At Expo 2025 Osaka, Kansai, Poland will present itself with a national pavilion spanning almost 1,000 square meters within the ‘Saving Lives’ thematic district. The architectural concept is based on the use of wood, and the shape of the structure is intended to evoke association with the spreading wave of creativity and innovation of Polish people. Designing by Alicja Kubicka and Borja Martínez from Interplay Architects, the expressive wooden facade has been built using the traditional ‘Kigumi Koho’ wood joining technique, a nod to Polish and Japanese building crafts.
According to the architects, the genesis of the project arose from a fascination with the geometry of the spiral. A shape that has inspired humanity for centuries, it appears in nature at all scales: from protein molecules to the structure of galaxies. In what way does this geometry represent Polishness for us and its inherent spirit of innovation? The borders of Poland’s territory do not hinder innovative ideas from spreading far and wide, influencing distant regions, and allowing knowledge gained abroad to return to the gravitational center of our nation. These invisible but significant forces for the country’s development are expressed in the dynamic form of spiral walls, with the concert hall at its core.
“From the outset, we knew that the Pavilion’s external form had to be original and original in order to encourage visitors to visit this particular building among the many unusual structures. In addition, the pavilion’s privileged location – situated in an exposed corner – allowed us to create an attractive design seen from different perspectives and in motion, rather than from one main and static view,” said Alicja Kubicka and Borja Martínez.
Formally, situated on a prominent corner plot highly exposed to external views, the Polish Pavilion is conceived from a spiral layout, formed by overlapping curved walls of varying heights. This open and dynamic shape addresses the need to offer a recognizable image from multiple angles, simultaneously drawing visitors in through wall extensions projecting towards their surroundings, inviting exploration.
The spiral geometry is more than merely a formal gesture; it serves as a spatial tool structuring the exhibition sequence and fostering a progressive experience of discovery. Visitors move naturally through different spaces without losing visual contact with the exterior, thanks to windows illuminating sections of the journey, culminating in a concert hall located at the building’s heart – a warm, introspective ellipse.
“The starting point was the concert hall: the Japanese love Chopin, and concerts dedicated to his works will be one of the highlights of the Programme. We placed it in a central location. We then tried to create a flowing tour path and to organize all the other functions so that they revolve around the geometric heart of the Pavilion. This move not only symbolizes the importance of culture, which sets us apart from others, but also with the open and concentric arms of the spiral invites you to enter the ‘Polish galaxy’ zone,” added Kubicka and Martínez.
The construction employs a modular logic based exclusively on two types of wooden modules. This strategy ensures flexibility to adapt to the project’s geometry while maintaining rigorous construction standards to meet extremely tight deadlines. The hall, inspired by Baltic amber – a symbolic material of Poland – is enclosed by a curtain of golden chains evoking willow branches, referencing the landscapes that inspired Chopin. This curtain unifies the space, conceals entrances, and creates an intimate atmosphere subtly accentuated by lighting.
The pavilion exclusively utilizes locally sourced Japanese pine wood for both its structure and cladding, capitalizing on the exceptional savoir-faire of Japanese carpenters. It references traditional techniques reinterpreted through contemporary methods, resulting in a vibrant façade that shifts appearance throughout the day due to the interplay of shadows. Inside, the timber provides warmth, sensory comfort, and even an aromatic presence.
The Pavilion’s walls are covered by stacked timber modules that were engineered as like masonry walls by the structural designer. Each module’s height is 450mm – similar to that of chairs and benches. The modules are made of laminated cedar timber produced in Kagoshima, Japan. The modules are vertically fixed in place by threaded steel rods and couplers. For lateral stability, the hind sides of the modules are fastened to a supporting steel structure or the building wall at every 1,800mm height increment.
The construction employs a modular logic based exclusively on two types of wooden modules. This strategy ensures flexibility to adapt to the project’s geometry while maintaining rigorous construction standards to meet extremely tight deadlines. Under the slogan – ‘Heritage that drives the future’ – the project establishes a dialogue between national identity and local context, between traditional craftsmanship and forms that embrace the future.
