We visited Expo 2025 (関西万博) in Osaka in April, shortly after it opened to the public. While the crowds and long lines were expected, the overall experience was still thoroughly enjoyable. Although we couldn’t visit some pavilions—and realistically, it’s not possible to see them all—simply walking the grounds and taking in the striking exterior architecture was rewarding in itself.
Enjoy a tune while browsing. Click to see our earlier posts about the Expo – The Grand Ring, Eateries Part 1 and Part 2 and Pavilions Part 1, Part 2 and Part 3.
Here are photos of a number of pavilions out of a total of 188, that stood out for their architecture and presentation. The descriptions accompanying each image are taken directly from the official Expo website.
Some countries participate in this international exhibition by building their own distinctive pavilions; although many countries use pavilions or booths in buildings, provided by the expo association. In addition to country pavilions, there are also 13 pavilions hosted by private sectors from Japan.
The null² pavilion, one of 8 signature pavilions is produced by media artist Yoichi Ochiai and designed by NOIZ.
The null² pavilion is comprised of modular cubes (2 m, 4 m, or 8 m) clad in a mirrored, tensile membrane, while internal robotic arms and acoustic vibrations deform the mirror surface, creating “moving architecture” that distorts reflections of the surrounding environment. Truly bizarre and futuristic.
The name “null²” merges the computing concept of “null” (undefined) with Buddhist notions of emptiness and form. null² physically changes, reshaping user perception and engagement. It is a speculative model for architecture as an interactive medium. The thematic concept is “Forging Life”, exploring the intersection of the digital and organic worlds.
The PASONA NATUREVERSE pavilion is by the Pasona Group Inc., centered on the theme “Thank You, Life.” It explores the intersection of nature, humanity, and technology, using AstroBoy from Osamu Tezuka’s works as guides within the pavilion, introducing visitors to various exhibits.
The GUNDAM NEXT FUTURE PAVILION, presented by Bandai Namco Holdings, offers an immersive exploration of a future where humanity coexists with advanced technologies in space. It is based on the Mobile Suit Gundam anime created by Yoshiyuki Tomino in 1979.
A central attraction is the stationary 17-meter-tall RX-78F00/E Gundam statue, repurposed from the moving Gundam previously exhibited at Gundam Factory in Yokohama.
The YOSHIMOTO Pavilion waraii myraii created by Yoshimoto Kogyo (the largest talent and entertainment agency in Japan), consists of a smiling sphere (approximately 20 meters in diameter) floating on a hill as the main entrance, and a plaza where Yoshimoto’s roster of comedians and entertainers host live events, interactive shows, and cultural content aimed at connecting diverse audiences — especially children.
Next to Gundam is another private-sector pavilion – Blue Ocean Dome – designed by Pritzker Prize-winning architect Shigeru Ban. We read that after the Expo, the structure is to be relocated to the Maldives, where it will become part of a hotel, ensuring that no waste is generated from its construction.
We entered this pavilion without reservation in early evening.
The Future City is one of the largest pavilions at the Expo, situated beyond the Grand Ring near the West Entrance. We managed to enter without a reservation, though it required a lengthy wait in light rain. The pavilion’s exterior is wrapped in a mesh screen that typically enhances its ethereal design with mist effects. On this particular day, however, the weather itself provided all the atmosphere needed.
Twelve major Japanese sponsor companies—including Hitachi, KDDI, Kubota, and Kawasaki—are showcasing their vision of Society 5.0, a future shaped by the integration of AI, big data, and the Internet of Things to build a human-centered, sustainable economy. We found the exhibition both immersive and engaging.
We visited the Tech World pavilion without a reservation and it wasn’t until we entered that we realized this pavilion was, in fact, representing Taiwan.
Due to Taiwan’s non-membership in the Bureau International des Expositions (the international organizer), it cannot officially participate under its national name. Consequently, the pavilion is presented as a private-sector initiative, with no mention of “Taiwan” or display of its flag on official Expo maps
The pavilion by the People’s Republic of China is on the other side of the site. Its exterior design is inspired by bamboo slips and shaped like an unfolded traditional calligraphy scroll.
Another example of private sector participation is the joint pavilion by the Lido Group, a Japanese homebuilder, and Osaka Metropolitan University. Its exterior is based on the concept of a “Sustainable Möbius,” wrapped entirely in a specially treated Nishijin-ori brocade—a traditional Kyoto textile with a heritage spanning over 1,200 years. The Möbius strip form represents continuity and cyclical growth, reflecting a thoughtful fusion of tradition and modern innovation.
We entered the exhibition each day through the East Gate, conveniently located next to Yumeshima Station, the terminus of the Osaka Metro Chūō Line. Compared to the West Gate—accessible only via shuttle bus from Sakurajima Station on the JR Yumesaki Line—the East Gate consistently saw heavier foot traffic. To ease congestion and reduce wait times, a pedestrian pathway connecting the East and West Gates was opened on June 16, 2025. This thoughtful addition is sure to be appreciated by many visitors.
More photos to come in Part 3.