Expo '70 in Osaka – Futurism and Architecture & Expo 55 years later
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OverThe 1970 World Expo in Osaka, Japan, was a milestone in the history of futuristic vision and progressive architecture. Under the theme “Progress and Harmony for Mankind”, the Expo (the first in Asia) attracted more than 64 million visitors from 77 countries, making it one of the largest Expos ever. The master plan for the Expo was created by architect Kenzo Tange, who won the Pritzker Prize (the Nobel Prize of architecture) in 1987.
The realisation of Expo '70 in Osaka showed the world Japan's impressive ability to recover after the devastation of World War II. In just a few decades, the country transformed from an almost feudal society into a technological wonder of the world. This resurrection began after the deep humiliation of 1945, when Japan was hit by two atomic bombs — on Hiroshima (6 August) and Nagasaki (9 August) — which claimed the lives of hundreds of thousands of innocent civilians and left deep scars on the national soul.
Yet, despite this devastating blow, Japan managed to rise again. By the end of the 1970s, it had become one of the most advanced and innovative societies in the world. As people said at that time: ‘The Japanese did what the Americans did — but smaller, stronger and cheaper.’
What made this exhibition so special was its bold futuristic architecture, with pavilions resembling flying saucers and space-age constructions. Manufacturers such as Hitachi and Sanyo used the opportunity to showcase their vision of the future. Hitachi demonstrated technologies “of tomorrow”, while Sanyo presented an ultrasonic bath that automatically washed, massaged and dried people in a 15-minute cycle – an early dream of home automation.
The Expo was also a platform for technological firsts: the first IMAX film was screened there, the US displayed a moon rock from Apollo 12, and early versions of mobile phone technology were introduced. Robots, cable cars, futuristic vehicles and spectacular (inflatable) buildings gave visitors the feeling of stepping into the future.
Finally, Expo '70 also left a legacy for the distant future in the form of a time capsule, intended to be opened only in the year 6970 – an ultimate symbol of confidence in the continuation of human progress.
Expo '70 was a visionary combination of futurism, technology and groundbreaking architecture – a highlight of the 20th-century imagination of the future.
EXPO 2025 - OSAKA / Portugal & the Netherlands
Portugal returns to Osaka with a new pavilion, designed by Japanese architect Kengo Kuma, under the theme Ocean, the Blue Dialogue. The pavilion highlights the ocean as a space for knowledge, innovation and global cooperation, with a varied programme of exhibitions, conferences, performances and business even.
The Netherlands is participating with a circularly constructed pavilion under the theme Common Ground. The pavilion emphasises the importance of international cooperation in tackling major challenges, such as accelerating the energy transition and preserving a liveable planet.
The design was realised by architectural firm RAU, engineering firm DGMR, experience design studio Tellart and Japanese construction company Asanuma.
PORTUGAL: OSAKA 1970
As part of Portugal's participation in Expo 2025 in Osaka, the Osaka in Portugal programme is currently taking place in Lisbon. This cultural programme will be extended to the whole country until 13 October. More information and the full agenda can be found at: https://www.portugalexpo2025.pt/pt/osaka-em-portugal/
One of the highlights of the programme is the exhibition ‘Osaka – 55 Years Later, Design the Futur’, which will be on display at MUDE – Museum of Design and Fashion in Lisbon from 5 June. This exhibition reinterprets Portugal's participation in the 1970 Expo in Osaka – the first world exhibition ever held in Asia – under the motto Progress and Harmony for Humanity. The focus is on the Portuguese pavilion, designed by Frederico George (1915-1994) in collaboration with Daciano da Costa (1930-2005) and António Garcia (1925-2015).
In collaboration with Atelier Daciano da Costa, MUDE presents new pieces and documentation that bring this historic moment back to life.
Compared to the other pavilions, the Portuguese pavilion was certainly not a showcase of technological progress, as many other countries were. At the time, Portugal was under the rule of dictator Salazar's successor, in what is known as the “Marcelist Spring”, while the Colonial War was still a harsh reality that gripped the country.
But in 1970, that was not the Portugal that the country wanted to show to the world at the Expo in Osaka, Japan. Portugal's modest presentation stood in stark contrast to the technological sophistication and excessive use of multimedia effects at other pavilions. Daciano da Costa aptly summed up this contrast with the words: ‘It's nice that in this age of supermarkets, you can always count on your grocer.’
Portugal was the first Western country to establish relations with Japan in 1543. At the entrance to the Portuguese pavilion stood a replica of the monument on the island of Tanegashima that symbolises the friendship between these two countries.
The first section of the Portuguese pavilion, entitled “Portuguese History”, focused on Portuguese-Japanese relations. Among other things, it featured firearms, which were first introduced to Japan by Portuguese sailors.
The theme of the first floor was Portugal today, with slides of Portuguese children representing the country's youth and symbolising hope and confidence in the future. The second floor featured exhibitions on industry, culture, education and daily life in Portugal at the time, including the colonies.
Among the best-known designs by Daciano da Costa and António Garcia for the Portugal pavilion at Expo 1970 are the special Osaka cutlery and the Osaka chair.
THE NETHERLANDS: OSAKA 1970
The design for the Dutch pavilion in Osaka was much more futuristic than that of Portugal and was the result of a collaboration between architects Carel Weeber (1937–2025) and Jaap Bakema (1914–1981). Carel Weeber — who passed away this year — is known for, among other things, the controversial ‘De Zwarte Madonna’ project in The Hague, as well as ‘the Peperklip’ and ‘the Schie’, a penitentiary building in Rotterdam. He was only 32, a youngster, when he was paired with veteran Jaap Bakema. The theme of the pavilion, How the Netherlands lives with water, is still relevant even 55 years later.
The distinctive pavilion reflected our country's technological progress, the logistical nature of our economy and the unique location of the Netherlands below sea level. The Netherlands in 1970 was presented through a multimedia show, designed by Wim Crouwel, with film footage by Jan Vrijman. Weeber and Bakema's design was entirely focused on this presentation.
Three closed containers placed on top of each other formed the ideal space for projecting films. The containers, which were attached to towers, were offset and rotated in relation to each other. The pavilion consisted largely of ponds. The entrance hall — accessible via a bridge over the water surrounding the building — floated 2.5 metres above the ground.
The 30-millimetre-thick, metallic panels, painted in silver, blue and orange, gave the building a futuristic look. The exhibition programme also matched the progressive character of our country. This gave the public an impression of the modern ambition of the Netherlands.
Furniture designer Martin Visser (1922-2009) designed the pavilion furniture for the Dutch entry in 1970, including the SZ 08 Osaka and the BZ 09 Kyoto. Typical features of this collection are the round tubes and the upholstered cushions.
For information about Expo 2025 - Osaka, see: https://www.expo2025.or.jp/en/ or https://nlexpo2025.nl/ for information about the Dutch contribution
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