, cultural, and political issue. Framing architecture as a tool for critical speculation and collective action, the project advocates for the imagining of future scenarios grounded in coexistence—interweaving the human and non-human, the natural and artificial, the technological and vernacular, the global and the local.
The Polish Pavilion at the 2025 Venice Architecture Biennale presents Lares and Penates: On Building a Sense of Security in Architecture, an exhibition that explores how architecture continues to function as a form of protection in an age marked by uncertainty. Framed as an anthropological investigation, the project examines the emotional and rational dimensions of building practices. The exhibition is developed by a multidisciplinary team including curator and art historian Aleksandra Kędziorek, architect Maciej Siuda, and artists Krzysztof Maniak and Katarzyna Przezwańska. Rather than focusing on architecture from the designer's perspective, the team investigates how individuals inhabit space and construct a sense of safety, responding to deep-seated fears, desires, and needs.
