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Abstract

This paper presents a case study of the thematic pavilion null2 at Expo 2025 Osaka-Kansai, contrasting with the static Jomon motifs of Taro Okamoto's Tower of the Sun from Expo 1970. The study discusses Yayoi-inspired mirror motifs and dynamically transforming interactive spatial configuration of null2, where visitors become integrated as experiential content. The shift from static representation to a new ontological and aesthetic model, characterized by the visitor's body merging in real-time with architectural space at installation scale, is analyzed. Referencing the philosophical context of Expo 1970 theme 'Progress and Harmony for Mankind,' this research reconsiders the worldview articulated by null2 in Expo 2025, in which computation is naturalized and ubiquitous, through its intersection with Eastern philosophical traditions. It investigates how immersive experiences within the pavilion, grounded in the philosophical framework of Digital Nature, reinterpret traditional spatial and structural motifs of the tea room, positioning them within contemporary digital art discourse. The aim is to contextualize and document null2 as an important contemporary case study from Expo practices, considering the historical and social background in Japan from the 19th to 21st century, during which world expositions served as pivotal points for the birth of modern Japanese concept of 'fine art,' symbolic milestones of economic development, and key moments in urban and media culture formation. Furthermore, this paper academically organizes architectural techniques, computer graphics methodologies, media art practices, and theoretical backgrounds utilized in null2, highlighting the scholarly significance of preserving these as an archival document for future generations.