THE COMMON ARCHITECTURAL THEMES OF EXPO 2020

All of the gates of Expo were officially closed. Did you get the chance to visit and marvel at the architecture of the 192 participating pavilions? Here’s a summary of the architectural themes from the 6 month long world’s fair.

As the Expo 2020 ended this March, it is a good time to take a look back on the common themes that were exhibited architecturally by all the participating countries. There were a total of 192 countries that participated and erected architectural marvels on the Expo site.

This will be a breakdown amongst the themes that were exhibited during the event, the common themes and the ones that stood out and became the defining visuals on this year’s expo. This article is limited to country pavilions who have exhibited full scale architecture or were self-built. Pavilions that were rented or part of “thematic district pavilions” as listed in the official website are not included.

The theme for the fair was “Connecting Minds, Creating the Future.”  Dividing the expo site into three sub themes which were the main districts, opportunity, sustainability and mobility and sub districts jubilee and al forsan which literally means “the knights”, but according to the official expo website , the sub district’s name came from UAE’s rich tradition of breeding and caring for the horses. And perhaps the most important goal of this year’s expo was for it to be the biggest and one of the most sustainable. With most of this country pavilions being temporary, sustainability is a huge factor.

 

 

I. Middle Eastern/ Middle Eastern Architecture

 

The expo site being located in an Arab country, Designers and Architects felt obliged to pay respect to Middle Eastern Architecture especially countries from the West. Western Countries exhibited a pavilion that showcases a marriage of Arabic elements, patterns and of their own.

Out of the 22 members of the Arabsphere, 11 were able to participate with self-built pavilions. These participating countries certainly represent Middle Eastern architecture but listed below are the ones that represented the Arab world as a whole. Middle Eastern Architecture is largely influenced by Islamic Architecture so inevitably, architecture from pavilions by Muslim dominated countries will have resemblance.

a.) Arabesque Patterns

Uzbekistan’s elliptical pavilion is wrapped with a more than 2 meter high blue stripe of geometric arabesque patterns. Turkmenistan also showcases colorful arabesque patterns on its 50 meter long LED screen on its right elevation.

b.) Signs and Calligraphy

The Palestine pavilion went for simplicity in its architecture and effectively incorporated art on its grey colored elevation.  A wave of calligraphy starting from the rear, flows and transforms into the city of Jerusalem at the entrance. This art is a cut out of the building’s skin that enables light to pass through it at night.

Israel’s pavilion not only incorporated calligraphy, it served as a centerpiece on top of its dunes-inspired auditorium. A large sign, standing on the center of its gates, written in Aravrit (a creative combination of Arabic and Ivrit) that means “towards tomorrow.”

c.) Arab structures

Finland pavilion’s façade is draped with an entrance that resembles an Arabic tent. Upon entering Austria’s pavilion, a guide will discuss how the pavilion is inspired by historic Arabic wind towers in terms of its passive cooling method.

d.) The Mashrabiya

The Mashrabiya is a traditional architectural element that has found its way to modern day architecture, being incorporated in skyscrapers and museums; as it has been considered both aesthetically pleasing and functional (sun shading system). This traditional wooden latticework also inspired a lot of architects during the fair. The Sweden Pavilion’s wooden screen of equal triangles, and the wooden latticework (main pattern of diamond shapes then again layered with triangles) of Canada, that crowns its circular plan, took inspiration from this Middle Eastern architecture element.

Algeria takes the modern route as it takes on a gold colored steel gateway tiled with sets of varying triangle patterns. Japan envelops its pavilion with a geometric latticework made up of interconnected steel pipes, forming triangles that individually host a stretchable fabric. This complex building skin is a fusion of the mashrabiya and Japanese art of Origami.

II. Sustainability

a.) Truncated Cones

Spain and Austria have both used cone shapes on account of the simple concept of cross ventilation and passive cooling (one made with clay, the other with tension Fabric). Cool air enters the openings at the base of the cones and exits at the top, an energy-saving cooling solution to the UAE’s desert climate.

b.) Solar Panels as Architectural Elements

While most of the pavilions have used solar panels (such as in Malaysia), It was also used as an architectural element. For France, similarly shaped solar tiles were installed together with diamond multi-colored tiles in a fish-scale like pattern at the pavilion’s rear side. For Monaco they incorporated Solar Panels as façade elements inconspicuously. Perhaps the most innovative one is the Netherlands Pavilion with its solar panels at the roof that are colored like stained glass; when hit by sunlight, bring colorful streaks of light inside.

c.) Evaporative Cooling

With the UAE’s harsh climate, architects felt the need to incorporate cooling methods in their design. Integrated in the landscape were water features for China, Finland, Japan, Slovenia, Qatar and Norway. Leading the way to the entrance of the Malaysia pavilion’s exhibit, is a narrow artificial river with river rocks, flowing all the way down the ramp. Brazil not only assimilated water features in its landscape, the water floods a huge percentage of its plan heel high. It creates an illusion of a floating building especially as the whole enclosure (tension fabric) is suspended a foot high and only meets the ground at its steel supports.

d.) Water Harvesting

While rainwater is not that expected in the UAE, rainwater harvesting as a concept was still utilized in the designs of Brazil and Kuwait. Though not functional, the roof is shaped like a funnel and its square shaped open end gives the illusion of the water being harvested from the sky. Kuwait also have a vortex roof of tension fabric shaped like a funnel but doesn’t pierce through the roof, just functions as a shade for its terrace; but it is the intention of the designers to create a vortex that seemingly continue to the pavilion’s interior, as for the inside, its fake end leads to a water feature.

The real innovation is with the Czech Republic’s pavilion and in the Netherlands with their theme of water harvesting system from air. Netherlands biotope, at its roof, is a seemingly rectangular chimney that harvests water which is then used for the water show inside of its cone shaped vertical farm. Czech Spring Pavilion’s whole architectural element relies on the intertwined fiberglass tubes that form a huge shade in the outside then continuously flows at all parts of its interior but seemingly ends at the center where the water harvested creates a clear water feature.

e.) Green Architecture

Green walls and Green roof are arguably the most commonly linked elements with sustainability as these are the most evident. As expected of Singapore, the pavilion’s black color is overpowered by the green hue from all of the plants growing from every part of the pavilion, in its landscape, its walls and ceiling. Incorporating the cone shaped vertical farm like that of Netherlands. Slovenia also made use of green walls, with its tiled green wall enwrapping the whole elliptical shaped pavilion.

f.) Skylight

Pavilions have integrated skylight at the central part of their plans, from the interior of pavilions namely Finland, Ukraine and Venezuela. For Ireland, the oculus is projected at the roof into a cone-like structure, taking into consideration the sun path; an inspiration from medieval architecture – Ireland’s Neolithic newgrange passage tombs.

 

III. Cultural Identity Inspired Form

a.) Biomimicry

Malaysia and Sweden (Forest)

Visually similar are Malaysia and Sweden, around their pavilions are multiple poles of different heights, which are intended to represent the forest. Malaysia’s steel poles are installed with small light fixtures that glow like fireflies at night while Sweden’s poles are of actual timber. As the poles are scattered randomly around the landscape (for Sweden even at its interior), it gives the same spatial experience when you walk through a forest.

Azerbaijan and Oman (Trees)

Oman took pride in its highest quality Frankincense by taking it as the inspiration for the pavilion’s form. For Azerbaijan’s pavilion, it took inspiration from the form of the leaf and tree. Both pavilions feature their upper plan cupped by the branches of their own version of a tree-inspired timber structure. Taking it a step further, a leaf-like roof envelops the ground floor plan of Azerbaijan’s pavilion, forming a quarter of a sphere. It not only took the shape of a leaf and color but also mimicked it down to its vein structure. 

Ukraine (wheat grain) – The plans of the Ukraine pavilion are shaped as polygonal versions of a wheat grain. Pointed edges of the plan are emphasized at its corner windows, pointing a little further away from the plan. The pavilion’s exterior walls are also decorated with floral and plant patterns and its gold shade is also wheat inspired.

Philippine pavilion (coral reef) – named Bangkota, the pavilion’s multi-level plan is inspired by the coral reefs’ shape, making it amorphous.

b.) Other Culture Inspired Forms:

Russia (Russian doll) – the pavilion’s form is inspired by the Russian nesting doll as evident from its domed roof and round body.

Qatar (coat of arms) – another design by Calatrava is the Qatar pavilion taking the form of its Coat of arms. The Pavilion is in the shape of the dhow and the sword-like sculpture beside its entrance are actually two palm trees; a concept taken literally from its coat of arms.

Norway (ship) – this cantilevered structure is a representation of a Norwegian Ship emerging, complemented by artificial lakes around it.

China (Chinese lantern) – the pavilion not only took the cylinder shape of the lantern but also the patterns and colors.

Australia (Landscape) – the building is an abstract depiction of Australia’s landscape. Its white freeform roof represents the clouds and its ground level is a wooden structure with geometric faces representing the mountains/landscape.

Israel (Seven gates) – the number 7 holds a holy significance to Judaism which is the prominent religion in Israel. The pavilion is terraced by seven gates with an interior face of LED screens representing gateways to the future.

Portugal (Caravel) – On its side profiles, 4 rectangular blocks noticeably stand on the terrace at different levels; these represent the sails of the caravel. Adding to the visual concept of the caravel, is the illusion of a floating structure achieved by resting most of the visual space of the upper storey on columns, then with maximum contrast by using black at this lower level against the generally white pavilion.

Egypt (pyramid and Suez Canal) – the pavilion pretty much sums up how the world came to know Egypt. Its entrance shape is a reminder of its pyramids and the oddly shaped LED screen on its left, is in the shape of the Suez Canal.

IV. Buildings as exhibits

a.) Screen Facades

Almost all self-built pavilions made use of LED screens in their facades or screen projection – Brazil, Turkmenistan, Colombia, Egypt, Portugal, and Kuwait. But for some, the screen is the whole pavilion. For Brazil its white tension fabric transforms into a screen when videos are projected at night. For Israel, its seven gates are LED screens from the inside. Saudi Arabia appears as Giant Cantilevered Screen and on its sides are stripes made up of LED screens as well. A huge part of the whole experience of visiting the UK Pavilion is by merely staring at its facade. Visitors are made to type random words upon entering the pavilion and the AI generates poems which then are flashed into the facade with multiple rectangular screens; that each fit one or few words.

b.) Kinetic Architecture

New Zealand created a specific building material called “Kaynemaile” for its pavilion. This black mesh flows with the wind, giving life to the building. Poland’s pavilion gives the illusion of a flock of birds with its lightweight 3d grids installed on different faces of the building, hosting white triangular shapes that also move with the wind in a breathtaking visual.

For Korea, its only tangible exhibit is its dynamic façade itself. With spinning cubes of yellow, blue and orange colors that lights up at night as alternating pink, white and violet cubes that together, flashes moving images. India’s pavilion is also covered with rotating blocks, but of rectangular shape. The blocks are of earth and mineral colors. At night, videos are projected to the blocks making it function as huge screens.

The host country’s pavilion takes center stage with its wings-inspired kinetic architecture. Shaped like the wings of a falcon (the national emblem of UAE), this majestic roof structure opens and closes throughout the day, making it one of the most iconic pavilion.

V. Traditional Architecture

a.) Traditional Materials/Methods

Morocco used its ancient construction by utilizing rammed earth to its 7 storey high pavilion of stacked blocks. From the outside, it seems that the Austrian pavilion is made from tension fabric but upon looking on the inside it is made with one of the most traditional building material there is, which is clay. I’m making an exemption on Mexico because even if it is not a self-built pavilion, it makes you think that it is. It is covered with multicolored patterns of handwoven palm leaves, huge enough to cover the entirety of its façade.

b.) Traditional Architecture motif

Peru, Algeria and Palestine took inspiration from its historic cities and structures. Palestine gives a glimpse of its ancient architecture by putting up an archway near the entrance. A similar strategy is seen with Peru’s pavilion, which took a replica of its ancient bridge of Q’eswachaka. The theme continues inside for both of the pavilions as Palestine takes you on the streets of Jerusalem and Peru takes you on to its ruins of Kuélap. This trend is also seen in Algeria Behind its gateway, lies a kasbah inspired courtyard.

 

VI. Other Themes of Modernism

Below are modern architectural themes that are rampant in modern architecture:

a.) White/ Rainbow

White is seen as minimalist and modern, as opposed to the traditional grandeur and ornamentation of historic buildings. All-white pavilions include UAE, Portugal, Brazil, Colombia, Serbia, Finland, Lebanon, Luxembourg and Qatar.

The opposite can also be a modernist theme, which is the combination of the rainbow colors. With the right execution of vibrant hues and simplicity of design; rainbow tubes that enveloped the pavilion of Russia proved it can be modern.

A combination of both white and rainbow is seen in the Venezuela pavilion as they chose white as the main color of the building; white, serving as a canvas to multicolored vertical slats that mimics the sound symbolism in modern technology.

b.) Cube

Again, minimalism and simplicity is what the cube shape stands for in modern architecture. Cube shaped pavilions are Venezuela, Lebanon, Belarus and Bahrain.

The most fascinating cube-shaped pavilion is Bahrain. From the outside, there is no visible entry point for this steel-pierced pavilion. Upon looking inside, you’ll see that these 126 aluminum columns that shoot outside through different points of the pavilions are laid out in no harmonious pattern – a spatial experience that conveys density.

c.) Crystal Shape

This multi-sided, polygonal shape is only seen in modern architecture, a result of technological advancement in construction. Architects didn’t miss the chance to use this form in their pavilions: Serbia’s time capsule pavilion and Monaco’s crystal shaped curtain wall installation, sitting at the top of a rough terrain (set of ladders and ramps).

d.) Freeform Roofs/Shade

The largest pavilion, Campus Germany, its flat roof is extended downwards through slanted poles connecting to a freeform grid with wavelike side profiles. This visual extends into the interior on varying slopes and connects to the lower levels. Australia represents the clouds in its aluminum free-form roof made up of white vertical slats in varying sizes intersecting two planes of diamond patterned grid. The real definition of free-form, however, is Iraq’s pavilion fishnet shade. Its main exhibit rests under the shade of a free-form structure that imitates a net being thrown away for a catch.

e.) Illusions

Switzerland takes a playful approach to its façade by the use of reflections. Its mirror finished cladding effectively reflects the red carpeted landscape of their flag.

UK with its perspective AI building fakes a vanishing point that tricks the eye to think that it’s actually bigger than it is; as its elliptical façade fades backwards into a small entrance. Horizontal lines add to the illusion. In reality, its rear end, which is the entrance, is just enough size for a door for 2 persons to fit in.

Pakistan’s pavilion exhibits hypnotic qualities. The thousand colored scales seem to simulate holo properties but this effect is achieved just from gradual transitions of color. One piece of its diamond shaped cladding is painted differently to the next with minimal tweak of hue from its preceding color.