From Wood Shavings to Runway Dreams: Bhutan’s Biennale Breakthrough

A gentle hum drifts through the vaulted halls of Venice’s Giardini this spring—an unassuming cadence that carries with it the weight of centuries. It emanates from Bhutan’s first-ever pavilion at the 2025 Venice Architecture Biennale, where the design for the future Gelephu International Airport takes centre stage under the banner “Ancient Future.”

Here, tradition and innovation converse in real time. On one side of a massive timber beam, master carvers Sangay Tshering and Yeshi Gyeltshen work their chisels against hand-hewn wood. Opposite them, a robotic arm replicates the same intricate Bhutanese patterns, its mechanical movements choreographed to mirror centuries-old techniques. The result is both mirror image and manifesto: a structural element destined for Gelephu Mindfulness City, born from the union of human skill and computerized precision.

Bjarke Ingels, the Danish architect behind the pavilion and master planner for Gelephu Mindfulness City, describes the piece as “an ancient future,” a place “rooted in the heritage and rich culture of Bhutan, yet boldly looking forward.” It’s an ethos brought to life through live carving demonstrations, alongside a documentary tapestry of Bhutanese music, dance, and artisan workshops intercut with scenes of robotic assembly.

For the artisans, the recognition is deeply personal. “Our culture and tradition are our strength,” reflects Yeshi Gyeltshen, her hands still dusted with wood shavings. “Focusing on that makes our country and our people more resilient.” Her colleague Sangay Tshering nods in silent agreement as he brings a dragon’s sinuous form into relief—one of three carved beasts that bookend Bhutan’s narrative: the guardian of the past clutching jeweled prosperity, the present figure bearing the enlightened Dharma Wheel, and the future incarnation wielding the Double Vajra of visionary resilience.

Behind the scenes, BIG architect Filippo Cartapani details a logistical puzzle: “Part of our team had never set foot in Bhutan. We received only 2D drawings from local painters and had to transform those sketches into three-dimensional reality.” That challenge underscores the pavilion’s larger mission: to bridge distances—geographical, cultural, technological—while preserving the soul of a place.

Bhutan’s Ambassador to Belgium, Tshoki Choden, frames the exhibition as a watershed for her nation’s creative community. “Featuring our traditional wood carvers on this global platform inspires a new generation of Bhutanese artisans to share their work with the world,” she says. Giulia Frittoli, BIG’s partner overseeing the Gelephu project, envisions machines not as replacements but as allies: “We want to guide Bhutanese craftspeople to keep traditions alive while scaling their skills to construct an entire city.”

At the heart of it all is Gelephu International Airport itself, a gateway that vows more than mere transportation. “It will promote technology, art, architecture, and craft,” explains Tashi Penjor of Bhutan’s Department of Human Settlement. “It is the manifestation of our culture.” When the Biennale closes on November 23, the carved beams will journey home, marking the official start of airport construction. There, nestled among the subtropical valleys of southern Bhutan, they will stand as both landmark and legacy, proof that the wisdom of the past can indeed lay the groundwork for tomorrow.

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