{"id":43014,"date":"2025-06-23T17:08:32","date_gmt":"2025-06-23T15:08:32","guid":{"rendered":"https:\/\/www.veneziadavivere.com\/the-2025-biennale-pavilions-we-selected\/"},"modified":"2026-03-25T10:35:15","modified_gmt":"2026-03-25T09:35:15","slug":"the-2025-biennale-pavilions-we-selected","status":"publish","type":"post","link":"https:\/\/www.veneziadavivere.com\/en\/the-2025-biennale-pavilions-we-selected\/","title":{"rendered":"The 2025 Biennale Pavilions We Selected"},"content":{"rendered":"

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A personal guide to the Pavilions of the 2025 Architecture Biennale<\/h2>\n

After the opening days spent between the Giardini, Arsenale and venues throughout the city, we have gathered the impressions, astonishments and preferences of the Venezia da Vivere social editorial team: here is our selection of the Venice Architecture Biennale pavilions that, in our view, deserve a visit.<\/p>\n

The most voted: the Holy See<\/h3>\n

A pavilion that strikes for its essentiality and the silent strength with which it narrates care, time, transformation. Under restoration, with bandages reminiscent of a healing body, the space presents itself as a living place, engaged in a process of concrete reactivation for the community. Open to schools, restorers, artisans, it returns to Venice a sense of participation and continuity. It is an environment that evolves as one visits it, where matter speaks of the future through collective work. <\/em><\/p>\n

Holy See Pavilion \u2013 Opera Aperta
\n<\/em><\/strong>Santa Maria Ausiliatrice Complex, Fondamenta San Gioacchino, Castello 450
\nCurators<\/strong>: Marina Otero Verzier and Giovanna Zabotti
\nIn collaboration with<\/strong>: Tatiana Bilbao ESTUDIO<\/a> (Mexico City) and MAIO Architects<\/a> (Barcelona)
\nFree admission<\/p>\n

Over the six months of the exhibition, the project takes shape over time and hosts a series of public workshops<\/strong> dedicated to restoration: gilding, fresco, polishing and casting, with the participation of students, artisans and professionals.<\/p>\n

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Uzbekistan: light, mirrors and clean energy<\/h3>\n

A pavilion that won everyone over with its visual strength and clarity of message. The mirror system used to concentrate sunlight and produce clean energy is remarkable, both for its technical effectiveness and symbolic value. A virtuous example demonstrating how technology, historical memory and sustainability can interweave harmoniously. <\/em><\/p>\n

Uzbekistan Pavilion \u2013 A Matter of Radiance
\n<\/em><\/strong>Arsenale, Campo della Tana, Castello
\nCurators<\/strong>: GRACE (Ekaterina Golovatyuk, Giacomo Cantoni)
\nCommissioner<\/strong>: Gayane Umerova \u2013 Uzbekistan Art and Culture Development Foundation
\nExhibitors<\/strong>: Mukhiddin Riskiev, Ester Sheynfeld, Azamat Abbasov
\nAdmission<\/strong>: with Biennale ticket<\/p>\n

The project presented for the 2025 Biennale<\/a> is the Institute of Materials Science of Uzbekistan<\/a>, a large solar furnace built in 1987 near Tashkent. This structure, one of two existing in the world, uses mirrors to concentrate sunlight and study the behavior of materials at high temperatures. The pavilion explores the current significance of this scientific and cultural heritage, reflecting on how past technology can inspire sustainable solutions for the future. <\/p>\n

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Long live the Corderie dell’Arsenale<\/strong><\/h3>\n

The Corderie were for many the first contact with the Biennale’s theme: Intelligens in its natural, artificial, collective forms. The entrance is marked by Michelangelo Pistoletto’s The Third Paradise Perspective: an environment entirely invaded by air conditioners, a claustrophobic sequence that directly shows the absurdity of our relationship with climate. We cool spaces, we overheat the world. An immediate impact that gives the measure of the complexity of the journey. <\/em><\/p>\n

The Third Paradise Perspective<\/em> – Opening installation
\n<\/em><\/strong>Corderie dell’Arsenale
\nArtist<\/strong>: Michelangelo Pistoletto
\nProduction<\/strong>: Fondazione Cittadellarte<\/a> \u2013 in collaboration with Paolo Naldini, Michele Cerruti But, Tiziano Guardini, Luigi Ciuffreda and Giulia Giavatto<\/p>\n

It is the first work that welcomes visitors to the Corderie dell’Arsenale. A dark and sultry environment, a walkway crossing several pools of still water and dozens of hanging air conditioners: evoking the dystopian scenario of a Venice in the future, victim of the effects of global warming. <\/p>\n

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USA: the value of rest on the porch<\/h3>\n

A tribute to pause and the right to slow time. The American pavilion is a “porch” that overturns the narrative of “productivity at all costs,” inviting visitors to rediscover idleness as a form of care, well-being, generosity and relationship. A message as countercultural as it is necessary. <\/em><\/p>\n

United States Pavilion \u2013 PORCH: An Architecture of Generosity<\/em><\/strong>
\nGiardini della Biennale, Castello
\nCurators and Commissioners:<\/strong> Peter MacKeith (Fay Jones School of Architecture and Design, University of Arkansas)
\nExhibitors:<\/strong> 54 studios and designers, including Stephen Burks Man Made, Julie Bargmann (D.I.R.T. Studio), Ten x Ten Studio and Marlon Blackwell Architects<\/p>\n

The pavilion proposes a contemporary reconstruction of the “porch” \u2013 the covered veranda typical of American homes \u2013 reinterpreted as an architectural space capable of mediating between public and private, inside and outside. Built with low environmental impact wood, the structure hosts a selection of American projects built after 2000. The installation brings architecture, landscape and material culture into dialogue to investigate how the porch is renewed today from social, climatic and constructive perspectives. <\/p>\n

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Iceland, Serbia, United Arab Emirates: three poetic visions<\/h3>\n

Iceland shapes the landscape with lava and design; Serbia weaves and unravels threads of memory, craftsmanship and sustainability; the United Arab Emirates show how to make life flourish in hostile territories, starting from community collaboration and shared creation.<\/em><\/p>\n

Iceland Pavilion – Lavaforming<\/em><\/strong><\/a> (Castello 2125)
\nSerbia Pavilion – Unraveling: New Spaces<\/strong><\/em> (Giardini della Biennale)
\nUnited Arab Emirates Pavilion – Pressure Cooker<\/em><\/strong> (Arsenale)<\/p>\n

Japan and Korea: aesthetics of the void and the possible<\/h3>\n

Two pavilions that stand out for conceptual elegance and formal rigor. Japan explores intermediate spaces as places of transition and permeability, while Korea proposes urban reflections attentive to environmental transformations. <\/em><\/p>\n

Japan Pavilion – In-Between<\/em><\/strong> (Giardini della Biennale)
\nKorea (Republic of) Pavilion – Little Toad, Little Toad: Unbuilding Pavilion<\/em><\/strong> (Giardini della Biennale)<\/p>\n

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Mexico, Canada, Morocco: nature and resilience<\/h3>\n

Mexico invites us to rethink our relationship with agriculture and water, Canada surprises with a sensory installation on environmental intelligence, while Morocco recovers ancient techniques to design the future with local materials: true, concrete, applied sustainability.<\/em><\/p>\n

Mexico Pavilion – Chinampa Veneta<\/strong><\/em> (Arsenale)
\nCanada Pavilion – Picoplanktonics<\/strong><\/em> (Giardini della Biennale)
\nMorocco (Kingdom of) Pavilion – Materiae Palimpsest<\/em><\/strong> (Arsenale)<\/p>\n

Spain, Switzerland and Poland: the strength of architectural thought<\/h3>\n

Different approaches united by nature: Spain works on the concept of environmental balance, Switzerland presents a formidable dialogue between two opposing architectural languages, while Poland reflects on the differences between “dwelling” and “having a home,” delving into shared legends and myths.<\/em><\/p>\n

Spain Pavilion – Internalities Architectures for Territorial Equilibrium<\/em><\/strong> (Giardini della Biennale)
\nSwitzerland Pavilion – Endg\u00fcltige Form wird von der Architektin am Bau bestimmt<\/strong><\/em> (Giardini della Biennale)
\nPoland Pavilion – Lares and Penates: On Building a Sense of Security in Architecture<\/strong> (Giardini della Biennale)<\/em><\/p>\n