World expositions and trade fairs are invariably spaces that coalesce the many cultures, beliefs, and ways of being for people all across the world through displays that singularly emphasise progress. The history of world expositions and trade fairs is tied, inextricably so, to the rise of industrial capitalism and these precise narratives of unceasing technological development perpetuated by and for the global stage. In an alternative side of history, trade fairs were also arenas for colonies to display the wonders of the ‘Orient’—specific ‘knowledge formats’ that hoped to make the ‘primitive’ world intelligible to civilised society. However, in the case of contemporary expositions, the prevalent rhetoric is shaped around boosting tourism, international trade at large and means to ‘address issues facing humankind on a global scale’, or at least reflect upon them.

It is these goals that undergird the eminent Expo 2025 Osaka. Set to open to the public from April 13 to October 13, 2025, the expo outlines its overarching theme as ‘Designing Future Society for Our Lives’, exploring (or at least bringing into discussion) ways to collectively reimagine the future of the world at a time of increased global strife. As Sou Fujimoto, the renowned Japanese architect leading the expo’s masterplan has mentioned in media surrounding the Expo, he believes that the global forum can play a critical role in becoming a space of unity for the modern world. Stated in the masterplan, the aim is to "facilitate interactions between people with diverse values from around the world, resulting in new human networks and creative endeavours". Projecting a vision of Japan as leaders in initiating technological and cultural advancement, while demonstrating a commitment to UNESCO’s Sustainable Development Goals for 2030, the expo will be located in Yumeshima, an artificial island located on the waterfront in Osaka as a ‘People’s Living Lab’.

This marks the second time Osaka will be host to the global fair. The first Expo to have unfolded in the city (and the first ever World expo to be hosted in Asia) was in 1970, led by Kenzo Tange, heralding the age of metabolist architecture in the country. Under the theme ‘Progress and Harmony for Mankind’, Tange’s vision for the expo was supposed to set forth new ways of life and new ways to design urban communities. Conversely, Fujimoto’s masterplan focuses on the nature of sustainability, in tune with the demands of a resource-deficit world. As he has stated about his masterplan which is defined by a ‘Grand Ring’ built in timber, the hope for him is to underscore what a globally oriented sustainable architecture might look like.

A focus on circular design is also crucial to the masterplan, as evidenced by the planners’ commitment to reuse and recycle as many of the structures built for the expo as possible (reports state that 25% of the structures are meant to be dismantled and reused). With pavilions and installations arranged around this circular layout, the structures for the official participants—the 150+ countries showcasing their heritage and national progress in the expo—will be arranged around a central open space, dubbed the 'Forest of Tranquility'. The official participants’ pavilions will offer visitors a chance to interact with the heritage and visions for the future for various countries, and through their architectural form, bring up questions of cultural relevance and sustainable design initiatives.

While some consider the role architecture can play in facilitating a less resource-intensive world (considering circularity and clean energy), others like Switzerland consider the role AI will play in determining the built environment of the future. Many pavilions also consider the relationship between architecture and natural landscapes, which is one of the core tenets of Fujimoto’s masterplan. In anticipation of what is projected to be a symbol of unity and advancement for the world, STIR presents a selection of the most interesting pavilion architecture by country participants for this year’s expo.

1. France

Designed by French architecture studio Coldefy in partnership with Carlo Ratti Associati, the design for France’s imposing pavilion explores the idea of architecture as a stage for human life. A distinct copper staircase becomes the focal point of the 3600 sq.m. pavilion design. The staircase not only becomes the highlight of the facade—rendering a sense of openness in the design—it also weaves through the interiors, serving as an observation deck for visitors.

The facade is envisaged to be illuminated by suspended transparent acrylic rods, with 17m curtains signifying the central concept for the design, quite literally a theatre for life during the expo. “Both actors and spectators in this production, visitors traverse a path through the Pavilion that is an expression of the symbiosis between humanity and its environment. Above all, the design seeks to create a welcoming space that is open and accessible to all,” Thomas Coldefy, founding partner of Coldefy notes in the official release.

2. Italy

Through a design that evokes a theatrical setting (albeit a different theatricality from its French counterpart), Italy’s pavilion looks at the cultural heritage of the country. The building’s facade, composed of an open portico with giant columns, creates an atrium that frames the interior spaces for the visitors to meander through. The experience of the spaces is organised into three acts, according to the designers, Mario Cucinella Architects: the theatre, the classical Garden defined by precise geometrical proportions and the Ideal City which was based on notions of perspective derived from theatre backdrops.

The Italian architects elaborate that a central concern for the design was Osaka’s local climate. In response to climatic conditions, the architecture uses timber in abundant quantities, the foremost local materials for most of Japan. Further, the pavilion is designed to be recyclable at the end of the 6-month event, with each component devised to be able to adapt to new requirements. “The Italian Pavilion stands for a new idea of society, and for the city as a living organism where the relationships between people, art, the environment, and history can materialise,” Cucinella explains in the official release.

3. The Netherlands

Distinguished by a glowing orb (or manmade sun) suspended in a cuboidal form, the pavilion for the Netherlands is designed by RAU Architects, with experiential design by Tellart. The pavilion explores a future of unlimited clean energy, looking at renewable energy sources like the wind, sun, and water to inspire action towards total energy transition.

Within the pavilion, visitors will be able to witness how new technologies harnessed from wind, water or the sun foresee a cleaner future and minimise environmental impact. The wave-like design language of the facade is meant to represent the boundless energy of water. As the team at RAU Architects notes in an official release, “We are nearing the end of materials and fossil resources. Our solution is circular design, with circular materials and zero-emission energy sources".

4. Uzbekistan

As one of the several pavilions investigating the potential of natural systems and timber in design and construction, the Uzbekistan pavilion draws references to the country’s multifarious gardens. Commissioned by the Uzbekistan Art and Culture Development Foundation (ACDF) and conceived by Germany-based Atelier Brückner, the 750 sq.m. pavilion is inspired by Khiva (a UNESCO-listed city) and the Khorezm region's traditional architecture. As the architects note, local and eco-friendly materials such as brick and clay, and sugi wood, a cypress cultivated near Osaka, were used for its construction.

Composed of three elements: a garden, a forest of columns, and a central sculpture, the thematic areas look at the country’s projects that take forward UNESCO's sustainable development goals. While the garden is symbolic of Uzbekistan’s cultural landscape, the gangling timber columns are meant to emphasise craftsmanship and modularity. As Shirin Frangoul-Brückner, founding partner and managing director of Atelier Brückner, mentions in the official release, “The Garden of Knowledge Pavilion is not only a symbol of Uzbekistan's promising future but also a meaningful contribution to a responsible and sustainable society. Its modular, resource-efficient design and fusion of history, culture, and innovation inspire change beyond Expo 2025.”

5. Qatar

One of the three pavilions for country participants designed by Kengo Kuma & Associates, the Qatar pavilion is inspired by Qatari traditional boat construction, combining it with Japan’s heritage of woodworking. The pavilion is defined by a pyramid-like wooden structure, covered by a white canvas veil, evoking the form of traditional sailing vessels.

Highlighting the meticulous craftsmanship of both countries, the pavilion is conceived in collaboration with Qatar Museums. Within the complex wooden structure designed by Kuma, an exhibition highlighting Qatar's development, while promoting it as an upcoming tourist and business destination will be housed.

6. Australia

The facade for the Australian pavilion is inspired by Australia’s rich natural landscapes, specifically the eucalyptus tree and its gumnut. With its central theme, ‘Chasing the Sun’, the pavilion takes the form of a gumnut bursting into flower, and is designed by Buchan, a studio that has offices all over the country. The architects employed a tensile fabric along with a reusable steel framework, previously utilised at the 2020 Tokyo Olympic and Paralympic Games, for the pavilion’s construction. The design team consulted Indigenous advisors Karrda to ensure that the exhibition design centres Indigenous cultures and ways of being.

Speaking about the immersive exhibition housed in the pavilion, Dong Uong, creative lead from the studio for the pavilion stated in an official release, “The experience ‘chases the sun’ across land, sky and sea Country, based on the structure and flow of the song lines that traverse the land and have shared knowledge between Indigenous people for millennia.”

7. The Kingdom of Bahrain

The Kingdom of Bahrain’s pavilion, designed by Lina Ghotmeh — Architecture, reflects on the theme of ‘Connecting Seas’. The pavilion highlights Bahrain’s relationship to the sea through a design that interprets traditional dhow construction, employing Japanese joinery techniques for its construction. The structure itself, 13 to 17 metre in height and spanning 995 square metres, resembles a ship, with timber scaffolding supporting a tensile fabric form. Across four levels, visitors can explore a sensory exhibition that features collaborations with artists emphasising the historical relevance of Bahrain’s sea trade and connectivity to the world through displays focused on crafts, manufacturing, pearling, and ecology.

The Lebanese architects ensure that the structure was designed with passive measures in mind, keeping in mind sustainability parameters. “The Bahrain Pavilion embodies sustainability, cultural exchange, and craftsmanship. Built from around 3,000 pieces of unengineered wood using intricate joinery, it minimises waste. Minimal foundations avoid concrete, nearly all materials are reusable, and passive cooling reduces energy use—making it a testament to sustainable innovation,” shared Ghotmeh in an official release.

8. Switzerland

Seemingly weightless spheres, constructed from pneumatic material, define Switzerland’s pavilion at the expo. Reflecting not only on the theme for 2025, but also the 1970 expo, Manuel Herz Architect’s design for the structure centres on Buckminster Fuller’s question, “How much does your building weigh?” Using lightness as a starting point for architecture, the structure is made from PVC and ETFE membranes, supported by a secondary steel framework.

The spheres are interconnected and all the exhibition spaces are housed in them. As the Swiss architects note, the spheres are indicative of Switzerland’s strength in scientific research and technology. “We believe that the architectural typology of the “pavilion” is truly important. Most other buildings are governed by the pressure of the market and investment instruments, forcing them to be as efficient as possible,” the design team notes in an official release. On the relevance of pavilion design for contemporary architecture, they continue, “The pavilion – by being a temporary structure and part of a certain ‘spectacle’ (to paraphrase Guy Debord) – can escape this practice of efficiency and rationalisation.”

9. Saudi Arabia

Designed by Foster + Partners, the pavilion for the Kingdom of Saudi Arabia is conceived to mirror the spatial morphology of Saudi Arabian towns and cities. A cluster of structures creates a series of narrow streets converging in a central courtyard. From the courtyard, visitors can explore at will, with different windows and doorways offering diverse immersive experiences. The entire design employs low-carbon materials, with the facade using a lightweight Saudi stone.

Luke Fox, Head of Studio for the internationally renowned firm stated in an official release: "The project is a celebration of Saudi Arabian culture, evoking the wonderful streetscapes and captivating natural landscapes that define the Kingdom."

10. Philippines

The pavilion for the Philippines is meant to reflect the South East Asian country’s cultural heritage and reverence of nature. The design is inspired by traditional Filipino weaving, which is translated into a contemporary woven facade featuring over 200 handwoven panels. According to the Filipino-led architectural firm Carlo Calma Consultancy Inc who were responsible for the conception of the temporary architecture, the design is symbolic of the country’s values of unity, strength, and progress.

With Expo 2025 Osaka now open to public from April 13 - October 13, 2025, stay tuned as we continue to update this list with more interesting country pavilions as they are revealed.