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- Uzbekistan @ Expo 2025 Osaka Kansai
Uzbekistan’s pavilion at Expo 2025 Osaka Kansai: a living Garden of Knowledge and a laboratory for Future Society
On the final evening of Expo 2025 Osaka Kansai, after the Uzbekistan pavilion had officially closed, the entire team gathered on the terrace one last time. Below them stood a large crowd of visitors who had stayed to say goodbye. They applauded, waved, and expressed their gratitude. Then, a Japanese visitor stepped forward and addressed the team. They wished to thank the pavilion in a very special way. Suddenly, the crowd began chanting “Banzai” – a word meaning “ten thousand years,” traditionally reserved for ceremonial occasions honouring the Emperor. In that moment, it became clear that the pavilion had achieved something rare: it had truly touched people.
The Uzbekistan pavilion emerged as one of the most memorable and widely discussed national pavilions. Commissioned by the Uzbekistan Art and Culture Development Foundation (ACDF) and designed by ATELIER BRÜCKNER, it was celebrated for its powerful architectural presence and immersive storytelling. It attracted one million visitors and has since received 14 international design awards. Yet its story does not end in Osaka. Conceived from the outset as a structure with a second life, the pavilion is now being relocated to Nukus, Uzbekistan, where it will become part of a Children’s Library and cultural campus – transforming a temporary Expo structure into lasting public infrastructure.
Architecture rooted in heritage
The architectural concept of the pavilion was inspired by the historic caravanserai – places along the Silk Road that offered shelter while fostering exchange of knowledge, culture, and ideas. This spirit of protection and dialogue was translated into a contemporary timber structure that rose above an earthen base like a sculptural pergola. Constructed from locally sourced Japanese wood, the timber structure formed a forest of slender columns reminiscent of traditional Uzbek colonnaded mosques, particularly the Juma Mosque in Khiva. At the same time, the craftsmanship and material precision resonated strongly with Japanese architectural culture. The result was a dialogue between traditions – Uzbek and Japanese – expressed through timber.
The pavilion’s base, made from clay and reused bricks sourced in Japan, symbolised “soil”, the fertile ground of heritage. Above it, the open roof created a shaded public terrace overlooking the Expo site. From the Grand Ring, visitors could see people gathering and relaxing on this terrace – a detail that, in hindsight, became powerful publicity for the pavilion itself. The triangular plot, freestanding on all sides, was transformed into an advantage. With three visible façades and no “back,” the pavilion presented itself confidently to the Expo site, reinforcing its openness and accessibility.
From the beginning, the structure was designed as modular and dry-assembled, allowing careful dismantling and reassembly. Sustainability was not an add-on; it was embedded in the pavilion’s material logic and construction system.
An immersive exhibition experience
Inside, the exhibition unfolded in a dramatically darkened, immersive space. The themes – sustainability, innovation, and education – were derived from global development goals and translated into tangible national projects. Visitors encountered initiatives such as renewable energy programs, the revitalisation of the Aral Sea, the development of New Tashkent, and the restoration of the Bibi-Khanym Mosque.
The exhibition employed Pepper’s Ghost projections, animated infographics, interactive 3D models, and layered panoramic graphics. Clay-plastered walls and earthen textures reinforced the metaphor of soil – heritage as fertile ground for growth.
The prologue introduced visitors to water as the source of life. Reflections shimmered across the walls, accompanied by the sound of flowing water, symbolizing nourishment and renewal. From this fertile ground, projects of transformation emerged.
A recurring reaction among visitors was one of genuine surprise - particularly upon learning about Uzbekistan’s young and growing population. In Japan, where demographic challenges remain a central topic of public discussion, this contrast naturally sparked thoughtful curiosity and engaging conversations.
Over six months, the pavilion welcomed visitors who often arrived knowing little about Uzbekistan and left with a transformed understanding of the country’s identity, ambitions, and cultural depth. This renewed interest subsequently contributed to a significant increase in Japanese tourists traveling to Uzbekistan.
The moving platform: a seamless journey
At the heart of the pavilion was its most distinctive feature: a rising platform with a 360-degree multimedia projection. This experience became the highlight for many visitors. Unlike other video-heavy pavilions, here the media was inseparable from movement. The platform lifted visitors almost imperceptibly – so smoothly and quietly that many only realised they had ascended once the doors opened onto the terrace. This moment of surprise confirmed that the concept was working exactly as imagined.
Inside the cylindrical projection space, ancient symbols and roots spread across the walls before transforming into visions of contemporary infrastructure, innovation, and future development. Historical images of Samarkand were particularly memorable. Visitors frequently commented that they now wanted to travel to Uzbekistan and experience its heritage firsthand.
The emotional transition – from darkness to light, from soil to forest – created what many described as a deeply touching experience. Rather than passively watching, visitors felt guided through a narrative arc that culminated in openness and exchange.
The terrace unfolded as a living extension of the story. Stepping out from the immersive film, visitors entered a tranquil, sunlit space with sweeping views of the Grand Ring. Ceramic stools invited pause, while Japanese cedar columns embedded with NFC tags revealed the journeys of trees from distant corners of Japan. Amid the Expo’s vibrant energy and bustling crowds, the terrace offered a rare moment to breathe, reflect, and feel a quiet connection to nature and story alike.
A pavilion that grew in popularity
Over the course of the Expo, the pavilion’s atmosphere evolved. Media coverage increased, personal blogs and social media posts amplified its reputation, and waiting times grew longer. It became one of the most popular pavilions on site.
Even visitors who could not enter due to long queues were eager to photograph its exterior. Repeat visitors returned with higher expectations and deeper questions, leading to more dynamic conversations with mediators.
Some of the most meaningful reactions came from school groups. The open curiosity of elementary students – their direct questions and honest enthusiasm – left a lasting impression on the team. It reinforced the sense that Expos matter deeply for younger generations. “I want to visit Uzbekistan someday – This is what an Expo should be like – I never knew Uzbekistan is such a beautiful country” – all these reactions suggest that the pavilion succeeded not only as architecture, but as cultural diplomacy.
From Expo to everyday life: the journey to Nukus
True to its concept of sustainability, the pavilion was always intended for reuse. Once Expo 2025 concluded, each timber element was carefully catalogued and dismantled. The structure is now being transported to Uzbekistan, where it will be reconstructed in Nukus as part of a Children’s Library and cultural campus.
This relocation extends the pavilion’s narrative: from exhibition to education, from representation to participation. In Nukus, the pergola will create a shaded civic space, while a new library building beneath it will provide rooms for learning, workshops, and creative exchange.
When visitors learned during Expo that the pavilion would be rebuilt in Uzbekistan as a library, the response was overwhelmingly positive. The idea that Japanese timber craftsmanship would gain a second life in Uzbekistan resonated strongly with Expo’s sustainability ambitions. The second life of the pavilion reinforces its core message: sustainability, innovation, and education growing from heritage.
A lasting impression
The Uzbekistan pavilion was not only a highlight of Expo 2025 Osaka Kansai; it stands as an example of how Expo architecture can extend beyond the event itself. Through its relocation to Nukus, it demonstrates that temporary structures can become permanent assets, shaping communities, supporting education, and carrying forward the spirit of global exchange.
In this way, the Garden of Knowledge continues to grow.
Uzbekistan's participation at Expo 2025 Osaka Kansai was organised by the Uzbekistan Art and Culture Development Foundation (ACDF)
