Autumn 2025. We – Sam and Danny, Michel and Wille, and Timothy – are travelling to Japan for a quite classic tour of the Land of the Rising Sun. We are flying separately as we used miles. On the planning: Tokyo, Kanazawa, Shirakawa, Osaka, and Expo 2025, Hiroshima, Himeji, Miyajima, Kyoto, Nara, Nagoya, Hakone, and back to Tokyo. Three weeks plus some extra days.

Once we settled on September and October for the time of the year to visit Japan, we made sure to plan Osaka as such we could include Expo 2025, or as the Expo showcased: Expo 2025 Osaka Kansai Japan.

Expo 2025

Expo 2025 (2025年日本国際博覧会, Nisennijūgo-nen Nippon Kokusai Hakurankai; and officially 大阪·関西万博, Ōsaka–Kansai Banpaku for short) was a universal exposition held in Osaka from 13 April to 13 October 2025. It was the second world exposition hosted by the Osaka region, following Expo ’70.

Theme and ambition

The overarching theme of Expo 2025 was ‘Designing Future Society for Our Lives‘, exploring how technology, sustainability and innovation could shape a better world. The concept was structured around three sub-themes: ‘Saving Lives‘, ‘Empowering Lives and Connecting Lives‘. 

Together they reflected the Expo’s aim to create a ‘People’s Living Lab‘: a site where ideas for the future could be tested and experienced in real time. The event drew inspiration from Japan’s national Society 5.0 vision, which seeks to merge cyberspace and the physical world, and from the United Nations’ Sustainable Development Goals.

Site layout and architecture

The exposition occupied a 155-hectare site on Yumeshima, an artificial island in Osaka Bay. The master plan divided the site into thematic zones corresponding to the Expo’s sub-themes: the Connecting Lives Zone, Empowering Lives Zone and Saving Lives Zone. These were integrated into three wider domains—Pavilion World, Water World and Green World—to structure the visitor experience.

At the heart of the design stood the Grand Ring, an immense circular wooden roof conceived by architect Sou Fujimoto. The structure, which earned recognition as the world’s largest wooden roof, sheltered the central Pavilion World and provided a continuous ring-shaped promenade. 

Visitors could walk beneath the timber canopy or along its elevated corridor, enjoying views over the exhibition grounds and Osaka Bay. Beneath the ring stretched a ‘main street‘ lined with national and thematic pavilions, while the surrounding districts unfolded as a series of landscapes—an urban experiment in blending architecture with ecology.

To the south, Water World opened towards the Seto Inland Sea, offering restaurants, waterfront terraces and open-air event spaces designed for sunset views. 

To the west, Green World contained lawns, gardens and outdoor stages, as well as experimental mobility zones where autonomous and flying-car technologies were demonstrated. The site design balanced futuristic architecture with environmental integration, creating an immersive, walkable setting that embodied the Expo’s vision of a sustainable society.

The architectural programme included contributions from some of Japan’s and the world’s leading designers, among them Shigeru Ban, Kengo Kuma, SANAA and Norman Foster. Their pavilions showcased diverse construction methods—from recyclable materials to digital-fabricated forms—and explored how architecture could respond to human and environmental needs.

Attendance and participation

Organisers anticipated around 28 million visitors during the six-month run, averaging 150,000 per day. Actual attendance reached 25.5 million, with daily visitor numbers exceeding 200,000 at peak periods and surpassing the projected break-even point of 18 million tickets.

Participation was extensive, with more than 150 countries and international organisations represented. The Expo included a range of pavilion types: self-built national pavilions (Type A), smaller prefabricated national pavilions (Type B), and shared ‘Commons‘ pavilions for smaller nations. Domestic participants and private-sector exhibitors also contributed, creating a dense, varied landscape of architectural expression.

Pavilion design

The diversity of pavilion types gave the Expo a rich architectural identity. Some structures were monumental and highly experimental, while others favoured smaller-scale, thematic installations. 

The Grand Ring unified them under its vast timber canopy, linking each pavilion into a continuous public realm. Within the ring, the ‘Silent Forest‘ provided a meditative green zone amidst the bustle of the exhibition. Many pavilions focused on environmental technologies, renewable energy, robotics, health, and digital culture, offering visitors immersive experiences tied to the Expo’s future-society theme.

Significance and legacy

Expo 2025 played a major role in Osaka’s urban and infrastructural renewal. The event prompted the extension of the Osaka Metro Chūō Line to Yumeshima Station via the new Yumesaki Tunnel, opened in early 2025. 

The island was designed as a car-free venue, served by electric buses, hydrogen-fuel vessels and experimental mobility systems. The Expo’s sustainable design and emphasis on innovation made it a living demonstration of Japan’s ambition to create a society integrating technology, ecology and wellbeing.

While the event initially faced logistical and attendance challenges, it concluded with strong visitor numbers and positive recognition for its architectural vision. The Expo’s physical legacy includes new transport links, improved waterfront infrastructure and a platform for future urban development in Osaka Bay. 

More broadly, Expo 2025 reaffirmed Osaka’s reputation as a forward-looking global city capable of hosting large-scale, future-focused events—half a century after the success of Expo ’70.

The challenge of ticketing and booking

The ticketing, booking and app system at Expo 2025 in Osaka was ambitious in design but elicited a complex mix of reactions from visitors. Prior to the event, the organisers introduced a structured advance-booking mechanism for pavilions and events: once a visitor secured an admission ticket they were required to reserve a visit date and time, then had three parallel pathways to book access to specific pavilions and events. 

These pathways comprised a ‘2-Month Advance Lottery‘ (open roughly three to two months before the visit), a ‘7-Day Advance Lottery‘ (open one month to eight days before), and a first-come, first-served ‘Available Slot Reservation‘ (from three days to one day before). In addition, there was provision for on-site same-day registration for some pavilions once inside the venue.

The official app named EXPO 2025 Visitors was intended as the mobile companion for ticketing, reservations and navigation of the site. In theory it offered ticket management, visit date/time selection, pavilion lottery access and on-site updates. 

In reality, many users found that the app functioned more like a gateway to various websites than a fully integrated native app — key features such as reservations, same-day slots and pavilion screening often redirected to browser pages. Several reviewers reported long virtual queues when accessing the system, frequent log-outs, confusing flows and a lack of offline functioning.

The lottery system itself yielded measurable statistics published by organisers: for example, for the 2-Month Advance Lottery the average chance of securing a slot for July visit dates was reported at approximately 60-80 %, while for the 7-Day Advance Lottery the winning rate for May visit dates dropped to around 30-50 %.

Despite these figures, many visitors reported frustration: frequent error messages, sudden “no slots available” notices despite earlier listings, and the impression that popular pavilions were booked within seconds—some blaming bots or system overload. On-site registration likewise filled rapidly: according to official guidance, within an hour after venue opening about 1,000 – 2,000 ‘same-day additional slots‘ were filled, and by two hours most were gone.

Visitor responses were heavily mixed. Several exclaimed disappointment with the digital systems: complaints included “the reservation thing doesn’t work”, “app is a nightmare”, “lottery system arbitrary”. 

Many found themselves reliant on queuing at walk-in pavilions, even those who had painstakingly attempted to book ahead. Others noted that some pavilion operators dropped their reservation requirements altogether shortly after opening in order to allow more walk-in access. Some praised staff friendliness but emphasised that the pre-visit booking stress and on-site waiting undermined the overall experience.

In one instance, a pavilion (the Sumitomo Group Pavilion) introduced a supplementary digital-lottery ticket via the LINE app for its ‘no-reservation queue‘, citing safety and congestion concerns in the regular queue. The digital‐lottery scheme allowed applicants on-site to enter a draw to queue, rather than waiting indefinitely in line. But even this approach pointed to the difficulties of managing high demand within the booking framework.

The overarching sentiment among many international visitors was that while the tiered booking system was conceptually sound, its execution lacked robustness. 

The system required advanced planning, multiple logins, and an element of luck; for casual or international travellers the learning curve and system fragility were significant barriers. 

Some arguers questioned whether the emphasis on reservation and lottery systems impeded spontaneity and detracted from casual exploration of the site. On the positive side, the booking system did succeed in giving some visitors guaranteed access to highly popular pavilions, reduced waiting times for those slots and enabled more predictable flow for organisers. 

But the divide between booked-slot visitors and those relying on standby queues, and the inconsistencies across pavilions in how booking was implemented, remained major points of critique.

In short, the ticketing and pavilion-booking ecosystem at Expo 2025 achieved the ambition of structured access and advanced reservation, but was hampered by user-experience flaws, technical glitches and inconsistent implementation. 

Many visitors found the systems more challenging than the exhibition itself, which risked overshadowing the very content the organisers sought to showcase.

Our experience with ticketing and the app

While Danny focused on train and hotel planning on this 2025 Journey Across Japan, I focused on activities. And yes, the ticketing, booking, lottery, raffle and what not processes frustrated me heaps. It all felt so complicated.

I like planning, I’m far from averse to planning and scheduling, but this tested my patience too much. So we only applied for the Gundam Next Future Pavilion. We failed and we decided to do walk-in pavilions only.

On the day

But we were clearly not the only ones having the idea of just do walk-ins and ‘less popular pavilions’. Egypt showed a sign of a 180 minute (or three hours) waiting time. Are you kidding me? 

Sam not being the champion of patience or planning, he wanted to wait only 30 to 45 minutes. He did extend his tolerance.

It did not help it was very sunny and hot that day. 

But even so, we actually managed to visit quite a few pavilions.

Azerbaijan

Located in the ‘Connecting Lives’” zone, the Azerbaijan Pavilion presented itself under the thematic title ‘Seven Bridges for Sustainability‘. The pavilion was organised by the Heydar Aliyev Center and the concept drew its inspiration from the poem ‘Seven Beauties‘ by the 12th-century Azerbaijani poet and philosopher Nizami Ganjavi. 

Through this literary foundation the pavilion aimed to trace a narrative of cultural depth, technological progress and sustainable development, all framed within the country’s active engagement with global dialogue and international collaboration.

Architecturally the pavilion was set over three stories, and its façade featured patterns reminiscent of traditional Azerbaijani shebeke lattice-work, presenting an immediate visual connection to national craftsmanship and heritage. 

Visitors began their journey by passing through a sequence of seven symbolic arches, each arch representing one of the ‘Seven Beauties’. These in turn corresponded to themes such as cultural diversity, heritage and traditional arts, architectural treasures, natural resources, sports and tourism, and sustainable development. 

Further enhancing the narrative were three symbolic trees: the ‘Azerbaijan Tree‘, the ‘Japan Tree‘, and a ‘Friendship Tree‘ which blends elements of both nations, emphasising the bond between Azerbaijan and Japan and reinforcing the pavilion’s placement within a future-oriented society of shared lives and mutual understanding.

Inside, the pavilion blended immersive technologies, sensory-rich installations and spatial design that invited reflection on the notion of connections—between people, nations and environments. 

The visitor path was deliberately constructed to weave threads of knowledge and experience—initially distinct and then brought together to form a broader tapestry—mirroring the pavilion’s message that singular threads of culture and insight gain power when interwoven in partnership.

In terms of recognition and impact, the Azerbaijan Pavilion succeeded in drawing strong visitor interest and was later awarded the German Design Award in the ‘Excellent Architecture / Fair and Exhibition‘ category. The award judges commended the project’s innovative design and visitor appeal. 

The pavilion reportedly welcomed over two million visitors during Expo 2025. As part of the larger event which recorded over 25 million attendees, the Azerbaijan presence stood out for its cohesive storytelling, architectural identity and the strength of its cultural diplomacy.

In essence, the Azerbaijan Pavilion at Expo 2025 offered more than a national exhibition: it presented a coherent vision of how tradition and innovation, local identity and global connectivity, can combine in the service of sustainable futures.

Through its seven bridges metaphor and the experience it offers visitors, it encouraged reflection on how nations can contribute—not only technologically—but culturally and socially to the design of our future society.

Belgium

The Belgian Pavilion was situated within the Saving Lives district of the fair and presented under the overarching national theme of ‘Human Regeneration‘. 

Belgium selected water as its central metaphor: water as the source of life, as a trigger for renewal, and as an essential element in designing tomorrow’s society. The architectural concept explored the three states of water—solid, liquid and gaseous—and tied them to Belgium’s strengths in life-sciences, medical innovation and sustainability.

Architecturally the building was realised by the Walloon studio Carré 7 under the direction of architect Cyril Rousseau, and the structure was designed to evoke water in motion and transformation. 

The ‘solid’ phase was represented by an ice-box volume clad in iridescent panels that reflected light like a frozen crystal. 

The ‘liquid’ phase took form as a meandering translucent ramp and water mirror, inviting visitors to navigate through fluid spaces and reflect metaphorically on flow and change. 

Above, the ‘gaseous’ phase was expressed as ten floating white ‘clouds’ referencing Belgium’s ten provinces and nodding to the country’s iconic Atomium structure. 

Visitors concluded their journey atop a mist-filled rooftop, walking through a vapor-filled chamber and confronted with a symbolic green core—an immersive experience centred on regeneration, renewal and human vitality.

The pavilion’s interior journey was grounded in Belgium’s research and innovation ecosystem: visitors encountered exhibits on AI in health, digital twins in medicine, robotics for rehabilitation, and vaccines and biotech research. 

The scenography drew upon the Japanese art of kintsugi—the practice of repairing cracks with gold—to frame the notion that healing and regeneration are not only possible but carry aesthetic and ethical value. 

Regional contributions from Belgium’s three federated communities – Wallonia, the Brussels-Capital Region, and Flanders – were integrated, each emphasising their own domain of health innovation: the Wallonia-Brussels Federation showcased AI applications in health, Flanders emphasised life-stage-spanning medical innovation, while the federal level focused on vaccination and global health solutions.

Visitor reception and performance of the pavilion were strong. Within less than three months of the Expo opening it had welcomed over 300,000 visits, and by the event’s conclusion the pavilion drew nearly 900,000 visitors in total, thereby surpassing its initial target. 

Belgium was awarded the bronze medal for pavilion performance among some 160 participating nations, an accolade recognising the strength of its architectural design, the clarity of its message and the visitor engagement it achieved.

In summary, the Belgian Pavilion at Expo 2025 presented a refined and immersive narrative around health, water and regeneration. It combined poetic architecture, advanced technological displays and cultural storytelling into a cohesive experience that reflected both Belgian innovation and the broader Expo theme of designing future society.

Bangladesh

The Bangladesh Pavilion stood in the Connecting Lives zone and displayed the nation’s narrative under the banner ‘Connecting Lives: A Symphony of Tradition and Innovation‘. Designed to bridge Bangladesh’s rich cultural heritage with its forward-looking vision, the pavilion combined immersive design, interactive exhibits and strategic themes of sustainability and economic development. 

The architectural scheme featured a prominent wooden structural framework, reflecting Bangladesh’s commitment to eco-friendly materials and echoing its deltaic terrain where rivers interlace the land. 

One major highlight was a central wooden pavilion form that served as both aesthetic icon and spatial spine for the visitor journey. Within the pavilion visitors moved through around seventeen thematic zones and engaged with six detailed miniature dioramas that traced Bangladesh’s historical arc—from its agrarian roots and cultural traditions to its modern status as an export-led economy and IT actor. 

Exhibits emphasised Bangladesh’s textile traditions—especially Nakshi Kantha, Jamdani weaving and the revived Muslin—as well as its journey in jute-based eco-products, leather goods, ready-made garments and agrifood sectors. 

One zone spotlighted the 2024 youth uprising through graffiti-style art, illustrating a transition in Bangladesh’s social and political identity alongside economic change. The pavilion employed large LCD screens, interactive tablets and digital displays to complement physical craft artefacts and industrial outputs. 

Visitor reactions were favourable: from the opening days the pavilion consistently drew heavy foot traffic. It gained particular praise for its wooden structure, craftsmanship of handicrafts on display and the clarity of its messaging about Bangladesh’s development story. 

Foreign visitors reported learning new aspects of the country—such as its six agricultural seasons and its rapid industrial transformation—that were unfamiliar to them prior to the visit. 

Beyond cultural presentation, the pavilion succeeded in generating investor interest. Delegations from various countries visited the exhibit to explore partnership opportunities in Bangladesh’s leather, garment and ICT sectors. The pavilion thereby functioned not just as national showcase but as a platform for economic diplomacy. 

In summary, the Bangladesh Pavilion at Expo 2025 fused heritage, innovation and sustainability into a coherent narrative of national progress and future ambition. Through experiential architecture, well-curated thematic zones and a blend of craft, industry and story, it contributed strongly to Bangladesh’s global visibility at the event.

Senegal

The Expo 2025 featured the Senegal Pavilion, located in the Connecting Lives zone, under the theme ‘A crossroads of interconnection of peoples for sustainable and equitable development‘. 

Through this pavilion, Senegal sought to present its aspiration under its national plan ‘Vision Senegal 2050‘, projecting itself as both a cultural gateway to Africa and a partner in the global flow of ideas, trade and innovation.

Architecturally, the pavilion occupied a roughly 300-square-metre self-built Type B structure with mezzanine, marking a first for Senegal in appearing at a world expo with such a standalone presence. 

It combined clear graphic presentation with digital displays and exhibition zones focusing on industry, smart-city development, agriculture and health. The interior layout featured gently undulating wall panels whose colour and form conveyed the nation’s dynamic blend of culture and progress, and visitors encountered a narrative that linked traditional values such as téranga (hospitality) with cutting-edge investment opportunities and sustainable development goals.

Within its exhibition content, the pavilion presented Senegal’s industrial strengths—such as the emerging Diamniadio smart-city project—alongside its ambitions in renewable energy, agro-industry and logistics. 

One zone traced the history of Gorée Island and the slave-trade legacy, positioning that memory as part of Senegal’s path toward reconciliation and global partnership. Another zone addressed the upcoming Dakar 2026 Youth Olympic Games, highlighting the country’s first-ever role as an African Olympic host and thus signalling its readiness for elevated international engagement. 

Visitor amenities included a fair of artisan goods—leather, textiles and carvings—as well as food and drink tastings drawn from Senegal’s agricultural products.

Throughout the six-month duration of the Expo, the Senegal Pavilion drew steady foot-traffic and was considered one of the smaller yet symbolically rich national exhibits. 

The pavilion’s national day on 25 August 2025 featured the country’s president and reinforced the diplomatic and investment significance of the exhibit. Local reports indicated the pavilion was seen not just as a showpiece of culture but as a strategic platform for economic diplomacy, aiming to attract investment partnerships and showcase the ‘Made in Senegal‘ agenda.

All told, the Senegal Pavilion at Expo 2025 wove together heritage, future-facing ambitions and international engagement into a unified presentation. While modest in physical scale compared with some larger national pavilions, it succeeded in projecting a clear vision of Senegal as a nation positioned at the intersection of tradition and innovation, ready to contribute to—and benefit from—a globally interconnected future society.

Cambodia

The Cambodia Pavilion was situated within the Empowering Lives zone and presented under the theme ‘Cambodia: Kingdom of Wonder, Opportunity and Growth‘. 

It offered visitors an immersive journey through the country’s rich cultural heritage and its aspirations for a sustainable, technology-driven future.

Architecturally, the pavilion drew inspiration from the forms and symbolism of Angkor Wat, reinterpreted in a contemporary style with a façade of golden lattice and sandstone-coloured textures. 

The structure integrated motifs of apsara dancers and naga serpents, merging traditional Khmer aesthetics with modern design language. The interior layout was organised around a central dome, beneath which digital projections recreated the atmosphere of Cambodia’s temples, forests and waterways. A pathway of curved panels led visitors through themed zones devoted to heritage, tourism, trade, and environmental innovation.

One of the exhibition’s highlights was an interactive 360-degree theatre that presented Cambodia’s transformation story—from its ancient civilisations to its modern industrial and technological ambitions. 

Displays showcased the country’s efforts in sustainable agriculture, eco-tourism and digital connectivity, alongside models of infrastructure and renewable-energy projects. Handcrafted artefacts, silk weaving demonstrations and traditional musical performances provided a tactile connection to Cambodian culture, while VR exhibits invited guests to explore temple complexes and river landscapes.

The pavilion placed strong emphasis on tourism promotion, underlining Cambodia’s appeal as both a cultural and ecological destination. It also promoted investment in sectors such as clean energy, manufacturing and digital services, positioning the country as an emerging hub in Southeast Asia.

Throughout the Expo’s run, the Cambodia Pavilion attracted steady visitor numbers and was noted for its serene atmosphere and balance between tradition and innovation. Visitors praised its detailed craftsmanship, immersive multimedia displays and the warmth of its hosts. 

For many, it provided a memorable insight into Cambodia’s identity—rooted in heritage yet confidently embracing the future.

By the end of Expo 2025, the pavilion stood as one of the smaller yet most symbolically rich national exhibits, encapsulating the spirit of a country bridging ancient artistry and modern progress.

Nepal

The Nepal Pavilion finally opened its doors on 19 July 2025, becoming the last national pavilion among the 158 participating countries and regions to welcome visitors at the six-month event. 

Located in the Connecting Lives zone, the pavilion was inspired by the iconic Swayambhunath Stupa in Kathmandu and sought to present Nepal’s cultural heritage, technological ambitions and nature-rich landscapes to an international audience.

Architecturally, the pavilion was designed by Nepalese architect Prajwal Hada and featured eco-friendly materials and motifs evocative of the Himalayan region. The exterior referenced the lotus flower origin myth associated with the Swayambhunath Stupa, and the interior journey took visitors through exhibits focused on renewable energy, agriculture, tourism and information technology, reflecting Nepal’s intention to leverage its natural environment, youthful workforce and strategic position for sustainable development.

The pavilion’s delayed opening stemmed from significant construction and payment issues. Work had been suspended in early 2025 due to unresolved contractor payments and labour-shortage issues in Nepal, leading to international media attention on the delay. 

Eventually construction resumed in June and the pavilion opened mid-July, allowing Nepal to join the global stage with its self-built (Type A) pavilion, albeit three months later than intended.

Once open, the pavilion offered visitors activities such as ringing traditional ‘singing bowls’, exploring displays of Buddhist art and Himalayan scenery, sampling Nepalese cuisine and engaging with trade-and-investment information about the country’s evolving economy. 

Despite the late start, the pavilion attracted steady visitor interest, in part because of its status as the final national pavilion to open and the unique Himalayan thematic setting.

In its final tally, the Nepal Pavilion served not only as a cultural showcase but also as a diplomatic and economic outreach platform, highlighting Nepal’s ambitions in sustainable tourism, hydropower, mountain ecology and digital connectivity.

Although the delay had risked undermining its participation, the eventual opening allowed Nepal to participate fully in Expo 2025 and present a coherent narrative of tradition, environment and futures-focused ambition.

Kazakhstan

The Kazakhstan Pavilion stood within the Connecting Lives zone and carried the title ‘Tolerance, Unity and Possibility – Kazakhstan’s Path to the Future.’

The design of the pavilion drew on the motif of the shanyrak—the circular crown of a Kazakh yurt—symbolising the unity of cultures, peoples and ideas, and offering a fitting metaphor for the country’s role as a bridge between East and West.

Visitors entered a space organised into four key thematic zones: ‘Connecting the Legacy’, which traced Kazakhstan’s history from ancient steppe civilisations and the Silk Road to modern nation‑hood; ‘Connecting People‘, which emphasised cultural diversity, digital interactivity and the fusion of identities; ‘Connecting Opportunities‘, which showcased Kazakhstan’s natural resources, tourism potential, ecosystem, innovation sectors and export ambitions; and finally ‘Connecting Lives‘, in which tangible advancements in technology and medicine—most notably the ALEM (Astana Life Ex‑situ Machine) device for organ‑preservation and transplant innovation—were presented as evidence of how life could be extended, improved and connected across borders.

Architecturally the pavilion blended cultural reference and digital sophistication. The shanyrak motif appeared in the layout as a circular or semi‑circular plan, inviting movement around a central hub and conveying openness and continuity. 

Within the space, interactive digital installations allowed visitors to contribute their image or data to dynamic projection screens, thereby literally becoming part of the pavilion’s narrative of connection. 

The language of green technologies, renewable energy, tourism landscapes and nomadic heritage all featured in immersive visuals, placing Kazakhstan’s identity and ambition within the larger theme of designing future society.

In terms of visitor numbers and recognition, the pavilion performed exceptionally well. It welcomed over one million visitors by early September and eventually drew around 1.5 million guests over the six‑month run, making it one of the most popular national exhibits among Japanese and international attendees. 

It also earned first place in the Theme Development category for smaller‑scale pavilions, underscoring its effectiveness in interpreting the Expo’s central proposition. 

The pavilion’s National Day on 10 August was celebrated in style, coinciding with the 180th anniversary of the philosopher Abai Kunanbayuly, and featured a parade, concert and cultural ceremony that brought together thousands of visitors, diplomats, artists and business guests.

As a whole, the Kazakhstan Pavilion at Expo 2025 offered more than a display of national achievement: it conveyed a coherent vision of how a country can leverage heritage, innovation and global connectivity to shape its future role. 

It succeeded in creating an engaging visitor journey, earning awards and attracting high footfall, and served both as a cultural showcase and a platform for economic diplomacy in the framework of the event’s future‑society ambitions.

Brunei Darussalam

The pavilion representing Brunei Darussalam occupied a space classified under the Commons‑F category, and carried the title ‘Abode of Peace‘. It sought to encapsulate the nation’s guiding philosophy of ‘Brunei Darussalam – The Abode of Peace‘ by weaving together themes of cultural heritage, environmental stewardship, and future‑oriented innovation in line with the event’s overarching theme of ‘Designing Future Society for Our Lives‘.

Architecturally the pavilion welcomed visitors with a façade design inspired by the ceremonial hall Indera Buana of the royal palace, featuring birch‑veneer finishes and geometric motifs drawn from Islamic architecture. 

Once inside, the exhibition journey opened with immersive wall‑projections that transported visitors through Brunei’s lush rainforest landscapes, its rich forest‑based biodiversity, royal traditions, and contemporary ambition. 

The space blended subtle craft traditions—such as weaving and wood‑carving—with displays on clean energy, marine‑conservation efforts and sustainable tourism, achieving a balance between tradition and modernity.

Inside the pavilion, thematic zones invited reflection on how Brunei’s current policies and development pathways align with global challenges. One zone emphasised the nation’s commitment to the circular economy and green hydrogen, showcasing case‑studies of local projects aimed at achieving carbon‑neutral status. 

Another zone offered cultural immersion: visitors encountered digital installations portraying long‑house communities, Kampong Ayer (the water‑village), and royal‑family heritage, all positioned as integral to nation‑building and identity. A third zone oriented itself outward, presenting Brunei’s role in regional cooperation, youth exchange and humanitarian partnerships, suggesting how small states contribute meaningfully to ‘Connecting Lives’ and ‘Empowering Lives’.

During the six‑month duration of the Expo, the Brunei Pavilion drew considerable attention. Reports indicated that by August the pavilion had already welcomed nearly 700,000 visitors, marking a commendable figure for a smaller national exhibit. 

The pavilion’s National Day celebrations further highlighted its diplomatic and cultural importance: Bruneian officials, Japanese dignitaries, and international guests attended ceremonial events, cultural performances by the ‘Senandung Darussalam‘ troupe and bilateral exchanges focused on energy, maritime and educational cooperation.

In its execution, the pavilion succeeded in presenting a coherent narrative of Brunei as both custodian of a rich cultural‑ecological heritage and an engaged actor in global dialog on sustainability and innovation. 

While physically modest compared to some larger country exhibits, the Brunei Pavilion managed to offer a polished and meaningful visitor experience—anchored in its motto of peace, shaped by its natural wealth and channelled into a future‑focused vision for national contribution in the 21st century.

So?

Despite being very, very, very crowded, the Expo grounds never felt suffocating. Frustrations about booking and scheduling aside, the Expo was well organised. It’s quite and experience. 

In the end, we did manage to visit quite a few country and other pavilions. At around 5 PM, many began to close. We decided not to wait for night shows and left at around 5 PM. No regrets. 

In 2030-2031, Riyadh in Saudi Arabia will host Expo 2030. We’ll probably give it a pass. While we enjoyed visiting the Expo, I at least don’t feel the urge to repeat the experience. 

2025 Journey Across Japan

1. Japan’s Superconducting Maglev train breaks world speed record at 603 km/h.
2. Japan’s maglev bullet train delayed to 2035 or later as costs rise to ¥11 trillion.
3. QUESTION | Should you be stressed about travelling to Japan, and fear of missing out?.
4. Brussels Airport to Milan Malpensa with Brussels Airlines, operated by Air Baltic, ft. the 2025 check-in and boarding software hack.
5. REVIEW | Sala Montale Exclusive Lounge and Sala Gae Aulentin Premium Lounge at Milan Malpensa Airport, extra Schengen.
6. REVIEW | All Nippon Airways (ANA), Business Class, Boeing 787-9 Dreamliner to Tokyo.
7. REVIEW | Toei Animation Museum in Nerima, Tokyo.
8. JAPAN | Tokyo Station, its Character Street and Pokémon Store.
9. REVIEW | Onyado Nono Asakusa Hotel in Tokyo.
10. TOKYO | Asakusa ft. Sensō-ji Temple.
11. JAPAN | The Odoriko train from Tokyo to Ito on Izu Peninsula.
12. PHOTOS & REVIEW | The Izu Teddy Bear Museum in Izu-Kōgen.
13. JAPAN | A visit to Ito on Izu Peninsula in Shizuoka Prefecture.
14. REVIEW | Japan’s Saphir Odoriko in Premium Green Car from Ito on Izu Peninsula to Tokyo Station.
15. GAY TOKYO | 24 Kaikan in Asakusa (+ Ueno and Shinjuku).
16. TOKYO | Sawara in Chiba Prefecture, ‘Little Edo’ beyond Narita.
17. TOKYO | Omotesandō in Shibuya – AEON Shinonome –  Uniqlo – Muji.
18. PHOTOS | The Edo-Tokyo Open Air Architectural Museum in Koganei Park.
19. JAPAN | Solo in Tokyo.
20. REVIEW | Brussels Airport The View lounge.
21. REVIEW | Qatar Airways Business Class Brussels to Doha.
22. REVIEW | Qatar Airways Al Mourjan The Garden Business lounge.
23. REVIEW | Qatar Airways Q-Suite Business Class Doha to Tokyo.
24. REVIEW | Pullman Tokyo Tamachi.
25. REVIEW | The Railway Museum, Ōmiya, Saitama City, Saitama Prefecture.
26. TOKYO | Imperial Palace East Gardens – Akihabara – Tamiya flagship store – Skytree.
27. JAPAN | Kanazawa Castle – Kenrokuen Garden – Higashi Chaya District.
28. REVIEW | Daiwa Roynet Hotel Kanazawa Eki Nishiguchi.
29. JAPAN | Road trip to Hida no Sato, Takayama and Shirakawa-go from Kanazawa.
30. OSAKA | Namba Parks – Dōtonbori – Glico Man – Shinsaibashi.
31. REVIEW | Swissôtel Nankai Osaka.