Abbison at the Osaka World Expo: The cultural narrative of LED display and industry breakthrough

When the number of visitors to the 2025 Osaka World Expo exceeds 10 million, this grand event that brings together global innovation and culture has become the best stage to test the integration of cutting-edge technology and humanistic expression. With the visual solutions created for the Australia Pavilion and the Malta Pavilion, Abbison has fully released the potential of LED display technology in the field of cultural communication. However, against the background of Liard, Zhou Ming and other colleagues arranging large-scale international exhibitions, Abison's Expo performance is not only a proof of technical strength, but also faces the challenge of how to transform project influence into market competitiveness.​

Australia Pavilion: Cultural Expression in Light and Shadow Reconstruction

In the round building of the Australia Pavilion with the theme of chasing the sun, Abbison's display scheme has become the core carrier of cultural narrative. The immersive space built by the PL V2 series products dynamically presents Australia's deserts, rainforests, oceans and other natural wonders with high-precision image restoration capabilities. Visitors can stroll through time and space from the inland to the coast. This visual impact stems from the LED screen's precise control of color gradients, from the ochre color of the red soil desert to the gradual blue of the Great Barrier Reef. Each color tone has been calibrated hundreds of times to match the unique light and shadow characteristics of the southern hemisphere.​

The 29 K V3 series creative commercial display screens are distributed in the museum through a combination of steel structures and hoisting, which not only ensures installation stability, but also breaks the monotony of traditional exhibitions with a well-organized layout. These screens cycle Aboriginal art, multicultural community life and other content, transforming the abstract spirit of innovation into concrete visual stories. The iCon X series smart screens in the VIP function hall are responsible for high-specification reception tasks. Their 4K resolution and low latency ensure the smoothness of conference presentations.​

It is worth noting that Abison's solution is not a simple equipment pile. The time-travel experience of the Australia Pavilion is behind the linkage between the display system and sensors. When tourists move, the screen content will switch scenes in real time according to changes in location. This interactive design turns static cultural displays into dynamic participatory experiences. As the director of the Australia Pavilion said: Abbison's technology frees our cultural narratives from the shackles of textual explanations, and uses light and shadow to build a communication bridge across language. rdquo;​

Malta Pavilion: Digital rebirth of historical heritage

The large LED screen on the exterior wall of the Malta Pavilion has become another footnote to Abbison's technical adaptability. The JP Pro series products accurately restore the limestone texture of the Megalith Temple in Malta. Through dynamic light and shadow simulation, this prehistoric building shows traces of weathering during the day, and turns into a gate of time at night, projecting the astrological pattern in the temple murals. This effect is achieved thanks to the LED screen's meticulous control of gray levels, which can still maintain 16-bit gray levels under a low brightness of 100 nits, ensuring the layered feeling of the picture at dusk.​

The large arc-shaped screen inside the exhibition hall focuses on the narrative of marine civilization. From Phoenician nautical charts to the busy scenes of modern ports, Abison's display technology clearly presents the historical context of Malta as the heart of the Mediterranean Sea. Especially when playing 4K images of archaeological sites in prehistoric temples, the high-contrast characteristics of the screen magnify the details of the chisel marks on the stone wall, allowing visitors to intuitively experience the wisdom of ancient civilization.​

When evaluating cooperation, officials from the Ministry of Culture of Malta mentioned: What we need is not just a display screen, but a technical partner who can understand the significance of history. Abbison's team spent three months studying the architectural texture of the Jushi Temple. This respect for cultural details is more important than equipment parameters. rdquo;​

Third-Party Perspective: Opportunities and Limitations of Expo Projects

Abbison's Expo performance has won industry attention, but it is also difficult to escape rational scrutiny. An analyst who has long followed the LED display industry pointed out that large-scale exhibition projects have a significant effect on brand improvement, but the input-output ratio needs to be carefully evaluated. It is estimated that for customized solutions like the Australia Pavilion, the preliminary research and development and on-site commissioning costs are 30% higher than standard projects, and the profit margin of such projects usually does not exceed 15%. rdquo;​

In his view, Abbison's challenge is how to transform Expo experience into replicable solutions. ldquo; Liard's projects at the Dubai World Expo have formed a standardized module, and Zhou Ming has also launched prefabricated solutions for museum scenarios, which allows them to quickly respond to the needs of small and medium-sized customers. If Abbison only stays at the level of case customization, he may miss the opportunity for large-scale expansion. rdquo;​

The pressure of industry competition cannot be ignored either. In 2024, the global cultural venues show a market size of approximately 8.7 billion yuan, with Liard ranking first with a 23% share, Zhou Ming closely followed with 19%, and Abison ranking third with 12%. This gap is more obvious in the field of international exhibitions. Liard has participated in visual effects guarantees for top events such as the Beijing Winter Olympics and the Hangzhou Asian Games, while Zhou Ming has an advantage in many museum projects in Europe. According to industry insiders, Abison quoted 10% lower than Zhou Ming in order to win the Malta Pavilion project. Although this low-price strategy can win short-term orders, it may affect profit margins in the long run. rdquo;​

Technology Breakthrough: From Visual Presentation to System Integration

Abison's Expo plan reflects the transformation trend of the LED display industry from a purely hardware supplier to a system integrator of hardware + content + services. The interactive system of the Australia Pavilion includes Abbison's self-developed content management platform, which is compatible with image files in different formats and supports simultaneous playback on multiple screens. This soft power is the key to distinguishing it from small and medium-sized manufacturers.​

However, technical shortcomings still exist. Compared with the LED screens of the international brand Barco, there is still a gap in the stability of Abison products in extreme environments. The high humidity in Osaka in summer has caused a short color shift on some screens. Although it was solved through on-site debugging, it exposed the lack of material weather resistance. In addition, in new technology areas such as Micro LED, Abison's layout is slower than Liard, which may affect its competitiveness in future high-end exhibition hall projects.​

The technical director of a cultural tourism technology company commented: The Expo project tests the execution ability with a fault tolerance rate close to zero. Abbison's ability to complete the delivery of two venues shows that its engineering team has reached international standards. However, to truly enter the first echelon, it still needs to reduce external reliance on core devices. Currently, the driver ICs of its high-end screens are still mainly imported. This will limit the response speed of customized solutions. rdquo;​

Future path: The balance between brand premium and market sinking

The brand exposure brought to Abbison by the Osaka World Expo needs to be transformed into tangible market benefits. In the short term, we can use the Expo case to expand the cultural and tourism market in Southeast Asia. Museums and theme parks in Japan, South Korea and other countries are accelerating their digital transformation. Abison's cultural + technological experience has direct reference significance. In the long run, it is necessary to transform the color calibration, interactive design and other technologies accumulated in the project into standardized solutions to reduce the threshold for small and medium-sized customers.​

Faced with competition from Liard and Zhou Ming, Abison's breakthrough point may lie in his deep cultivation in subdivided fields. The cultural venue display market can be further divided into sub-tracks such as historical heritage display, contemporary art presentation, and scientific and technological theme interpretation. The natural landscape restoration technology accumulated in the Australia Pavilion can be targeted and applied to geological museums, aquariums and other scenes, forming differentiated advantages.​

It is worth noting that the gross profit margin of the LED display industry has dropped from 28% in 2019 to 18% in 2024, and the space for relying solely on hardware continues to narrow. If Abbison can condense the content creation capabilities of Expo projects into service products, such as providing customers with value-added services such as image production and interactive design, it may open up new profit growth points.​

Conclusion: Looking for coordinates in light and shadow

Abbison's appearance at the Osaka World Expo allowed the world to see the maturity of China LED companies in cultural expression. The pursuit of the sun in the Australia Pavilion and the gate of time in the Malta Pavilion prove that LED screens have transcended tool attributes and become a key for cultural communication.