A new boulevard running parallel to the famous KÖ is being developed for shops and offices.

The lighting design brings out the size and form of the architects' building. To do this, curved linear RGBW luminaires were positioned in parallel about 3.5 meters in front of the facade to spotlight the surfaces. Since pools of water are directly adjacent to these facade areas, underwater lights had to be used. To enable uniform lighting, the curved luminaires at the entrance were also used in a linear floor channel with a glass cover.
The rooftop surfaces tilting toward the visitors were illuminated with RGBW spots that are mounted on a special tower structure on top of the pavilion.
This 18-meter-high tower with an open lamellar structure is illuminated by recessed ground luminaires that brighten the inner surfaces and make the structure's silhouette visible from a distance.
For the interior, the architects designed a curved ceiling into which linear RGBW profiles have been integrated. It was designed so that the luminaires could be mounted in a concealed manner, and the V-shaped structure appears to shine from inside itself, indirectly illuminating the space.

As the host, the UAE's pavilion is one of the main buildings at the EXPO and one of great significance.
The design is inspired by a falcon with upward soaring wings, which are fitted with photovoltaics. During the day they are closed and the solar cells tilt toward the sky and at night they open up and display illuminated inner surfaces.
The entire pavilion is monochrome white and is given structure through light. The free-form ceiling of the vast interior is made legible by the double-curved lines of light and captures the iconographic character of the interior space.
The adjoining rooms are very complex ranging from underground parking garages, VVIP rooms and underground entrances to a tunnel connecting the pavilion directly with the Royal Pavilion. Not only did the lighting designers illuminate the interior spaces, but also the building's exterior, the gardens and all of the adjacent areas. The details for the installation were extraordinarily intricate and the highest priority was placed on the invisibility of the luminaires.
Santiago Calatrava wanted only light and structure without any lighting fixtures whatsoever.