Vol. 5, No. 1,
|Architecture and Exhibition|
|Monuments and Expiry Date
Defeat of the Traditional Understanding of Monuments on World Expositions
appearance of World Expositions is dominated by the tradition of national pavilions since
it had been decided to prefer these instead of hosting all participants under one roof for
the whole Fair. Thus in many cases buildings changed into iconographic manifestations that
advertize as propagandistic information tools for both products/goods and world
views/educational ideals. Those deliberately created images enhanced the connection of
perception and recall and thus lead to further associative development of experiences.
|The Womans Building and the World
Exhibition Architecture and Conflicting Feminine Ideals at European and American World Exhibitions, 18731915.
It would appear that the
Woman´s Buildings", which appeared at the European and American World
Exhibitions between 1873 and 1915, employed architecture solely to express a changing
feminine ideal and attempted to situate femininity demonstrably in the public sphere.
Indeed, defining a more expanded public role for women was one goal these structures and
their exhibitions attempted to address.
|Expo Achitecture and Black Box
Multi media presentations, computer generated virtual space production and gamelike interactive information transfer mark the major part of exhibits, prepared for Expo 2000 in Hannover. Hosts and participants thus appear up to date presenting information in high tech and at the same time fulfilling entertainment needs of recipients. Such tendency has a tradition within the history of World´s Fairs, the latest apparent since the Expo in Osaka, when new presentation media clashed with ambitious, partly emblematic architecture. Expo 70 reflected a shift in the function of World´s Fairs. This was already observed since the 1930s and showed itself clearly in Montreal 1967. More obvious than on any other previous Expo the participants in Osaka demonstrated a withdrawal from exhibit-focused presentation of national economic achievement in favor of an attempt to determine commercial appeal of "images" and "corporate identities". These were supposed to distinguish themselves beyond product accumulation by artistic and popular-entertaining production. More than at any previous exhibition, references to exhibitors were created only by information about the exhibitor via multi media or by complete renouncement of object presentation via entirely abstract presentation forms that established more or less obvious association links. Movie projections, sound installations and mainly a gamelike access to computerbased information demonstrated changed exhibition standards. Thus the obvious meaning of multi media presentation did not only question once more World Expositions as such, but especially regarding the built manifestations, also affected the core function of architecture for World Expositions. The "black box" as best frame for new presentation media is competing with the seemingly redundant great architectural gesture.
|Techniken des Überblicks. Vertikale und horizontale Erschließungen früherer Weltausstellungen|
|Alexander C. T.
|Tired of Exhibitions. Major German
Exphibition Projects and Their Failure
The fact of Germany not having
hosted any previous World Exhibition before June 1, 2000 has only come to a public
awareness during the last months while preparing Expo 2000 in Hannover. In this context
the for a long time unnoticed great Berlin Trade Exhibition in 1896 received increased
attention as well. Today it is less considered a ´World Exhibition manqué´ than a
direct forerunner of Hannover´s Exposition not least by the management itself.
Chances and Problems for an Urban Development of Venues
Since the beginning of the World´s Fairs movement host cities
always seem to be involved at extremely high costs in order to glitteringly present
themselves in the eyes of the world. At all time it had been questioned whether the city
could take a potential use out of that major event.
Four models of urban design crystallized from World Expositions:
|The 1879 Sydney Garden Palace International Exhibition
The Origins and Precursors of the International Exhibitions
The article will present an overview of the different historical strands, which constitute the phenomenon of World´s Fairs in the 19th century: The market, the fair (of which emerged the art exposition), the technological exposition. The authors discuss religious moments in the context of architecture (domes, cupolas) and its use (ceremonies). The export of such a tradition in countries outside of Europe also determined the Garden Palace Exhibition 1879 in Sydney, that at first planned as a regional exposition finally got changed into an international exposition.
|Russian Exposition Halls on World´s Fairs
and International Expositions from 1851-1917
A wide arc is described, starting with
Russian contributions to the first World´s Fair 1851 in London, continuing with first
Russian buildings for Expo 1867 in Paris, leading towards a fully matured type of
Russian Expo buildings (Dresden 1911, Leipzig 1914, Malmö 1914, Venice 1914). On all those
expositions Russia presented itself in forms of old Russian architecture. A rare exception
can be found in the Russian pavilions for the international exposition 1911 in Rome and
Turin, built in the style of Russian classical architecture.
This article deals with the type of mass cultural event, already characteristically fascinating a milionfold crowd during the second half of the 19th century. Following some systematic questions, the German part on World´s Fairs of the 19th century will be critically discussed. This will include a short overview regarding some fundamentals of the history of World´s Fairs. After that a few selected political aspects of image cultivation of a "late nation" will be investigated. Finally, the ideas of German exposition makers regarding the cultural presentation of the German Empire will be analyzed. In that context the main aspect is the representation of political culture.
The essays are open to discussion for 6 months. Remarks, comments or criticism by readers can be added to each essay. The authors then may rewrite their essays during these 6 months of interaction with readers. After this period the articles will be frozen but still available in the net.
1/96:Architecture in the Realm between Art and Everyday life
Issue 1/97: Modernity of Architecture. A Critical Recognition
Issue 2/97: Architecture - Language
Issue 1/98: Architectonics and Aesthetics of Artificial Worlds
Issue 2/98: Architecture and Home. A discussion of Heideggers essay `building, dwelling, thinking` (1951)
Issue 1/99: Design Creativity and Materialization
Issue 2/99: A New Cultural Landscape Working and Living Environments for the Future