The Pavilion of China at the 19th International Architecture Exhibition - La Biennale di Venezia presents the exhibition CO-EXIST, curated by Ma Yansong, founder of MAD Architects, and organized by the Ministry of Culture and Tourism of the People's Republic of China at the Arsenale. Through ten works by twelve interdisciplinary groups, the pavilion examines how traditional Chinese philosophical thought can inform architectural responses in the age of advanced technology and artificial intelligence.
Set against the broader shift from industrial civilization to the so-called Intelligent Era, CO-EXIST reflects on how architecture might evolve in a world shaped by both digital tools and ecological uncertainty. Drawing on the classical Chinese worldview of harmony between humanity and nature (天人合一 tian ren he yi), the exhibition considers the spatial and emotional possibilities of a built environment where natural systems, cultural values, and technological innovation are intertwined. Ma Yansong's curatorial approach positions architecture as more than a utilitarian response to rapid urbanization or compressed modernity. Instead, CO-EXIST presents architecture as a cultural medium capable of accommodating diverse temporalities, identities, and methods. Each of the featured works interprets this idea from a distinct angle, linking site-specific needs to broader philosophical and technical questions about coexistence, adaptability, and imagination.
The pavilion brings together a new generation of Chinese architects in collaboration with universities, research institutions, tech pioneers, and digital ecologists. Guided by a "one place, one solution" philosophy, the project transcends conventional boundaries of time, discipline, and methodology. Rooted in Eastern traditions yet critically engaged with the realities of rapid urbanization, the work proposes alternative visions for the future of Chinese cities, domestic spaces, and everyday life.
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Featured exhibits include 12 Rhythms in Liangzhu by China Academy of Art; Dunhuang·Con-Stella-Tion by Atelier Alter Architects; Spring, Along Beijing Central Axis by Dunes Workshop; Vault of Heaven by Wang Zigeng, Central Academy of Fine Arts; Concrete Spolia: Reuse of Building Waste by [S]Equilibrium Lab, The Chinese University of Hong Kong; Renew City Plugins by People's Architecture Office and Long Ying Research Group, Tsinghua University; City in China – Nature of All Things by WAY Studio and Tencent Research Institute; Open Source City by Red Product Design Center (Xiaohongshu/The Rednote); Interchange City by Drawing Architecture Studio; and Chinese Paper Umbrella by MAD.
Organized with support from China International Culture Association and China Arts and Entertainment Group Ltd., the pavilion includes participation from architects and collaborators working across disciplines and generations. The collective effort aims to reframe architectural thinking within a changing global context, one that prioritizes emotional resonance, human experience, and inclusive design over purely technical efficiency.
China's CO-EXIST pavilion at the 2025 Venice Architecture Biennale contributes to a broader international dialogue on architecture's role in navigating the intersections of nature, technology, and cultural identity. Meanwhile, several other national pavilions also engage with these themes. Lithuania's Archi/Tree/tecture exhibition examines the relationship between urban identity and natural ecosystems, inviting reflection on how architecture can harmonize with urban nature. Similarly, Mexico's pavilion explores the ecological potential of ancestral agricultural systems, highlighting how traditional practices can inform sustainable architectural approaches. Finally, Brazil's exhibition, Architecture as a Cultural Artifact, delves into the integration of architecture, nature, and social infrastructure, drawing inspiration from indigenous practices to address contemporary socio-environmental challenges.
Editor's note: This article was originally published on May 8, 2025, and updated on June 2, 2025, to include photographs of the exhibit.
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