Weaving the Future: What the EXPO Japan Pavilion Taught Me About Circularity
The Osaka-Kansai Expo, held last year, was an event I had been looking forward to ever since it was first announced. I secured several tickets early on, but due to some health issues, I wasn't able to finally make my first visit until July. Since it was difficult to get reservations for the popular pavilions, I visited the site repeatedly, patiently ticking off the exhibits I wanted to see one by one.
Of all the exhibits, the one I was most passionate about seeing was the Japan Pavilion. As the host nation of an Expo held in present-day Japan, I wanted to see what kind of message our country would send to the world. I also felt that whatever was presented there would deeply influence the future of my own craft.
Finally, in early October—as the Expo neared its closing—I was able to wait in line and enter.
The Japan Pavilion’s design involved the world-renowned design office nendo, led by Ooki Sato. As someone involved in design, I was incredibly eager to see their work firsthand. After waiting for two and a half hours—resting on my "Expo chair"—my dream finally came true.
The theme of the Japan Pavilion was "Between Lives." It was designed as a space to contemplate connection and circulation.
From "Waste" to "Water." From "Water" to "Materials." From "Materials" to "Products."
The pavilion was divided into three main zones: the Plant Area, the Farm Area, and the Factory Area.
Plant Area — From "Waste" to "Water" The journey begins with the sight of waste flowing through a massive facility. Here, you witness the waste being fermented, followed by the "Garden of Light," where the dynamic movement of microorganisms inside tanks is expressed through light. It was a powerful visualization of how waste is transformed into various substances and energy.
From the walkway, you can look down at the massive biogas plant, and its sheer scale is overwhelming. I recall seeing a separate reservation slot for a "guided tour" on the booking page; now I realize this was the facility people were able to explore up close.
Throughout this area, BE@RBRICK figures appeared in various spots, cleverly representing the process of waste breaking down into carbon dioxide and water.
Farm Area — From "Water" to "Materials" This zone showcases how food and resources are efficiently produced using the latest biotechnology, such as microalgae.
And this is where Hello Kitty makes her appearance!
They used 32 different species of microalgae to design various Hello Kitty figures. This exhibit intuitively communicated the future of "bio-manufacturing" to everyone from children to adults. As expected, it was an incredibly popular area, and it was quite a challenge just to get close enough for a good look.
It’s hard to wrap my head around, but a 14-fold increase in oil production is truly remarkable.
I was also astonished to learn that microalgae can produce 36 times more protein than soybeans.
How will this algae be utilized in our lives? I look forward to the day when I realize, "Oh, this must be that algae from the Expo!"—finding that it has naturally become a part of our daily existence without us even noticing.
I learned that this was a work by nendo. It was truly breathtaking. It showcased liquids and substances created by the "microorganisms" (such as koji mold) that support Japanese food culture. It was all about the power of these tiny life forms, but I found myself simply lost in the sheer beauty of the glasswork.
This is the 3D Printer Factory.
From "Materials" to "Products" Looking down from above, you can see staff members working alongside robotic arms.
As I moved forward, I entered a booth titled "Soft Manufacturing" (Yawaraka-i Monozukuri). This is where Doraemon makes his appearance. It felt as though he was conveying the spirit of repairing broken things and the importance of continuing to cherish what we already have.
What caught my attention were the exhibits on clothing (kimono) and furoshiki (wrapping cloths). Both represent the incredibly efficient use of a single piece of fabric. A kimono, when folded correctly, becomes as compact as the original cloth it was made from. A furoshiki can wrap an object of any shape as long as it’s the right size, even serving as a substitute for a bag. I felt that these things, which seem so natural to Japanese people, are deeply connected to the concepts of "sustainability" and "circularity." Through the Japan Pavilion, I realized that humans, microorganisms, algae, and even technology like Doraemon are all interconnected, influencing each other to create the future.
In my own work of making Nuno-zouri (cloth sandals), I occasionally receive requests for repairs when they stretch or fray. By tightening the core or replacing the hanao (straps), they can be repaired indefinitely—as long as the owner wishes to keep using them. Of course, the fabric may lose its tension or wear down over time, but by washing them, drying them in the sun, and mending them, they are brought back to life.
At the end of the Japan Pavilion, I felt that the smile Doraemon shared was not just about high-tech innovation, but about the spirit of cherishing and repairing things—a value Japanese people have held dear for generations. I want our Nuno-zouri to be a part of that cycle.
Our process involves a craftsman’s touch, braiding cords from a single thread. At the same time, we create new value through "Upcycled MERI," using leftover threads or knit fabrics that were destined to be discarded. I want to continue weaving a comfortable cycle of sustainability, one step at a time, valuing both the preservation of tradition and the act of regenerating for the future.
My new dream is to one day host a workshop at a future Expo using recycled materials, becoming a true part of this beautiful circle of life.