The Japanese are known as the greatest lov-ers of World Expos. Huang Jenn-jia, an assistant professor of mass communication at Tamkang University, has studied Japan's exhibition industry. Huang points out that during the Meiji Restoration at the end of the 19th century, Japan sent delegations to Britain on study missions. They had a big impact, and from that point on Japan showed great enthusiasm for World Expos. For instance, in 1935, during the era of Japanese rule in Taiwan, the colonial rulers held a Taiwan Expo to celebrate the 40th anniversary of Japanese rule. During its 50-day run, the exhibition attracted a total of 2.75 million visitors. The majority were Taiwanese, followed by Japanese, and then smaller numbers of Koreans, Manchurians and other groups. The total number of visitors equaled one-third of the island's population.

Considering the great enthusiasm that the Japanese have for international exhibitions, it should come as no surprise that they brought out the works for an event billed as "history's largest" World Expo.

The Japanese Pavilion sits on about 6000 square meters. The large arching domed roof has three "tentacles" extending from it, as well as three concave "breathing holes." With its lavender exterior, it looks like some creature from an imaginary world, or a leading character in a Hayao Miyazaki animated film!

In fact, the purple exterior, tentacles and breathing holes are all manifestations of cutting-edge environmental methods. The lavender exterior is made of a lightweight photocatalyst-treated ETFE membrane. (The Beijing National Aquatics Center, or "Water Cube," which was home to swimming events during the 2008 Summer Olympics, also has an exterior made of this material.) It absorbs solar energy and lowers dust levels, and it keeps a beautiful-as-new appearance even if it isn't often cleaned.

The tentacles and breathing holes are matched together to form an "environmental breathing pillar." Not only can the pavilion collect and reuse rainwater through interior misting that reduces the temperature inside, but it can also bring in air from outside through the breathing holes. At the same time it can take the cold air that collects at the floor and move it upwards in a cycle. This not only saves money and energy by reducing the need for air conditioning, but it also keeps the air inside the pavilion fresh.

The Japan Pavilion is divided into three exhibition zones with an overarching theme of "connections." Zone 1 mainly describes the connections between Chinese and Japanese culture. The story begins with the early Japanese envoys to Tang-Dynasty China, and unfolds along a long multimedia "scroll." Visitors get a clear understanding of how Chinese writing, the tea ceremony, calligraphy, weaving techniques and so forth migrated across the sea to the land of the rising sun, as well as the deep impact they would have on Japan's later development.

In this area, visitors can also enjoy nishijin weaving, a national treasure with a 1200-year history. This style of weaving, which makes use of silk threads of various colors as well as gold and silver threads, in fact evolved from weaving techniques used at the Chinese imperial courts. Interestingly, nishijin weaving is common in modern-day Japan, and yet court weaving techniques have almost entirely disappeared in China. That contrast highlights the determination with which Japan has worked to preserve its cultural legacy.

This "Wonder Camera" at the Japanese Pavilion was developed by Canon. A high-definition ultra-telephoto still camera, it captures all objects, whether near or far, in sharp focus, creating a three-dimensional effect without using 3D technology.

The main theme of Zone 2 is "connecting knowledge and soul." For starters, this zone offers a life-size model of a teahouse under blooming cherry trees that provides visitors with a sense of the Japanese affinity for nature. Next is Japan's "Cultural Heritage Inheritance Project," which is a joint endeavor of the nonprofit Tokyo Culture Association and Canon Inc. With high-tech cameras and reprographic technology, this area reproduces such masterpieces as Sotatsu Tawaraya's Wind God and Thunder God, which is a pair of painted folding screens from the first half of the 17th century, and Flowers and Birds of the Four Seasons by Motonobu Kano from the early 16th century.

Another strong point of this zone is its introduction to how Japan is adapting to a shortage of water resources and global warming. For instance, it introduces the latest technology used to treat seawater and sewage and turn them into potable water, and makes predictions about the widespread use of various inventions in the "zero-carbon city" of 2020, such as power-generating flooring (which will generate energy as it is stepped on and force is applied to it), power-generating windows (which have glass with a thin film of photovoltaic cells attached) and household fuel cells (which use energy produced from hydrogen and oxygen to provide households with electricity and hot water).

After the visitor has gained an appreciation for Japanese technological prowess, Zone 3 provides a conclusion on the theme of "spiritual 'connections' and future harmony." In this zone there is a theater that can hold 550 people. During the warm-up acts, what most attracts people's notice is Toyota's Partner Robot. The robot's hands are extremely nimble and can even play a violin. As Japan's society ages, perhaps robots like these will be able to help take care of the elderly.

There is also a performance piece on the crested ibis, an endangered bird that both Japanese and Chinese are working to protect. The work blends traditional Japanese Noh theater with Chinese Kunqu Opera. It is estimated that the 20-minute drama, which stresses environmental protection and Japanese-Chinese harmony, will be performed 6400 times over the half year of Expo 2010. With three different casts of Chinese actors, the drama represents a very labor-intensive investment.

After the show, the robot, who's a real hit with audiences, comes out to play a beautiful piece on the violin, providing a fitting conclusion for the Japanese Pavilion and its theme: "harmony of the hearts, harmony of the skills."

(left) A naming contest was held for the Japanese Pavilion. From among 3600 submissions from both Japan and China, the judges ended up picking "Purple Silkworm Island," a fun and fitting name.

Looking toward the future, Panasonic has developed a "life wall" (left). The living room wall and television set are one and the same: With a few simple clicks, the television can appear anywhere on the wall you want it to.Toyota's "Partner Robot" (right) is the Japanese Pavilion's "secret weapon." The robot's hands are very nimble, enabling it to shoulder the heavy responsibility of caring for old people. It can even play the violin.

Looking toward the future, Panasonic has developed a "life wall" (left). The living room wall and television set are one and the same: With a few simple clicks, the television can appear anywhere on the wall you want it to.Toyota's "Partner Robot" (right) is the Japanese Pavilion's "secret weapon." The robot's hands are very nimble, enabling it to shoulder the heavy responsibility of caring for old people. It can even play the violin.