It's no wonder the Japanese are often called 'aliens.' I have never seen people stand for hours in sweltering heat exceeding 45 degrees Celsius, waiting in seemingly endless lines, just to get a glimpse of other countries' culture and way of life. At the Romanian Pavilion at Expo 2025 Osaka, visitors endure a marathon of patience that can last more than two hours.

Yumeshima is an artificial island that was originally created by the Japanese as a landfill and waste disposal site for Osaka. Over time, however, authorities realized they could turn it into a tourist destination. Osaka missed its chance in 2008, when the Olympic Games went to Beijing, but it triumphed in securing Expo 2025. Today, the former landfill is carefully monitored: the level of flammable methane gas in the soil is checked daily to prevent any accidents at what has become the city's most important 'laboratory,' where the 'society of the future' is being designed, as the Expo's slogan promises.

It's 10 a.m., and the air in Osaka feels almost suffocating, thick with humidity. Thankfully, the subway takes you straight to Yumeshima, the newest and final stop. The moment you step onto the escalators, the sheer scale hits you: thousands of fellow passengers are all headed to the Expo, just like you. The full impact hits at the entrance gates, where a sea of people patiently waits their turn to step into what feels like a promised land.

The entire exhibition complex is encircled by a grand wooden structure — clearly the largest of its kind in the world, certified by Guinness World Records, with a covered area of over 61,000 square meters and a circumference of more than 2 kilometers. It is a huge advantage for Expo visitors, because this mega-structure not only provides shade but also creates an air-conditioning effect. A true oasis, this Grand Ring offers relief from the scorching heat of Yumeshima. Above the structure, a suspended walkway rises more than 10 meters high, giving visitors panoramic views of the Expo, as well as of the sea and the city of Osaka. The entire complex was designed to bring the Expo's theme — 'Life, Society, Future' — to life, while also serving as a symbol of unity for the more than 150 countries participating in Expo 2025.

At Expo 2025 Osaka, the entire Japanese lifestyle seems to be condensed into one place — marked by discipline, patience, and an insatiable hunger for knowledge that drives them to make sacrifices. And their 'hunger' does not bypass Romania; on the contrary, our country's pavilion is one of the most sought-after.

The 'Romanian Magic Box,' located in the Expo's 'Saving Lives' area, perfectly lives up to its name, looking like a magical wooden cube.

Designed by students from the Faculty of Architecture at 'Ion Mincu' University in Bucharest, the pavilion was selected through a competition organized in collaboration with the Ministry of Foreign Affairs (MAE). The winning project was created by students Georgiana Muraru and Anca Bodoalca.

Almost the entire experience at Romania's pavilion in Expo 2025 is designed around the concept of the future, with students involved in nearly every activity under the guidance of the Ministry of Foreign Affairs.

'I really liked Romania's pavilion. The piano performance was my favorite — simply enchanting. I waited about two hours to get in (laughs), but I don't regret it; I loved it. I would also like to visit Romania someday, even though I don't know much about the country,' says Tae, a young visitor from Osaka, still energetic despite hours spent under the sun.

Visitors enter in groups of 130-150 at a time, just as organized as they are while waiting. Another 300-400 patiently await their turn under the scorching heat at the entrance. Romania's representatives hand out cold bottled water daily — a small gesture that delights and surprises many visitors.

At the entrance, visitors are greeted by Alina Ionescu, Maria Stefan, and Mara Raducanu, who speak to them in their own language. They are Japanese-language students at the university and are part of the 'guest reception committee' at the Romanian House.

Visitors settle into the amphitheater at the center of the pavilion, notably larger than those of other countries, and wait quietly for the surprise ahead. And it comes. Visitors are taken on a visual journey through giant projections of the Danube Delta, Romania's salt mines, and its majestic mountains. Then they enjoy a short recital by pianist Anca Preda, a professor at the Faculty of Music, Transylvania University in Brasov, accompanied by Alexandru Petrut on electro-classical guitar, a student at the same institution. The combination of sights and sounds transforms the pavilion into a truly immersive Romanian experience.

'It's exhausting, but also very interesting, because I've never experienced the audience changing so frequently. Every half hour, a new group arrives, each bringing its own energy and expectations. Even though I always play Enescu, every performance feels fresh and alive. The choice is deliberate — he is Romania's greatest composer and deserves to be discovered by the Japanese audience. Many visitors study piano or are connoisseurs of classical music. I try to meet their eyes, looking for faces that show interest, because at first they often seem hesitant, unsure what to expect. And I always find smiling faces by the end, which fills me with immense joy. It's a meaningful experience for them, because most other pavilions feel impersonal and lack the personal connection that Romania offers. I would gladly do it again anytime, without hesitation, even though it is quite demanding,' shares the young piano teacher.

Student Alexandru Petrut is also thrilled by the Japanese experience and appreciates the attention he receives from visitors. Yet he admits that living in such a society would be difficult for him, primarily because of the limited opportunities for social interaction.

The mini-concerts always end with applause, forming the centerpiece of Romania's pavilion at Osaka. Afterwards, some visitors participate in a clay modeling session led by ceramic artist Ioana Deak, remaining as disciplined, attentive, and focused as they naturally are. The rest explore the art exhibition, whose central theme is the 'egg.' The main and most admired exhibit is a life-size kimono made from eggshells, aptly named 'Renaissance.'

The Romanian Pavilion is designed as a multi-sensory journey, where light, shadow, sound, scent, and texture combine to immerse visitors fully. Guests are also treated to the aromas and flavors of Romania: the scent of mici [grilled skinless sausages made from a mixture of ground beef, lamb, and/or pork, editors' note], stews, and soups wafts from the pavilion's restaurant, drawing Japanese visitors who patiently wait up to an hour and a half to taste traditional Romanian dishes. The restaurant line is separate from the pavilion queue, yet followed with the same disciplined order.

The restaurant is airy, spacious, and furnished with carved wooden tables and chairs inspired by Brancusi or traditional folk craftsmanship. Like much of Japan, food is prepared in front of guests, making the smells even more enticing.

Dishes such as mici, sarmale [minced meat — usually pork, beef, or a mix — rice, onions, and spices, all wrapped in pickled or fresh cabbage leaves] with polenta and sour cream, eggplant salad, stews, ostropel [dish, usually made with chicken or rabbit, simmered in a garlic and tomato-based sauce], meatball soup, papanasi [traditional Romanian dessert, fried or boiled cheese doughnuts made from a mixture of soft cheese, flour, eggs, and sugar, served warm, topped with sour cream and fruit preserves, editor's note] and biscuit salami are all highly sought after by Japanese visitors at Haru restaurant.

Andra Grosu, one of the chefs serving Romanian dishes, has lived in Japan for 22 years and has run her own restaurant for seven years, about an hour by shinkansen from Osaka. 'Yes, the restaurant is successful; I've had it for seven years. In Japan there's a saying: ‘You must sit on a stone for at least three years to understand what it says.' Now I commute between my restaurant and the one at the Expo,' says the Iasi-born chef.

Even after 22 years in Japan, she remains surprised by the Japanese: 'We're thrilled that so many wait over an hour to eat Romanian food. Some have already researched online or in cookbooks what they want to try, so they request papanasi, soups, mici, and sarmale — the latter are among the best-sellers. In Romania, I doubt anyone would wait over an hour to enter a restaurant, so I greatly admire their patience. Many even know a lot about Romania, which makes me happy. For 22 years, most people knew only Ceausescu or Dracula. But recently, I've found many Japanese interested in Romanian classical music, art, ceramics, and the ie blouse. That means we are in their minds and searches, and that's a good thing.'

The kitchen is a bustle of activity. Japanese staff work side by side with Romanians. As opening time nears, a large line forms at the door, and Andra Grosu quickly resumes her role coordinating ten Japanese staff members executing kitchen tasks meticulously.

By midday, the crowd becomes intense, the heat almost unbearable, bottled water flows endlessly, and portable fans and hand fans struggle to keep up.

I manage to visit pavilions from the Netherlands, Italy, Singapore, and some smaller countries with shared spaces. After five to six hours exploring what's accessible at Expo 2025 — since the pavilions of Japan, China, the United States, or Portugal are untouchable due to throngs of locals waiting in line — it becomes clear that Romania has chosen a winning strategy. The pavilion has somewhat set aside technology in favor of human interaction, emotion, taste, and senses.

This approach, surprisingly effective for the hosts, has drawn large crowds. The round figure of 500,000 visitors was quickly reached, and projections estimate one million by mid-October, when Expo 2025 ends — roughly half of the total number of foreign tourists who visit Romania annually. AGERPRES (RO - writing by: Adrian Tone; EN - writing by: Simona Iacob)