Since its inception in 1980, the Venice Architecture Biennale has been a charged hub for architectural discourse, spotlighting architecture and design—and to a degree, an inherent radicality in the built environment—on a global scale. Incumbent from the relatively much older La Biennale Di Venezia (referring to the Arts Biennale), European nations including Belgium (1907), Germany, Great Britain, Hungary (1909) and France (1912) along with Russia (1914; but with the exception of being shut during extended periods of global upheaval, including the Second World War and the Cold War) have dominated the Giardini della Biennale, as well as the overall experience of the biennial exhibition with their national pavilions. The Biennale’s subsequent expansion allowed for the inclusion of more national pavilions, both within and outside mainland Europe, including the United States (1930), Austria (1934) and the Netherlands (1954), widening the emergent discourse coming out of the Biennale, particularly Biennale Architettura later, as the challenges faced by the built environment were to become more prescient, more urgent and not as universally appealing as the arts.

However, the Biennale’s cartography—evolving every year, but still largely unchanged for a long time now—has been especially reflective of the status quo and the geopolitical landscape of the times, ironically more than the exhibition itself on certain instances. The term ‘representation’ then is a fraught one. Between logistics, finances, the inherent politics of it all, bureaucratic priorities and, for better or for worse, the will of individual practitioners, national and individual presence at the Biennale remains far too disproportionate, sharply skewed towards the West and the Global North. While Prof. Lesley Lokko’s curatorship in the Venice Architecture Biennale 2023 ensured unprecedented levels of participation from Africa, for instance, the fact that a number of practising architects and designers couldn’t make it to the Biennale due to visa restrictions remains a harsh reality. For a truly radical Biennale, for a true convergence of the intelligentsia to partake in our most pressing challenges, and for the radicality of the ‘solutions’ or alternative modes of thought that the Biennale proposes to coalesce on a global scale, national and individual representations (or their lack thereof) will have to continue to underscore the sentiment around the Biennale.

Against that backdrop, the 19th edition of the Venice Architecture Biennale 2025, curated by Italian architect Carlo Ratti, introduces four National Pavilions presenting at the Biennale for the very first time—representing the Republic of Togo, the Republic of Azerbaijan, the Sultanate of Oman and the State of Qatar—in response to the theme Intelligens. Natural. Artificial. Collective. Between tangible, archival and intangible heritage, rigorous documentation, notions of hospitality, traditions rooted in community and future-facing cities, STIR engaged with the curators of this year’s inaugural pavilions, fronting their voices to spotlight what went behind representing their countries at the historic architecture biennale after all these years and gauging what it signifies for the nations ahead.

(Republic of) Togo Pavilion

Squero Castello, Salizada Streta

A sense of accomplishment and a bit of defiance—getting Togo represented for the first time took effort and determination from a small but committed group of people. – Studio NEiDA

"Despite Lesley Lokko’s 18th Venice Biennale in 2023 pushing African narratives to the front, for this edition, Togo is one of only three African national pavilions. That gap makes our presence not only important but urgent,” Studio NEiDA, curators of the Togo Pavilion, tell STIR. Founded by Togolese-French architect Jeanne Autran-Edorh and Austrian curator and writer Fabiola Büchele, Studio NEiDA is an architecture and research practice based in Berlin and Lomé. Commissioned by Sonia Lawson, founding director of Togo’s renowned art and culture centre, Palais de Lomé, the Togo Pavilion explores the journey of Togolese architecture after the 20th century through the exhibition Considering Togo’s Architectural Heritage in the Castello neighbourhood of Venice.

The pavilion features documentation of the country’s built environments with a focus on the themes of conservation and transformation, reflecting on the country’s rich cultural and architectural heritage, encouraging discourse on conventional building practices in relation to modernist construction techniques. From the historic Nôk cave dwellings in Tandjouaré to the tata houses of Tamberma settlements in the Atakora Region, the architecture exhibition investigates forms, materiality and traditional construction practices of the built environments of West Africa, including a fusion of Brazilian and African architecture and modernist architecture.

This is not just about visibility. It is also about access…change will only come if we rethink how national pavilions are created and supported. – Studio NEiDA

"Although many biennales claim to be international, they often fall short of being truly global. Countries that have not historically been invited or included tend not to have the systems in place that long-established participants have developed over decades. This is not just about visibility. It is also about access,” the curators tell STIR on the skewed dynamics of national representation at the Biennale. The duo stressed about the administrative and financial barriers African countries often face compared to European countries, highlighting the imbalance that makes it harder for underrepresented countries to participate. “More experienced countries could mentor newcomers. Funding could be made more accessible to those with fewer resources,” suggests the studio. “We hope that this is just the beginning for Togo and that the path becomes easier for others to follow.”

(Sultanate of) Oman Pavilion

Arsenale

There is a real sense of pride, of course, but also a deep awareness of what it means to be seen on a platform like this for the first time. – Majeda Alhinai

The Oman Pavilion, Traces, explores the concept of a Sablah—a traditional communal gathering space in Omani culture—as a “contemporary civic idea” with the intent of honouring the legacy of shared spaces, storytelling and collective memory in Omani architecture. “It’s not just about showcasing heritage, but offering a way of thinking about architecture that prioritises togetherness, memory and adaptability,” Majeda Alhinai, Omani architect and curator of the pavilion, tells STIR. Taking shape at the Arsenale, the pavilion uses a modular design for flexibility, allowing various configurations and ease of movement for the visitors.

I think it adds something both grounded and quietly radical to the Biennale's conversations this year, a reminder that innovation doesn’t always mean abandoning tradition—sometimes it means reinterpreting it in ways that speak to the future. – Majeda Alhinai

Commissioned by Sayyid Saeed bin Sultan bin Yarub Al Busaidi, the Undersecretary of the Ministry of Culture, Sports and Youth, the pavilion reflects a larger national interest—according to Alhinai—in developing its creative and cultural industries to promote and encourage global discourse as a part of its national development strategy Vision 2040. Supporting young creatives and allowing cultural exchange, the curator looks forward to “cultivating new relationships and celebrating the unifying role of art and design” as the Biennale draws near.

(Republic of) Azerbaijan Pavilion

Campo della Tana, Castello

The participation signifies a collective achievement, uniting architects, designers, and citizens in a shared vision of progress and cultural expression. – Nigar Gardashkhanova

Commissioned by Ambassador Rashad Aslanov, who plays a pivotal role in strengthening the relations between Azerbaijan and Italy, the pavilion’s exhibition Equilibrium. Patterns of Azerbaijan. is informed by the Biennale’s core theme and promotes innovative design practices amidst the escalating climate crisis. “Upon deeper reflection, the Azerbaijan Pavilion is a manifestation of the collective efforts of multiple generations,” curator Nigar Gardashkhanova tells STIR. “While its physical realisation occurred in the present, its essence was conceived centuries ago,” she continues. The pavilion is unveiled as an expansive showcase of projects and architecture, at large, that are at the same time significant for the nation, as well as representative of its multifariousness, including the Baku White City Project by Azerbaijan Development Company (ADEC), Victory Park by Simmetrico Architettura and Adalat Mammadov’s Zangilan Mosque that embody the theme, Regenerate. Innovate. Preserve.

Our pavilion disrupts traditional architectural narratives by integrating cultural symbolism with modern design principles. – Nigar Gardashkhanova

A project manager and an art expert by profession, Gardashkhanova curates art and design projects, exhibitions and installations, several of which explore the country’s rich history. For the pavilion, she draws on her collaborations with renowned sculptors and artists and her years of curatorial experience and knowledge on Azerbaijani architecture. “It challenges the notion of innovation by demonstrating that honouring history and heritage can coexist with forward-thinking design,” the curator tells STIR. “In doing so, it adds depth to the Biennale's discourse, presenting a model where architecture serves as a bridge between the past and the future, fostering a collective intelligence rooted in cultural continuity."

(State of) Qatar Pavilion

Giardini and Palazzo Franchetti, San Marco

Besides the permanent national pavilion for Qatar—designed by Lebanese architect Lina Ghotmeh—set to take shape adjacent to the Book Pavilion in the historic Giardini as the first new one in decades, Qatar will showcase a two-part exhibition this year. Beyti Beytak. My home is your home. La mia casa è la tua casa., commissioned by Qatar Museums and H.E. Sheikha Al Mayassa. The national pavilion opens at the Giardini at the same site as its future permanent pavilion with the Community Centre installation by Pakistani architect Yasmeen Lari, followed by the exhibition La mia casa è la tua casa., presented at both the Giardini and ACP-Palazzo Franchetti venues. In alignment with the theme, the exhibition explores the embodiment of hospitality traditions in the contemporary architecture of the regions of the Middle East, North Africa and South Asia (MENASA). Curated by Aurélien Lemonier, curator of Architecture, Design and Gardens at the Art Mill Museum, and Sean Anderson, an associate professor at Cornell University, the exhibition showcases the works of over 20 architects and thinkers, including Indian architects Raj Rewal, Sameep Padora and Vastu Shilpa Consultants, Sri Lankan architect Minnette de Silva and Iranian practice Daaz Studio, honouring their significant contributions to the world of contemporary architecture.

The 19th International Architecture Exhibition of La Biennale di Venezia is open to the public from May 10 to November 23, 2025. Follow STIR’s coverage of the Venice Architecture Biennale 2025 (Intelligens. Natural. Artificial. Collective) as we traverse the most radical pavilions and projects at this year’s showcase in Venice.