From London to Osaka — A History of World Expos That Designed Our Future

For quite some time now, humanity has been trying to collectively define its vision of the world and the future through international exhibitions. These fairs span across various fields — technology, design, ethnology, art, and ecology. Most of us probably know that the Eiffel Tower was built for one of the World Fairs in Paris, and some might even remember that it was in 1889. But that was just one of many. The biggest of these exhibitions, called World Expos, have been held more or less every five years since 1851. Today, over 150 countries typically participate, and the events last several months.

In between the major Expos, smaller and more thematic ones — the so-called International Expos — take place every year. It’s worth mentioning that in 2026, Poland will be hosting one of them in Katowice. In this brief article, I’d like to recall a few of the most iconic and, in my opinion, most fascinating exhibitions — and show how they shaped not just design, but also the way we live today. Let’s go chronologically:

A Glass and Iron Giant — The Great Exhibition in London (1851)

Although it wasn’t really about design — more a muscular show of industrial power by the world’s leading nations at the time — the London Expo had an enormous impact thanks to the sheer scale of the endeavor. The British set the bar incredibly high, and not just through the items on display, but above all through the venue itself.

At the height of its global dominance, Victorian Britain wanted to impress the world, and it was clear they needed something extraordinary to do it. And they delivered. The building that housed the exhibition, known as the Crystal Palace, was an engineering marvel of its time — and one of the largest structures on the planet. It held thousands of exhibits and tens of thousands of visitors who flocked to see it.

The most amazing part, though, was how it was constructed. Made entirely of iron and glass, the modular structure was completed in just under nine months (at 563 by 124 meters and a volume of 92,000 m³). At the time, only structures like St. Peter’s Basilica in Rome or the Louvre in Paris could rival it in scale — and they had taken decades to build. This was a miracle of both architecture and engineering.Even more impressively, after the exhibition, the entire structure was moved from Hyde Park to Sydenham Hill — all within two years. Sadly, the Crystal Palace was destroyed by fire in 1936, but many photos remain. For those curious about its story, we recommend this article: heritagecalling.com

This London event did two important things: first, it promoted the concept of World Fairs as places where nations could meet, exchange ideas, and celebrate technological progress. Second, it launched the five-year rhythm of the big World Expos — events where the host country always tries to present something visionary, sometimes even defining the future itself.

The Eiffel Tower and the Birth of Art Nouveau — Paris Expo (1889)

This Expo was extraordinary not only because the Eiffel Tower was built for it, but also because it was the first to showcase art and design on such a broad scale — laying the groundwork for Art Nouveau.

A grand exhibition hall called the Palais des Beaux-Arts et des Arts libéraux (Palace of Fine and Liberal Arts) was built on the Champ de Mars. Inside, visitors could view artworks, furniture, and ceramics. Furniture lovers will recognize two important names among the exhibitors: Émile Gallé and Louis Majorelle. At the time, they had not yet developed their signature styles, and Art Nouveau wouldn’t officially emerge until after 1890. Still, this Expo helped push the world away from industrial mass production toward a renewed appreciation for skilled craftsmanship and the flowing, organic lines of the new movement.

For the first time, everyday decorative objects like glassware, ceramics, and furniture were presented alongside fine art — paintings and sculpture — giving them the recognition they deserved.

Some fun facts: more than 30 million people visited the exhibition — a staggering number, especially considering the limited reach of trains at the time and the absence of cars or planes. Even the most popular fairs in the second half of the 20th century didn’t come close to that. One more curious detail: the Impressionists were not allowed to exhibit their work at the Palace of Fine Arts — they were still considered too radical. More on Émile Gallé and his work: Emile Gallé’s artistic vision in furniture and An example of Gallé’s vitrine.

Art Deco Makes Its Entrance — Paris Expo (1925)

This one wasn’t a World Expo in the five-year cycle, but its influence on global — and especially Polish — design was enormous. Officially named the Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts), it gave birth to the term Art Déco itself. More than that — it essentially defined the aesthetic and direction of industrial design for decades to come.

This Expo was a dazzling showcase of a new lifestyle marked by elegance, luxury, and wealth. Avant-garde art became official art. Le Corbusier presented his now-iconic Pavillon de l’Esprit Nouveau — a modular, open-plan house with a mezzanine and loggia. It was a bold vision of functional architecture and left a permanent mark on modern design history.

The exhibition also marked the debut of a young Danish student named Arne Jacobsen. Just 23 at the time, he designed a rattan chair called the Paris Chair specifically for the fair. It earned him a silver medal. In the decades that followed, Jacobsen would become one of the most celebrated Danish designers, and his furniture continues to sell in the millions to this day.

For Poland, this was a landmark event. It was the first opportunity to present itself on the international stage after regaining independence. The Polish pavilion drew significant attention, and many Polish artists received medals and awards. Jan Szczepkowski won the Grand Prix for a Christmas nativity scene. Zygmunt Kamiński received honors for his designs of the new Polish banknotes. Zofia Stryjeńska earned no fewer than four Grand Prix, a special distinction, and the Legion of Honour. This Expo effectively launched the Polish Art Deco era — which became the official style of the Second Polish Republic until the outbreak of WWII. https://www.whitemad.pl/miedzynarodowa-wystawa-sztuki-dekoracyjnej-w-paryzu-1925-polskie-wzornictwo/

The City of the Future — New York World’s Fair (1939)

Titled The World of Tomorrow, this fair had a profound influence on how people — especially Americans — imagined the future. Its centerpiece was Futurama, a vast, moving model of a futuristic city, designed by Norman Bel Geddes for General Motors.

That vision went on to shape American urban development for decades: sprawling suburbs, highways, and the rise of the private car. Unsurprisingly, automotive companies supported and promoted this future — it aligned perfectly with their business interests.

But that wasn’t all. This was also the first time the public saw live demonstrations of emerging technologies that would change the world: television, the microwave oven, and an early computer prototype. In short, the fair offered a glimpse of the very future we live in today.

The World Transformed by Technology — Osaka Expo (1970)

This was the first major World Expo held in Asia — and Japan seized the opportunity to show off its vision of the future. The country had already amazed the world with cutting-edge infrastructure during the 1964 Tokyo Olympics, where the bullet train (Shinkansen) made its debut, reaching over 200 km/h. But the Osaka Expo offered something even more futuristic: the magnetic-levitation train, or Maglev. It floated above the track and reached speeds of over 500 km/h. The train even appeared on the official Expo posters.

This Expo symbolically marked the beginning of Japan’s global dominance in technology. Within just a few decades, cities like Osaka and Tokyo would grow into some of the world’s largest urban centers. The fair featured a number of visionary innovations:

First public display of mobile phone prototypes (NTT)
Early demonstrations of computer networks — the seeds of the Internet
Electric vehicles and high-speed trains
The first humanoid robots

One of the biggest attractions was a robotic orchestra called Symphonitoron. Hear them play: YouTube link, Photos from the Expo: archdaily.com.

In 2025, the Expo returns to Osaka. The event is titled Designing Future Society for Our Lives.
What will we see there? How do we imagine the future, 55 years after the previous Expo in Japan? What kinds of visions will different countries present?

I hope I’ll be able to show it to you in person — and try to answer those questions along the way.

See you in Osaka!

Adam Krzemiński – CEO

Adam Krzemiński graduated with a degree in law, but his passion for archaeology led him to the discovery and restoration of furniture, which he treats as historical artifacts. He began by restoring antiques in Europe and the United States, but soon focused his attention on 20th-century pieces. In 2014, he founded Futureantiques—a company specializing in mid-century modern furniture and lighting. To date, items from the Futureantiques collection have found new homes with clients in over 27 countries, 400 cities, and across four continents.