Arquitetura nas Exposições Mundiais (World Exhibition's architecture) by Carmela Rocha

PPG FAU-USP Acadêmica Carmela Medero Rocha Número USP 7406926

Documento de qualificação para obtenção de título de mestre em arquitetura

Trabalho programado 01:

EXPOSIÇÕES MUNDIAIS Levantamento de dados históricos e pavilhões 1851 - 2010

São Paulo, 28/02/2017 http://www.chambre237.com/la-construction-de-la-tour-eiffel-1887-1889/

Introdução

O presente trabalho é uma compilação de dados levantados em diferentes bibliografias, indicadas na página 4, acerca de todas as edições das Exposições (ou Feiras) Mundiais (ou Universais). Está organizado por edição do evento e foram selecionadas imagens e trechos de textos colocados em sua língua original a serem revisitados e editados no decorrer da pesquisa e da escrita da dissertação. Este trabalho torna-se um banco de dados de consulta sobre as Exposições Mundiais e sua arquitetura. A denominação exposição/feira mundial/universal varia de acordo com cada idioma, de forma que para esse trabalho foi adotada a denominação “Exposições Mundiais”. As feiras e exposições comerciais ocorriam na Europa desde o século XVIII, porém foi a Grande Exposição dos Trabalhos da Industria de Todas as Nações, sediada em Londres, em 1851 que foi considerada a primeira Exposição Mundial em função do seu caráter internacional, tendo participado vinte e cinco países. As exposições são organizadas pelo BIE (Bureau International des Expositions) sediada em Paris. Este órgão foi criado criado em 1928 e oficializado em 1931, quando as regras para a execução de exposições foram determinadas e estas passaram a ser organizadas pelo mesmo. De acordo com o site do órgão, atualmente ele conta com 169 países participantes e organiza quatro tipos de exposições: Exposições Mundiais (World Expos) que ocorrem a cada 5 anos, onde cada país (ou empresa e organizações) pode construir seu próprio pavilhão e além de demonstrar os avanços tecnológicos de cada país também busca ser uma plataforma para a se discutir possíveis soluções para questões (desafios) atuais; Exposições Especializadas (Sspecialised Expos) que ocorrem no intervalo das Exposições Mundiais e debatem temas específicos buscando soluções de questões relacionadas a esse tema, onde diferentemente das Expos Mundiais, os países não constroem pavilhões expositivos próprios; Exposições Horticulturas (Horticultural Expos) que ocorrem em um intervalo de no mínimo dois anos sob o tema da agricultura e sustentabilidade; La Triennale de Milano, que ocorre a cada 3 anos expondo novidades da indústria do Design. Esta última ficou 20 anos sem ocorrer e retornou em 2016 com uma exposição que durou 3 meses e atraiu 450 mil visitantes. Desde sua origem, ocorreram 33 (trinta e três) Exposições Mundiais, sendo, segundo o BIE, 21 consideradas Exposições Mundiais históricas e 12 Exposições Mundiais regulamentadas (após a criação do órgão), 34 Exposições Especializadas e 20 Horticulturais.

Introdução

A partir dessa visão geral das exposições foi possível identificar mudanças em seu formato e nos discursos predominantes, principalmente através da evolução de suas arquiteturas. Compreender quais aspectos estavam presentes na origem das exposições durante sua evolução até os dias de hoje se fez essencial para gerar uma base crítica acerca do significado das mesmas (e de suas arquiteturas de pavilhão) na atualidade. Para este trabalho foram levantados dados somente as Exposições Mundiais pelo interesse em analisar os pavilhões expositivos nacionais de algumas edições criando repertório para compreender a evolução deste tipo de edificação no decorrer da historia, assim criando ferramentas de análise para os pavilhões nacionais da Expo 2015, tema dessa pesquisa. A organização cronológica da primeira à penúltima edição levantou as seguintes informações: Dados quantitativos do evento; Imagens ilustrativas das edificações e das implantações; Desenhos técnicos, quando possível; Inovações tecnológicas ou curiosidades de âmbito cultural ou arquitetônico apresentadas em cada edição. O levantamento bibliográfico acerca da crítica ou análise das edições entrará somente nos capítulos da dissertação, tendo neste trabalho entrado somente quando continham dados escritos ou quatitativos. Compilou-se uma lista geral em forma de linha do tempo de todas as exposições chanceladas pelo BIE, e a seguir entrouse em cada uma das edições das Exposições Mundiais, levantando-se informaçõess gerais e quantitativas, material gráfico da implantação geral e de alguns pavilhões.

Introdução

Bibliografia utilizada: DANTAS, André. Os Pavilhões brasileiro nas Exposições Internacionais. Dissertação de mestrado. São Paulo: FAU-USP, 2010; AL ASSAI, Marianna, Arenas nem tão pacíficas: arquitetura e projetos políticos em Exposições Universais de finais da década de 1930. Tese de doutorado. São Paulo: FAU-USP, São Paulo, 2014; PUENTE, André. Cem Anos, Pavilhões de exposição. Barcelona: Gustavo Gili, 2000; SCHOENEFELDT, Henrik. The Building of the Great Exhibition of 1851, an Environmental Design Experiment. Cambridge: The Martin Centre for Architectural and Urban Studies, University of Cambridge, 2011. In: https:// kar.kent.ac.uk/28432/2/PLEA_FinalPaper_ref_191.pdf SCHERER, Fabiano. Expondo os planos: As exposições universais do séc. XX e seus planos urbanísticos. Dissertação de mestrado. Orientadora: Sandra Pesavento. Porto Alegre, FAUFRGS, 2002. Internet: site do BIE (http://www.bie-paris.org/site/en/); site da Smithsonian Libraries (http://www.sil.si.edu/SILPublications/Worlds-Fairs/; site da British Library (https://www.bl.uk/victorian-britain/articles/the-great-exhibition); site de Arthur Chandler: http://www.arthurchandler.com/paris-1855-exposition/ http://visit1862.com/ site do Boston college (http://www.bc.edu/bc_org/avp/cas/fnart/fa267/1893fair.html) Dickinson college (http://archives.dickinson.edu/digitized-resources/worlds-columbian-exposition-chicago) Archidaily: http://www.archdaily.com/397949/ad-classic-the-crystal-palace-joseph-paxton

Lista das Exposições internacionais

Exposições Horticulturais

Exposições especializadas 1936 STOCKHOLM – Suécia

1971 BUDAPEST – Hungria

1960 ROTTERDAM – Holanda

1984 LIVERPOOL – Gran Bretanha

1938 HELSINKI – Finlândia

1974 SPOKANE – USA

1963 HAMBURG - Alemanha

1990 OSAKA - Japão

1939 LIEGE - Belgica

1975 OKINAWA – Japão

1964 VIENNA - Áustria

1992 THE HAGUE – Holanda

1947 PARIS - França

1981 PLOVDIV – Bulgária

1969 PARIS - França

1993 STUTTGART - Alemanha

1949 STOCKHOLM – Suécia

1982 KNOXVILLE – USA

1972 AMSTERDAM – Holanda

1999 KUNMING - China

1949 LYON - França

1984 NEW ORLEANS – USA

1973 HAMBURG - Alemanha

1951 LILLE – França

1985 TSUKUBA – Japão

1974 VIENNA - Áustria

2002 HAARLEMMERMEER – Holanda

1953 JERUSALEM – Israel

1985 PLOVDIV – Bulgária

1980 MONTREAL - Canadá

1953 ROME – Itália

1986 VANCOUVER – Canadá

1982 AMSTERDAM – Holanda

1954 NAPLES – Itália

1988 BRISBANE – Austrália

1983 MUNICH - Alemanha

1955 TURIN – Itália

1991 PLOVDIV - Bulgária

1955 HELSINGBORG - Suécia

1992 GENOA - Itália

1956 TEL AVIV - Israel

1993 DAEJEON - República do Coreia

1957 BERLIN - Alemanha

1998 LISBON - Portugal

1961 TURIN - Itália

2005 AICHI – Japão

1965 MUNICH - Alemanha

2008 ZARAGOZA – Espanha

1968 SAN ANTONIO – USA

2012 YEOSU – Coreia

2003 ROSTOCK - Alemanha 2006-07 CHIANG MAI – Tailândia 2012 – VENLO – Holanda 2016 – ANTALYA – Turquia

Lista das Exposições Mundiais

Exposições Históricas

Exposições mundiais após a criação do BIE

1851 LONDON – Great Britain

1897 BRUSSELS - Belgium

1935 BRUSSELS - Bélgica

1855 PARIS - France

1900 PARIS - France

1937 PARIS - França

1862 LONDON – Great Britain

1904 SAINT LOUIS – USA

1939 NEW YORK – USA

1867 PARIS - France

1905 LIEGE - Belgium

1949 PORT-AU-PRINCE – Haiti

1873 VIENNA - Austria

1906 MILAN - Italy

1958 BRUSSELS – Bélgica

1876 PHILADELPHIA – USA

1910 BRUSSELS - Belgium

1962 SEATTLE – USA

1878 PARIS - France

1913 GHENT - Belgium

1967 MONTREAL – Canadá

1880 MELBOURNE - Australia

1915 SAN FRANCISCO – USA

1970 OSAKA – Japão

1888 BARCELONA - Spain

1929 BARCELONA - Spain

1992 SEVILLE – Espanha

1889 PARIS - France

1933 CHICAGO – USA

2000 HANNOVER – Alemanha

1893 CHICAGO – USA

2010 SHANGHAI – China 2015 MILAN – Itália 2020 DUBAI - Emirados Árabes

Londres, 1851

Segundo BIE: Nome oficial: Grande Exposição de trabalhos da indústria de todas as nações (The great Exhibition of the works of industry of all Nations) Data: 01.05.1851 - 11.10.1851 Tema: Industry of all Nations Categoria: Exposição Mundial Organizadores: Comissão Real Visitantes: 6 039 195 Área:10.4 Ha Países participantes: 25 Segundo DANTAS: Pavilhões: Palácio de Cristal projeto de Joseph Dimensões: 64 x 124 Inovações: •

martelo movido a vapor, de autoria de Nasmith

•

Illustrated London News, era impresso ao ritmo de cinco mil exemplares por hora pela impressora de Aplegarth & Cowper

Vista do Crystal Palace Author: Philip Henry Delamotte Negretti and Zambra. Foto de 1854 http://www.sil.si.edu/silpublications/Worlds-Fairs

Londres, 1851

Paxton (jardineiro chefe do Duque de Devonshire).

Londres, 1851

SITE DO BIE: The UK, leader of technical progress The organization of the event came in response to the demand for creating new economic links between nations in face of the triumph of the free trade policy. As a result of the efforts of Prince Albert, the husband of Queen Victoria, and the inventor Henry Cole, the Expo was organised in London with great success. The Crystal Palace, symbol of the Expo A special commission headed by Prince Albert designated the famous Hyde Park as the Expo site. The commission launched a competition for the building that would house the exhibits. More than 250 projects were submitted. The project of Joseph Paxton, later called the Crystal Palace, was selected. It became the architectural masterpiece of the time and even now its dimensions are still impressive: length - 563 metres, width - 124 metres, floor area â&#x20AC;&#x201C; 7,18 ha, height of the main nave - 19,5 metres, height of the cross nave - 41 metres. Some time after the exposition closed, the Palace was transferred to Sydenham Park to host exhibitions, sporting events and music festivals. Unfortunately the building burnt down in 1936. Profusion of innovations "I'm not saying there's nothing to see, but that there's too much to see," Charles Dickens said after visiting the exhibition. The most impressive section was dedicated to machinery where visitors could discover the railroad equipment from UK and Germany, steam engines and American farm equipment, which was almost unknown in Europe. Stereo photographs by the Scottish physicist David Brewster, vulcanized rubber by the American inventor Charles Goodyear, the so called "Viennese chairs" by the Hungarian furniture-maker Tonet, the 1,720-kilogram ingot of crucible steel produced by the Krupp's plant and many other new products were showcased at the Expo. A success that allowed the cultural development of London The Fair attracted nearly 6 million visitors and allowed the organizers of the exhibition to generate a profit of about 186,000 pound sterling. This money was used to fund a number of cultural and educational institutions such as the Geological Museum, the Museum of Science and Natural History, the Museum of Manufactures (known now as Victoria and Albert Museum) and the Imperial College of Science. 9

Londres, 1851 Palácio de Cristal como protótipo climático The Building of the Great Exhibition of 1851, an Environmental Design Experiment Henrik Schoenefeldt The Martin Centre for Architectural and Urban Studies, University of Cambridge, Cambridge, UK1 O artigo faz uma analiso do pavilhão do ponto de vista climático, demonstrando como este pode ser considerado um protótipo para edifícios com controle de luz e temperatura, demonstrando s intenções inicias do projetista e trazendo dados sobre o acompanhamento das temperaturas feito durante o evento e publicado em vários jornais e reports na época. “The Victoria Regia House at Chatsworth acted as a prototype for his design for the 1851 Great Exhibition building.” “(..) contemporary sources also illustrate that the design of the Great Exhibition was deeply rooted in the horticultural design tradition, and that Paxton’s long term aspiration was to adopt glasshouses as means to create large scalepublic spaces with ideal environments for human beings.” (p.1) “An overarching environmental design strategy, as contemporary sources illustrate, had been an integral part of the design from the very beginning. The aim was to provide good lighting conditions for the display of artefacts through diffuse top lighting, to provide adequate levels of ventilation and to maintain a comfortable indoor temperature during the period of the exhibition.” (p.2) “Contemporary sources reveal that an extensive post-occupancy analysis was conducted inside the Exhibition building on behalf of the Commission’s executive committee during the period of the Exhibition, demonstrating that the interior temperature was systematically monitored and recorded.” Conclusion: “This paper has shown that aspirations to maintain ideal lighting conditions for the display of artefacts and to provide fresh air and thermal comfort inside a large scale building with thousands of visitors, had been a integral part of the design of the Great Exhibition building.”

SITE DO BRITISH LIBRARY Joseph Paxton’s elaborate plate-glass and cast-iron building – the famous Crystal Palace – was dismantled in 1852 and moved to Sydenham, South London, where it survived as a popular sporting and cultural venue before burning in 1936. 10

Londres, 1851 Palรกcio de Cristal - Planta Baixa

Fonte: http://www.archdaily.com/397949/ad-classic-the-crystal-palace-joseph-paxton 11

Londres, 1851 Palácio de Cristal - Secção e elevação

Fonte: http://www.bl.uk/victorian- /articles/the-great-exhibition 12

Londres, 1851 Croquis original e detalhe construtivo

Fonte: http://www.archdaily.com/397949/ad-classic-the-crystal-palacejoseph-paxton 13

Londres, 1851 Vista externa e interna do palรกcio de Cristal

Fonte: site do BIE 14

Londres, 1851 Vistas internas do palรกcio de Cristal

Fonte: site do BIE 15

Londres, 1851 Vistas internas do palรกcio de Cristal

Fonte: http://www.bl.uk/victorian-britain/articles/the-great-exhibition

Londres, 1851 Vistas internas do palรกcio de Cristal

South transept & south tower from Water Temple

General view from Water Temple

Author: Philip Henry Delamotte Negretti and Zambra. Foto de 1854 Fonte: http://www.sil.si.edu/SILPublications/Worlds-Fairs 17

Paris, 1855

Segundo BIE: Nome oficial: Exposition Universelle des produits de l’agriculture, de l’industrie et des beaux-arts de Paris 1855 (The great Exhibition of the works of industry of all Nations) Data: 15.05.1855 – 15.11.1855 Tema: Agriculture, Industry and fine arts Categoria: Exposição Mundial Organizadores: Comissão Imperial Visitantes: 5 162 330 Área:15.2 Ha Países participantes: 27 FONTE: http://www.arthurchandler.com/paris-1855-exposition/ Pavilhões: Palais de l’Industrie (259x106 m construído e estrutura suportada por vigas metalicas), Palais des Beaux-Arts (arquiteto LeFuel), Galerie

Paris, 1855

des Machines.

Paris, 1855

SITE DO BIE: The exhibition of Agriculture, industry, and the Fine Arts of Paris 1855 was born from the Decree of March 8, 1853, by Napoleon III. An exhibition relating to the industry and agricultural products was first created. An exhibition of fine arts was later added in a separate building. An important diplomatic event This exhibition was very important at the diplomatic level because of the visit of Queen Victoria of England. She recognized the rise of Napoleon III to power, showing solidarity between the monarchs and established a very close relationship with him that lasted until the death of Napoleon III. A display of inventions During the exhibition, an important number of machines made their first appearance before a large audience. Indeed the visitors discovered for the first time the lawn mower, Moore's washing machine, Singer's sewing machine, the speaking doll, the six-shooter (revolver) and one of the first vehicles running on oil. The Saint-Gobain factory exposed the biggest mirror in the world with a surface of 18,4 sq. m. DANTAS, 2010 “O otimismo nas potencialidades da razão e do trabalho humano, a fé no futuro, na ciencia e no progresso pareciam incitar os visitantes a se engajarem nesta corrente que conduzia a um novo tempo.” (DANTAS, 2010, pag. 43) CURIOSIDADES: • Os visitantes tinham de pagar para entrar. (BROWN LIBRARY) • Recompensas e prêmios para as inovações e criações tecnológicas dos operários (Dantas, 2010, p.47) • Pensamento expografico inicial: produtos separados segundo força motriz, matéria prima e profissões. (Dantas, 2010, p.46) • Apresentação do alumínio como material baixo custo, aplicação de concreto armado, telescópios, Eletricidade, Pêndulo de Foucault (Dantas, 2010, p.45) • Primeira exposição de fotografia - No palácio das Industrias (ORTIZ, P.) 19

Paris, 1855 Implantação geral

Fonte: DANTAS, 2010, P.49 20

Paris, 1855 Palácio das Indústrias

Fonte: http://library.brown.edu/jpegs/1223581477687500.jpg 21

Paris, 1855 Palácio das Indústrias vista do Champs Elyses

Fonte: http://library.brown.edu/jpegs/1223581277781250.jpg 22

Paris, 1855 Vista geral

Fonte: site do BIE 23

Paris, 1855 Palácio das Indústrias

Fonte: site do BIE 24

Paris, 1855 Palácio das Indústrias

Fonte: http://www.arthurchandler.com/paris-1855-exposition/

Paris, 1855 Palรกcio das Belas Artes

Fonte: http://www.arthurchandler.com/paris-1855-exposition/

Paris, 1855 Palรกcio das Belas Artes - Planta baixa

Fonte: http://library.brown.edu/jpegs/122358199678125.jpg 27

Londres, 1862

Segundo BIE: Nome oficial: London International Exhibition on Industry and Art Data: 01.05.1862 - 01.11.1862 Tema: Industry and Art Categoria: Exposição Mundial Organizadores: Comissão Real Visitantes: 6 096 617 Área:11 Ha Países participantes: 39 Pavilhões: Palácio da Exposição Internacional Custo total: 459.637 libras

Londres, 1862

Engraving of the 1862 International Exhibition Building, c.1862, SCM 1991-105:2 © Science Museum Fonte: http://visit1862.com/wp-content/uploads/2014/06/SCM-1991-1052copy-2.jpg

Londres, 1862

SITE DO BIE: Following the success of the first World Exhibition held in London in 1851, the United Kingdom decided to host a second that would be larger in size and in scale than the original World Exhibition and Expo 1855 in Paris. The time was considered ideal to host a new Expo to showcase the latest progress that had been achieved in industry, technology and arts. Significant advancements had been made in the area of steel production, steam engines (for railways and ships) and telegraphy, among others. Organisational challenges The Exhibition was initially set to be held in 1861, marking the 10th anniversary of the original Great Exhibition, but it was delayed by one year due to international events, including the Italian War of Independence and Civil War in the United States. The latter had an impact on the British textile industry, due to a cotton shortage, with financial issues causing certain international participants to withdraw. In December 1861, the death of Prince Albert â&#x20AC;&#x201C; the husband of Queen Victoria and a leading patron of the Exhibition â&#x20AC;&#x201C; came as a blow to organisers. The Queen entered a long period of mourning which prevented her from being present at the opening ceremony. The Exhibition Palace After the success of the Crystal Palace at Expo 1851, architect Captain Francis Fowke aimed to build an even more impressive and triumphant structure as the site of the Expo, in South Kensington. Designed to be a permanent venue for fairs and exhibitions, the building was made out of iron and brick. Contracted to Kelk and Lucas, construction of the Exhibition Palace, which consisted of a main structure and two adjoining wings dedicated to machinery and agricultural equipment, only took 11 months. Visitors entered the Exhibition Palace through a long path decorated with large sculptures and columns. The main exhibition hall featured a 350-metre long art gallery that rivalled the length of the Grande Gallerie of the Louvre in Paris. Paintings were arranged according to the nationality of the artist, in accordance with the rules set down by the organisers.

Londres, 1862

In the annexes, visitors could view machinery and their mechanisms, including the Baggage Analytical Machine, a prototype of the first computer that was on public display for the first time. The Bessemer process of steel production was also showcased at the Expo. While only 11 years had passed since the original Great Exhibition, the largest machine on display increased in weight from 9 tonnes in 1851 to 35 tonnes at Expo 1862. International Participation A total of 39 international participants took part in the Exhibition, with their exhibits on show in different parts of the nave. Organisers initially let each country decide on its own architecture and exhibition content, but they later took control back, paying for corrective work when displays were not in keeping with the rest of the Exhibition. Sponsored by Napoleon III, the French participation included a delegation of workers who exchanged with their British counterparts. This meeting was later used to inspire the founding of the International Workingmen’s Association – the First Internationale – in 1864. Legacy The Expo reached its aim of surpassing two previous exhibitions in terms of size and scale, but it failed to reach its objective of attracting 11 million visitors, with the final tally being 6.1 million. After the Expo ended, the British Parliament refused the Government’s wish to to buy back the Exhibition Palace. Instead, materials were reused to build Alexandra Palace, an entertainment venue in North London. In 1864, Captain Francis Fowke’s successfully proposed the construction of a Natural History Museum on the former site of the Exhibition Palace. The Museum was inaugurated in 1881, and has since become one of the world-leading establishments in its domain. The Science Museum and the Victoria and Albert Museum also stand today on the former site of the Expo.

Londres, 1862

DO SITE: http://visit1862.com/ The building was viewed by the Blackwood magazine as an example of ‘ugliness’ reflecting the ‘native railway style’ of architecture. The Sunday Review also stated that the building had ‘no real centre to the structure’, ‘staircases to the galleries were too few and too small’, ‘the whole arrangement particularly abominable’ and showed ‘audacity’ and ‘bad taste’. More mildly the Guardian stated that the building ‘excited little disgust and no enthusiasm’ further mentioning that the ‘romance of glass sacrificed to the reality of brick’ and the domes appeared as ‘gigantic balloons’ suggesting they appeared ludicrous and unstable devices. It is interesting to note that the original building plan had included an extremely large central concert hall however this was not realised due to the considerable expense it would have entailed. Although the structure when seen as a mere edifice was strongly criticized–what were the reactions or experience like when the building was in use? Reviews of the opening ceremony and experience of viewing the exhibition ranged from mild to enthusiastic.

Londres, 1862

British Picture Gallery, 1862 International Exhibition, Victoria and Albert Museum, 1550-1927 © V&A, 2014 Fonte: http://visit1862.com/latest/

Edmund Walker, ‘Interior of the International Exhibition of 1862’, 1862, watercolour, 74.5 x 104.6 cm, Victoria and Albert Museum, 1110-1901 © V&A, 2014 Fonte: http://visit1862.com/latest/

Londres, 1862

Fonte: site do BIE 33

Paris, 1867 Segundo BIE: Nome oficial: Exposition Universelle de Paris 1867 Data: 01.04.1867 – 03-11-1867 Tema: Industry and Fine Arts Categoria: Exposição Mundial Organizadores: Comissão Imperial (Napoleão III) Visitantes: 15 000 000 Área: 68.7 ha Países participantes: 42 Site do Brown Library: Pavilhões: Palais de Champs-de-Mars (eng. Frederic LePlay e Gustave Eiffel como diretor de projeto) (no wiki diz que o construtor foi Jean-Baptise Krantz - confirmar essa info.

Paris, 1867

Aquário, pavilhões independentes etc.

Paris, 1867

SITE DO BIE: It was the second World's Fair hosted by the French capital. Its objective was to improve understanding between nations and foster peace. The invention of the Expo Pavilion concept The goal of the Expo was not only to bring produce from foreign countries and expose them at the Fair, but also to showcase different ways of life from all over the world and to allow interaction between different cultures through a new feature: the national pavilions. They provided a space in which countries could display there culture, their history and their innovations. The pavilions were to become the trademark of all future Expos. The innovations showcased Very innovative products appeared at this exhibition such as the new diver to swim under water, but also one that resists fire, a hydraulic elevator, reinforced concrete and machinery manufacturing soft drinks. The key attractions The Promenade, the park, restaurants of different nations, pavilions and different designs ranging from chapels to the lighthouse, the Egyptian Palace and the Russian village are a few examples of the diversity and impressive exhibitions showcased. It is also on the occasion of the exhibition of 1867 that the "bateaux-mouches" made their first appearance on the Seine as a means of transportation for tourists. An Expo of great prestige and diplomatic influence As no other World Exposition before it, the Exposition Universelle 1867 attracted the regents of the whole world. For the first time, even a Turkish sultan left his country to take part in the meeting of nations' representatives. This unbroken parade of princely visits went on for six months, a parade which was popularly known as the "Nations' Ballet". And even the rulers of the three continental powers who had fought against Napoleon I up until the year 1814 returned to Paris for the first time: the Austrian emperor Franz Joseph I, the Prussian King Wilhelm I with his chancellor Bismarck and the Russian Tsar Alexander II.nks.

Paris, 1867

DESCRIÇÃO E DADOS Brown University - in: http://library.brown.edu/cds/paris/worldfairs.html#de1855. Acessado em 27/11/2016 “The main site for the event would be the Palais du Champ-de-Mars. Built by engineer Frederic LePlay with the help of the young Gustave Eiffel as a chief designer, the Palais had an oval structure, and housed both the national sections and the thematic exhibitions. Most of the exhibit (in the outer concentric circles) was dedicated to industry, while the inner circles were reserved for Art. The building at the center of the structure housed an exhibit about currency and coin.” The 1867 Exposition Universelle focused a lot more on industry than the one in 1855. It was also the first World Fair to have pavilions, restaurants, and amusement parks around the main building. The oval structure of the Palais allowed having thematically organized sections in the concentric circles and national exhibits in the galleries radiating from the centre. The last concentric circle (the nearest to the centre) was dedicated to the first thematic cultural exhibit to take place in a World Fair: it was entitled “Histoire du travail” (History of Work) and was a highly successful exhibit. Many illustrations of the time represent a few of its sections. The number of visitors had also grown tremendously: in 1855, there had been a little more than 5 000 000 people visiting the Fair, while they were between 10.000.000 and 15.000.000 in 1867 The total surface of the World Fair site had also grown from 38 acres in 1855 to 172 acres in 1867. This is probably due to the fact that the 1867 Fair included for the first time amusement parks, pavilions, and attractions outside of the main Palais du Champ-de-Mars.

Paris, 1867

SHERER, 2002, p.45. “Sua principal edificação, uma arrojada construção em forma de elipse, projetada pelo arquiteto Le Play, baseava-se numa classificação metódica dos produtos a serem exibidos e dos países que iriam exibi-los. A edificação era constituída por uma série de círculos concêntricos, galerias, com vias radiais atravessando setores sucessivos. Cada uma das galerias era destinada há um tipo de produto e as vias radiais separavam as diferentes nações. Dessa maneira, caminhando-se do meio para as extremidades era possível analisar cada nação, seus produtos, sua indústria e seu desenvolvimento; e caminhandose circularmente era possível observar e comparar os produtos semelhantes de diferentes nações. Seus críticos acusaram-na de ser uma construção mais funcionalista que artística, e, portanto, não expressiva das possibilidade arquitetônicas do país. Porém, inegavelmente, constituiu uma importante peça na história da arquitetura e na maneira de expo os produtos nas exposições universais” Conforme o autor, foi a primeira participação do Brasil nas exposições mundiais.

Paris, 1867 Vista geral da Exposição

Fonte: site do BIE 38

Paris, 1867 Vista geral da Exposição

Fonte: site do BIE

Paris, 1867 Palácio Champs-de-mars

Vista geral da Exposição, in:Trichon, Almanach illustré des merveilles de l’exposition universelle pour l’année 1868. Paris: Bureau 2, Place Saint Michel, 1868

Construção da Grande Galerie des Machines (Palais du Champ-de-Mars), in: Trichon, Almanach illustré, Paris : Bureau 2, Place Saint Michel, 1868.

Fonte: http://library.brown.edu/cds/paris/worldfairs.html. Acessado em 27/11/2016

Paris, 1867 Primeiro Baetas Mouche

Fonte: site do BIE

Viena, 1873

Segundo BIE: Nome oficial: Exposição Mundial 1873 em Viena Welt Austellung 1873 in Wien Data: 01.05.1873 – 31.10.1873 Tema: Culture and Education Categoria: Exposição Mundial Organizadores: Comissão Imperial Visitantes: 7 250 000 Área: 233 ha Países participantes: 25 Principais Pavilhões: Industrial Palace, Machine Hall, Agricultural Machine Buildings, Art Gallery,

Viena, 1873

Rotunda.

Viena, 1873

SITE DO BIE: The Industrial Palace The area chosen as the exhibition ground was a 12-hectar section of the popular Prater park. The original idea for the Exhibition was to create an "international city" with numerous national pavilions. This approach was rejected in favour of a central exposition building for industrial products, machinery and the arts. The main construction, The Industrial Palace, was the architectural highlight of the Expo and its Rotunda was the largest in the world: 83 m high and about 110 m in diameter. An important part given to education and science Like in previous Fairs, the mechanical exhibits dominated in all sections. However, according to the press, the most interesting sections were those dedicated to education. One of the innovations of the exhibition was the ÂŤ History of Prices Âť section which allowed exhibitors to show the gradual increase of labour productivity and the dependency between public taste and economic development. Vienna 1873 was also the first Expo to offer a site for international forums of scientists: there were 12 congresses and conference held in Vienna during the Expo. An Expo used as a tool for business and commercial development - the example of Japan The exposition was used to establish business contacts between industrial nations. Japan, for example who was participating officially to an Expo for the first time, sought a double objective. On the one hand, in the context of the Meiji era, the Japanese delegation in Vienna was to observe and study as many technological and social achievements of Western countries as possible. On the other hand, Japan was to present itself as a commercial and future world power. Instead of presenting traditional Japanese art, the country prefered to diplay contemporary items that could please the European public. The Viennese visitors enjoyed it very much: the "japonism" trend was beginning. A successful event for the Austro-Hungarian Empire Despite the natural cataclysms and shocks that happenned during the event (an unforeseen flood of the Danube, a cholera epidemic, the May 1873 stock exchange crash), the Vienna Exposition was a great highlight of the Dual Monarchy and boosted the renovation of Vienna: the Danube channel along with the impressive reconstruction of the old part of the city (the Ring) were the highest success of the municipal building program.

Viena, 1873

DO SHERER, 2003, p.48. “A exposição, Weltausstellung, situou-se na margem do Danúbio, cuja parte do leito fora secada, no parque Prater numa área imensa de 233 ha. Ela marca como a primeira realizada em uma área fora do recinto urbano e também pela desconcentração da exposição em uma único pavilhão. Desta forma, vários pavilhões se fizeram presentes, ainda que a exposição constasse com uma grande edificação, o palácio Prater ou Palácio das Indústrias. Obra do arquiteto Carl von Hasenauer, ele tinha 950 metros de compraremo e era cortado por 28 galerias transversais. Sua rotunda, que cobria o espaço central, era a maior do mundo na ocasião, com 108 metros de diâmetro e 84 de altura. Sua linguagem era nitidamente clássica, porém nota-se que a exposição era marcada de um modo geral pelo confronto (…)” “O lazer também comparecia cada vez mais significativamente nas exposições e uma das maiores atrações da exposição vienense foi a roda gigante, construída pelo inglês Scott Russell, instalada no parque. Ela ajudava a compor o panorama no extenso parque, onde ainda encontravam-se pequenas exposições sobre o ensino e a criança.”

Viena, 1873 Lista dos pavilhões construídos Principais Pavilhões: Industrial Palace, Machine Hall, Agricultural Buildings, Art Gallery, Rotunda (principais) Custo dos pavilhões institucionais (listados abaixo): 15 700 000 Florins • Industrial Palace with rotunda • Machinary Hall • Art Gallery • Pavilion for Art • Exhibition of Amateurs • Western and Easter agricultural Hall • Jury Pavilion • Emepror’s Pavilion • Offices of the direction • Postal telegraph • Barracks • Building of Exhibition of horses • Railway Station • Gnard Houses • Water Closets • Covered Ways of comunication

Reports on the Vienna universal exhibition, 1873 Disponível em: https://archive.org/stream/reportsonviennau00blak#page/42/mode/2up. Acessado em 28/11/2016

Viena, 1873 Pavilhões Sobre arquitetura: Internamente, no pavilhão principal, Os países foram posicionados de acordo com sua posição no globo. Estilo dos Edifícios - materiais e decoração Dois estilos principais: 1. Estilo Chalet Suiço - estrutura em madeira externa em geral colorida. - Entrada do pavilhão principal, estação de trem e os edifícios menores. 2. Em tijolo cru coberto por Gyps (em alemão) argamassa; Telhados e cornijas de zinco; ornamentos em plaster (gesso?) Ventilação e conforto no palácio da Indústria são elogiadas no relatório.

Reports on the Vienna universal exhibition, 1873 Disponível em: https://archive.org/stream/ reportsonviennau00blak#page/42/mode/2up. Acessado em 28/11/2016 46

Viena, 1873 Planta baixa

Terminal de trem Machinary hall Restaurantes

West agricultural

german ehxibition

East agricultural

hall

japan industrial

industrial

rotunda

Fine

pavilion

Horse and

Arts

hall

Castle Show

Hall

concert

Central

hall Pavilhão do Juri

Space

turkish

Russian Pavilhão do

pavilion

Imperador

Egysian

coffee house

buildings

Escritórios

Correio,

Barracas

da direção

telegrafo e

Militares

da Expo

escritórios

Fonte: http://www.ndl.go.jp/site_nippon/viennae/section1/main.html. Acessado em 28/11/2016 47

Viena, 1873 Imagens gerais - Fonte: http://www.ndl.go.jp/site_nippon/viennae/ Acessado em 28/11/2016

Machinary hall

Concert Hall

Pavilhão da China

Turkish Coffee Pavilion

Horse and Castle Show

industrial hall

Egypsian building

Pavilhão do Imperador

Fine Arts Hall

industrial hall

Rotunda

japan pavilion

Central Space

Russian Pavilion

Pavilhão do Juri

Rotunda interior

Viena, 1873

Fonte: site do BIE 49

Viena, 1873

Fonte: site do BIE 50

Filadélfia, 1876 Segundo BIE: Nome oficial: Exposição Centenária de Artes, Manufaturas e Produtos Centennial Exhibition of Arts, Manufactures and Products of the Soil and Mine Data: 10.5.1876 – 10.11.1876 Tema: Exposição centenasia Categoria: Exposição Mundial Organizadores: Society of the Exhibition and Federal Government Visitantes: 10 000 000 Área: 115 ha Países participantes: 35 (BIE) Segundo DANTAS: Numero de pavilhões: 45 oficiais 11 nacionais (entre estes o do Brasil projetado por H.J. Schuarzmann, arquiteto americano) 7 Governo federal americano 24 estados americanos Principais pavilhões: Memorial Hall, machiarei Hall, Main Buliding

Filadélfia, 1876

(constam 33 países participantes)

Filadélfia, 1876

Site do BIE One objective: present the great potential of America In 1874, the President of the United States, Ulysses S. Grant, had declared "America should not fall behind in its advance on the path opened by the great European powers. It is to show the whole world what progress could be achieved in a few years by a nation if every citizen works diligently for freedom, prosperity and honour." This call was backed by the Congress that decided to host a World's Fair in Philadelphia in 1876. The creation of the Thematic pavilions The first World Exhibition in America included a significant novelty imagined by the chief planner Hermann Josef Schwarzmann and which has been adopted by all Expos since: for the first time, the exhibits were not to be presented in one single central building, but shown in five exhibition halls according to thematic groups: the Main Hall, the Fine Arts Pavilion, the Machinery Hall, the Horticultural Palace and the Agricultural Hall. To these, were added almost 200 pavilions for the US states, foreign nations and private companies. Showcase the industrial power of the USA The USA established themselves as one of the leading industrial powers by displaying impressive exhibits and using over one third of the main building, and over 80 per cent of the Engine Hall. The Philadelphia Exposition was also distinguished for its wide use of railway transport. The key innovations presented in the event Many technical novelties widely used in following decades such as Alexander Graham Bell’s telephone, Thomas Alva Edison’s telegraph, Remington’s typewriter and Heinz tomato Ketchup were shown there for the first time to the public. The material legacy of the Expo The Fine Arts Pavilion (Memorial Hall) is the Exhibition’s only building still standing today. Immediately after the exhibition, it accomodated the Pennsylvania Museum and it now houses The Please Touch Museum, Philadephia's children museum.

Filadélfia, 1876

DANTAS: “A Centennial atuou como um poderoso elemento de reafirmação de uma identidade coletiva nacional, articulando um conjunto de ideias, crençs, valores e mitos, socialmente desejável e intelectualmente compreensível.” (p.50)

CURIOSIDADES, CULTURA E INOVAÇÕES TECNOLÓGICAS • Pavilhão das mulheres (com trabalhos feitos por mulheres), • Apresentação do telefone (Grahan bell), • Primeira maquina de costura • primeira maquina de escrever pratica • Wagner compõs um hino para a ocasião da abertura da Exposição. • Imperador do Brasil D. Pedro II foi a abertura e Junto ao presidente Grant e deram inicio as atividades da feira (p. 51)

Filadélfia, 1876 Implantação geral

Fonte: http://www.nga.gov/resources/dpa/1876/map.htm. Acessado em 28/11/2016

Filadélfia, 1876 Principais edifícios

Horticultural Hall Hermann J. Schwarzmann, architect

Machinary building Henry Pettit and Joseph M. Wilson, architects

Main Building Henry Pettit and Joseph M. Wilson, architects

United States Government Building James H. Windrim, architect

Judges Pavilion Hermann J. Schwarzmann, architect

Shoe and Leather Building Alexander B. Bary, architect

Fonte: http://www.nga.gov/resources/dpa/1876/machhall.htm Este site tem outras imagens de pavilhões. Acessado em 28/11/2016 55

Filadélfia, 1876 Pavilhão Caffé do Brasil Hermann J. Schwarzmann, architect) e Fonte Centtenial (Herman Kirn, designer)

Fonte: site do BIE 56

Filadélfia, 1876 Pavilhão “Wallpaper Printer”

Fonte: site do BIE 57

Paris, 1878

Segundo BIE: Nome oficial: World’s Fair of 1878 Data: 20.05.1878 - 10.11.1878 (Inauguração oficial em 01/05/1878) Categoria: Exposição Mundial Organizadores: Misnistério da agricultura e Comércio Visitantes: 16 156 626 Área:75 Ha Países participantes: 35

Paris, 1878

Rue des nations, dans le Palais du Champ-de-Mars, près de la façade portugaise. In: de Vandière, Simon. L' Exposition universelle de 1878 illustrée. Paris: Calmann Lévy, 1879. FONTE: http://library.brown.edu/cds/paris/worldfairs.html. Acessado em 28/11/2016.

Paris, 1878

SITE DO BIE: After 1855 and 1867, Paris held its 3rd World's Fair in 1878. It was inaugurated on May 1st 1878 by Marshal Patrice de Mac Mahon. That day was declared a national holiday so all workers could attend the show. The Fair then opened from may 20th to November 10th 1878. The recovery of France The project to host a new World's Fair started in 1876. At that time, Paris was only starting to rebuild itself following the Franco-Prussian War and a civil war. Ruins could even still be seen near the Tuileries. A World's Fair was a great opportunity to showcase the rebirth of Paris and present the 3rd Republic to the world. Despite the predictable absence of Germany, and several other nations, over 16 million people visited the Expo, a record for the times. The Palais du Champs de Mars and the Palais du Trocadéro Like in 1867, the Expo was held on the Champs de Mars. The Palace of the Champs de Mars, a gigantic rectangular hall, occupied the space between the Seine and the Ecole Militaire. At the centre of the Expo site, national pavilions were grouped along the Rue des Nations (Street of Nations). The Iéna Bridge was expanded to facilitate movement inside the site that extended up to the Chaillot hill on the other side of the Seine. There, the architects Gabriel Davioud and Jules Bourdais built the Trocadéro Palace. The Palace was created to host the arts section, as well as a congress centre and a concert hall. At the Quai d'Orsay and the Invalides esplanade, visitors could also discover the agricultural section. Emphasis on new technologies The 1878 World's Fair was held at a period of great emulation in the field of physics and many technologies were showcased. Thomas Edison presented two inventions: an improved version of Graham Bell's phone, as well as a phonograph. Among many other inventions presented were Raoul Pictet & Cie's ice cream machine, Mouchot & Pifre's solar oven, the horseshoe-making machine by the Compagnie des Petites Voitures, the soda-making machine or the typewriter. And thanks to Jablochkov's electrical candle (the light bulb), the hall of the Louvre stores as well as the avenue of the Opera experienced public lighting for the first time.

Paris, 1878

Main attractions: Mr. Henry Giffard's giant steam-driven tethered balloon lifted visitors up to 600 meters above Paris. Another success was the empty head of the Statue of Liberty by Frédéric Auguste Bartholdi in which visitors could enter via interior stairs. The whole statue was to be given as a present to New York City to celebrate the centenary of the American Independence, and become the icon we all know today. Legacies The Palais du Trocadéro was destroyed in 1935 to give way to the Palais de Chaillot, built for the International Arts and Techniques Expo of 1937. However, the general foundations of the building, and several wings and mosaics were kept. The golden statues that were positioned around the palace (6 women that represented the continents and a horse, an elephant, a rhinoceros and a bull) were disseminated all over France until the Musée d'Orsay got them back and displayed them in the museum (except for the bull). The premises of intellectual property During the Fair, the famous writer Victor Hugo mentioned for the first time the concepts of intellectual and artistic property and he presided over the intellectual property congress.

Paris, 1878

SHERER, 2002, p.50: “A exposição foi realizada. como em 1867, no campo de marte, e, pela primeira veztambém na colina de Chaillot, na Placê du Trocadero, além de alguns anexos. Talvez a maior edificação desta exposição tenha sido o Palácio Trocadero do arquiteto Davioud, um espaço de festas e museus, mas váios préios foram construídoos nessa época e serviam para engrandecer a exposição: Entre eles estão: Igreja de Sacre Coeus, Hotel, de Ville, Tuilleries e a Ópera.” Não bastava instruir, demonstrar processos . As pessoas cansavam e queriam relaxar, divertir-se. Assim, era preciso propiciar lazer e isso foi conseguido através de inúmeros artifícios. Várias festas, atrações, parque de diversões sempre com novos brinquedos, simulações de viagens, que iam desde a longínqua sibériaaté o espaço, e restaurantes com comidas e bebidas exóticas, faziam o público se entreter e, por um momento, se encantar com a possibilidade de esquecer o mundo lá fora. Espaço de lazer, a exposição ofereceu às mercadorias e à produção técnica que lhes deram nascimento o aspecto lúdico capaz de arrastar multidõess. As atraçõess apoderaram-se da tecnologia e dos avanços da ciênciapara criar cada vez mais uma atmosfera de entretenimento, através de inventivos brinquedos. Como festa, a exposição celebra com fausto e encantamento a sociedade industrial e a glória da ciência. Buscando na própria ciência aplicada à técnica e nos avanços da indústria os recursos para os seus engenhos de diversão, a festa complementa a fábrica. Com o passar do tempo a esta missão pedagógica e racionalizada das exposições veio acrescentar-se o aspecto lúdico, cm suas atrações e suas máquinas de diversão, que tenderam a dominar , principalmente no século XX. Exposição onde o Japão teve grande presença - JAPONISMO.

Paris, 1878 ImplantaĂ§ĂŁo geral e Palais Champs de Mars

Fonte: site do BIE 62

Paris, 1878 Palais Trocadero

Fonte: site do BIE 63

Paris, 1878 Palácios Champ de Mars e Trocadero

Façade principale du Palais du Champ-de-Mars, en face du Pont d’Iéna. M. Hardy, architecte. In de In de Vandière, Simon. L’Exposition universelle de 1878 illustrée, Paris : Calmann Lévy, 1879. In: http://library.brown.edu/cds/paris/worldfairs.html. Acessado em 28/11/2016

Melbourne, 1880

Segundo BIE: Nome oficial: International Exhibition of Arts, Manufactures and Agricultural and Industrial Products of all Nations Data: 01.10.1880 - 30.04.1881 Tema: Arts, Manufactures and Agricultural and Industrial Products of all Nations Categoria: Exposição Mundial Organizadores: Comissão do governo Visitantes: 1 330 000 Área: 25 Ha

Displays from New South Wales at the 1880 Exhibition. Photographer: Ludovico Hart / Source: Museum Victoria Fonte: https://museumvictoria.com.au/discoverycentre/infosheets/internationalexhibitions/

Melbourne, 1880

Países participantes: 33

Melbourne, 1880

SITE DO BIE: The city of Melbourne, located in the Australian territory of Victoria, hosted a World Exhibition between October 1880 and April 1881. The event, which attracted 1.3 million visitors, was considered a major feat for Victoria, with its Governor stating “It is a source of legitimate pride for the people of Victoria, a colony, a territory that was unknown less than half a century ago. The abundance of natural resources, the wisdom of laws, initiative, intelligence and industry of its people helped to successfully implement this great project.” International Exhibition Some 33 countries participated in the Expo, including the United States, Germany and India. Within the Melbourne Exhibition Building, built for the occasion, exhibitors showcased a diverse range of objects including iron and steel products, pharmaceuticals, jewellery, office stationary, pipes, photographs, musical instruments, wine, and samples of natural products from the Pacific Ocean, among others. The British Pavilion displayed carpets, various chemicals, equipment and leather accessories, while Germany showcased armaments and furniture. The Pavilion of the United States exhibited several innovations including agricultural machinery, typewriters, barbed wire, cotton products, electric lighting and a lawn mower. The prize-winning lawn mower model was reportedly so well designed that it continued to function without needing replaced for 70 years. The Indian Pavilion, in the south-west wing of the main building, was one of the most popular at the Expo. The Victorian Pavilion demonstrated - in a form of dodecahedron rhombic – the total amount of gold mined in the colony since 1851. Its machinery section displayed locomotives, proving the industrial capabilities of the colony. Visitors were given the opportunity to discover and experience each country’s culture, norms and specialities. In the different pavilions, for example, they could take a break to try Indian tea, Dutch cocoa or beer from Austria and Germany. The Melbourne Exhibition Building The Melbourne Exhibition Building and the Carlton Gardens that surround it were designed for the Expo by Joseph Reed. The 12,000m2 building, which was made of brick, wood, steel and slate, drew on a range of architectural styles including Byzantine, Romanesque, Lombard and Italian Renaissance. It was built with a 60-metre dome inspired by Florence’s Duomo. The Exhibits were displayed in the splendid Great Hall as well as in several adjoining rooms.

Melbourne, 1880

After the Expo, the Exhibition Building was expanded to host the Melbourne Centennial Exhibition in 1888. Later, it was the site of the opening of the first Federal Parliament of Australia in 1901. The building continued to be used for various functions, before undergoing a restoration and being renamed the Royal Exhibition Building in 1988. In 2004, it received UNESCO heritage status. The Carlton Gardens that surround the Exhibition Building were designed as typical Victorian-era gardens with wide avenues, pathways, ponds and trees from Australia and Europe. The park remains popular to this day, conveying the image of the opulence of the late 19th century. Legacy The Expo was a shot of adrenaline to a city that was already enjoying rapid growth. The event attracted 1.3 million visitors at a time when Australia’s population was only 2.2 million. In the decade following the Expo, Melbourne’s population doubled to half a million, and the success of the Expo justified the decision to hold Australia’s Centennial Exhibition in Melbourne rather than in Sydney, the city’s long-standing rival. The Exhibition was the opportunity for Melbourne to develop its infrastructure and industry, allowing the city to install electric lights, telephones and lifts and a tramway system. Australia’s international links were significantly boosted, with a direct steamboat line introduced between Australia and the European cities of Marseille and Bremen. The Expo also allowed the colony to establish direct trade relations with Germany, France, Belgium and the United States.

Melbourne, 1880

Fonte: site do BIE 68

Barcelona, 1888

Segundo BIE: Nome oficial: Exposició Universal de Barcelona (Universal Exhibition of Barcelona 1888) Data: 08.04.1888 - 10.12.1888 Tema: Fine and Industrial Art Categoria: Exposição Mundial Organizadores: Comitê Executivo Municipal Visitantes: 2 300 000 Área: 46,5 Ha Países participantes: 30 Segundo Wikipedia Império Alemão, Canadá, EUA, Itália, Portugal, Turquia, Império Austrohúngaro, Chile, Japão, Honduras, Países Baixos, Rússia, Bolívia, Equador, Hungria, Paraguai, Suíça Local: Parc de la Ciudadella

Barcelona, 1888

França, Reino Unido, Uruguai, Bélgica, China,

Barcelona, 1888

Fonte: site do BIE 70

Barcelona, 1888 Planta geral e Fachadas edificios

Barcelona, 1888

Palacio de Bellas Artes de Barcelona, Augusto Font Carreras

Pabellón de la Compañía Trasatlántica, de Antoni Gaudí. Fonte: https://en.wikipedia.org/wiki/ 1888_Barcelona_Universal_Exposition. Acessado em 10/10/2016

El Castillo de los Tres Dragones, actual Museo de Zoología, obra de Lluís Domènech i Montaner.

El Arco del Triunfo - entrada da Exposição. Pprojeto: Josep Vilaseca

Fonte mágica. Fonte: https:// en.wikipedia.org/wiki/ 1888_Barcelona_Universal_Expositio 72 n. Acessado em 10/10/2016

Barcelona, 1888 Vista geral e Gran Hotel Internacional

Fonte: https://en.wikipedia.org/wiki/ 1888_Barcelona_Universal_Exposition. Acessado em 10/10/2016

Gran Hotel Internacional, de Lluís Domènech i Montaner. Fonte: https:// en.wikipedia.org/wiki/1888_Barcelona_Universal_Exposition.. Construído em 69 dias (!) Acessado em 10/10/2016

Paris, 1889

Segundo BIE: Nome oficial: World’s Fair of 1889, Paris Data: 05.05.1889 - 31.10.1889 Tema: Celebração do centenário da revolução Francesa Categoria: Exposição Mundial Organizadores: Estado francês Visitantes: 32 250 297 Área: 96 Ha Países participantes: 35 Segundo DANTAS: Quantidade de pavilhões: 3 pavilhões franceses, 24 temáticos, 18 coloniais, 35 nacionais e 30 privados; Principais atrações (segundo Dantas, p.86): Torre Eiffel Galeria das máquinas (115 x 420m), Palácio das Belas

Paris, 1889

Artes, das Artes Liberais, Rue du Caire (rua temática).

Paris, 1889

Site do BIE It was held between May 5th and October 31st. Its surface, number of visitors and profit of 8 million francs beat all previous records. An Expo to celebrate the 100 years of the French Revolution. The idea to host a Fair to celebrate the Revolution and the end of monarchy emerged as soon as the Fair of 1878 ended and preparations started in 1884. However, during the Expo, many celebrations were specifically held outside the Expo site, like in Versailles, in order no to turn the Fair into a political event. However, this initiative didn't convince neighboring monarchies to participate, though some of them did unofficially send industry representatives to the Fair so as not to miss out on economic opportunities. Between humanism and patriotism Two aspects of France were reflected in the Expo: social France and military France. On the one hand, the importance of education was stressed in the Champs de Mars and the Liberal Arts Palace, and a "social peace" section gave great importance to the status of workers who were very present in the Expo. On the other hand the Ministry of War showcased its souvenirs on the Invalides Esplanade, and the colonial exhibition was a great success. The Palace of Machines Iron architecture dominated the Fair and the Palace of Machines was no exception. Located on the Champs de Mars, it was so big that it occupied the whole surface of the park. Designed by the architect Ferdinand Dutert, the Palace was characterized by its huge and only arch. Inside, visitors could discover series of innovations such as atmospheric hammers, voting machines by Dayex, cigarette makers, Tissot's clock-making workshop, as well as phonographs and telephones. Reused during Expo 1900, the Palace was destroyed in 1910.

Paris, 1889

The Eiffel Tower At a time when iron was much used, Gustave Eiffel's company, which was specialized in metal buildings, was renowned for the viaduct of Garabit (France) and Maria Pia (Portugal). The project of building a tower was a dream for many engineers and Eiffel worked on it as soon as 1884. A competition for a 300 meter-high tower was officially launched in 1886, but it was quite symbolical as it matched Eiffel's project who won the competition. The project was very criticized, in particular because of the use of metal as an architectural feature and not simply as the building structure. The "Artist's protest" for example expressed its indignation towards this project that would distort Paris. However, after the hard work of 150 workers every day during 26 months, the 300,65 meter-high tower became the biggest success of the Fair. Visitors paid 5 francs to go to the top, either by elevator or by stairs, and the 7 million francs invested in its construction were paid off. The closing of the Expo was launched by shooting a canon from the top. During the 20 years that followed, the Eiffel Tower Company benefitted the right to use the tower, which was then given over to the city of Paris. According to some, the tower was never meant to be destroyed. According to others, Eiffel fought hard to stop it from being demolished by proving its technical and scientific use by installing, for example, an antenna in 1909. OBS: Ver Expo 1867 p. 35 - Gustave Eiffel trabalhou junto ao arquiteto LePlay chefiando o projeto do pavilhão principal da Exposição. DANTAS, 2014: Exposição sobre a historia da habitação humana com casas construídas pelo arquiteto Charles Garnier

SHERER, 2002: “Celebração do progresso e da técnica, o mundo parecia já não ter limites. (…) a exposição de 1889 teria sido a última a trazer os traços de sua origem saint-simonista; otimismo, industrializo e paternalismo. Mas (…) iria um pouco mais adiante: a celebração de um centenário que assumiu o contorno de um balanço do século, sem ser exatamente a exposição fin de siécle como a de 1900.” (ORY APUD SHERER, 2002 p.51)

Paris, 1889 Vista aérea da Exposição Universal de 1889 sediada no “Champ de Mars” em Paris

Fonte: https://www.thinglink.com/scene/647005796164435970. Acessado em 15/05/2016

Foto de Alphonse Liébert (1826-1913/14) feita de um balão. Fonte: https:// commons.wikimedia.org/wiki/File:Paris-LOC_cph_3b40741.jpg. Acessada em 18/05/2016

Paris, 1889 Galeria das mรกquinas e Palรกcio das Belas Artes

Fonte: site do BIE. Acessado em 15/05/2016 78

Paris, 1889

Fonte: http://library.brown.edu/cds/paris/worldfairs.html. Acessado em 15/05/2016

Paris, 1889 Vista geral e ConstruĂ§ĂŁo da torre Eiffel

Fonte: site do BIE. Acessado em 15/05/2016 80

Paris, 1889 Imagens de pavilhões nacionais - Gramstorff Collection

Pagoda of Angkor, Albert Maurice Fabre, architect

Pavilion of Cochin China, Alfred Foulhoux, architect

Pavilion of Brazil, Louis Dauvergne, architect Brazil’s pavilion was built by a Parisian architect in a neoPortuguese nautical style, with sculpture along one side representing the rivers of Brazil. Displayed inside were exhibits illustrating Brazil's immense agricultural resources, including native chocolate and vanilla beans and sugar cane. The pavilion was surrounded by a garden of exquisite flowers, banana and palm trees, and orchids.

Pavilion of Bolivia, Paul Fouquiau, architect Bolivia’s mining and silver resources were highlighted in this domed and turreted pavilion. Pavilion of Venezuela, Edmond Jean Baptiste Paulin, architect The Venezuelan pavilion was constructed in a highly sculptural Spanish Renaissance revival style Fonte: http://www.nga.gov/content/ngaweb/research/library/imagecollections/photographs-of-international-expositions/exposition-universelle-de-1889.html. Acessado em 15/05/2016 Palace of Annan and Tonkin, Henri Vildieu, architect

Paris, 1889 Imagens de pavilhões - Gramstorff Collection

Egyptian Bazaar and Cairo Street (Rue du Caire)

Pavilion Brault, Marcel Deslignieres, architect In the foreground is the pavilion of the Brault ceramic firm, built entirely in ceramics in an early French Renaissance style.

Persian, Germanic, and Gallic Houses, Charles Garnier, architect Garnier’s "Habitations Humaines" re-created 44 different stylistic and ethnic periods.

Palais des Beaux-Arts, Jean Camille Formigé, architect Both the Palais des Beaux-Arts and the Palais des Arts Libéraux were iron structures clad in plaster ornament.

Central African and Lapland Houses, Charles Garnier, architect

Palais des Colonies (Palace of the Colonies), Stephen Sauvestre, architect Central exhibition building of the French overseas colonies in Southeast Asia and Africa

Fonte: http://www.nga.gov/content/ngaweb/research/library/imagecollections/photographs-of-international-expositions/exposition-universelle-de-1889.html. Acessado em 15/05/2016 82

Chicago, 1893

Segundo BIE: Nome oficial: World’s Expo Columbian Exposition Local: Chicago Data: 05.05.1889 - 31.10.1889 Tema: Quarto Ccentenário da descoberta da America (Fourth centenary of the discovery of America) Categoria: Exposição Mundial Organizadores: Comité organizador de 1982 da Expo mundial Visitantes: 27 500 000 Área: 290 Ha Países participantes: 19

Chicago, 1893

(Segundo DANTAS, 45 países)

Fonte: https://en.wikipedia.org/wiki/World's_Columbian_Exposition. Acessado em 22/05/2016

Chicago, 1893

Site do BIE: A project to boost national identity The Exposition aimed at building a sense of national unity, encouraging confidence and pride in American goods and business. It was the perfect way to explore social transformations, educate people and reduce their fear of change. An ambitious expo nicknamed "White City" Renowned landscaper Frederick Law Olmsted, designer of NYC's Central Park, chose to place the Expo on the shore of Lake Michigan. Olmsted's project was ambitious. He not only planned to drain and reclaim the ground but also to dredge the lake waters to create canals and lagoons all along the Fair site. The undertaking was successful. The site of the Columbian Exposition was nearly three times bigger than any other previous fair site and the landscape was beautiful. The 14 main pavilions, known as the Great Buildings were conceived following classical architecture. They were all clad in white stucco and illuminated by city lights, which gave the Expo its nickname of « White City ». An Expo of "firsts" The Columbian exposition was a Fair of many innovations and many « firsts » both from a cultural and a technological point of view: it displayed the Thomas Edison “Kinetoscope", the first elevated intramural railway, the first movable sidewalk, the first picture postcards and the first commemorative stamps and coins. The Columbian Fair also broke the record in electrical energy consumption: the Expo required 3 times the electric lighting power in use in Chicago at that time. The first Women's Pavilion One of the most important innovations exhibited was the first building to be entirely dedicated to the work of women in all fields but also exclusively designed and managed by them. - no Dantas diz que foi na philadelphia?

Chicago, 1893

The Midway Pleasance, forerunner of amusement parks The most distinctive feature of the Expo was The Midway Plaisance: a one-mile strip of land entirely dedicated to entertainment. It became a model for future amusement parks such as Coney Island and even Disneyland. The most popular attraction was George Ferris' "Big Wheel". Built to rival the Eiffel tower, this colossal 250 feet diameter wheel became the symbol of the Columbian World's Fair. An Expo to be remembered The Columbian World's Fair was a great success and has left important architectural, scientific and cultural impact. It even provided the United States with a new Holiday: Columbus Day, and a new Star on the City of Chicago flag.

DANTAS, 2010: “De acordo com um sistema de classificação, realizado por uma comissão, cada categoria de produto tinha seu próprio edifício. • Desenho da implantação geral do foi organizado através de canais e lagoas e podiam ser acessados através de gondolas trazidas de Veneza - e pequenas lanchas - ver pag. 94 e 95. • “Onde as pessoas poderiam se atrever a andar de camelo, ver dança do ventre, beber cerveja irlandesa, assistir a um concurso de beleza e fantasia, admirar a domestificação de animais selvagens e patinar no gelo artificial dentro de poucos metros um do outro? • “Plano diretor” para construção dos edificios - ao final o padrão a ser seguido por todas as construções foi o estilo neoclássico Frances Beaux-Arts (pag. 98) - Todos pintados em Branco - Ficou conhecida como White City • Pavilhão brasileiro projetado por Souza Aguiar.

Chicago, 1893 Implantação geral da exposição, escritório Burnham & Root Olmsted

Fonte: http://www.bc.edu/bc_org/avp/cas/ fnart/fa267/1893/1893_gplan.jpg. Acessado em 22/05/2016

Chicago, 1893 Abaixo, palรกcio da manufatura

Fonte: site do BIE. Acessado em 22/05/2016

Chicago, 1893

Fonte: site do BIE. Acessado em 22/05/2016

Chicago, 1893 Pavilhões Nacionais e estaduais

Pavilhão da França. Fonte: http://www.bc.edu/bc_org/ avp/cas/fnart/fa267/1893fair.html. Acessado em 05/12/2016

Pavilhão do Brasil, Souza Aguiar Fonte: https://www.flickr.com/photos/dickinsonlibrary/sets/ 72157605059048343/with/2494927302/. Acessado em 05/12/2016

Pavilhão da Gran Bretagna. Fonte: http://www.bc.edu/ bc_org/avp/cas/fnart/fa267/1893fair.html. Acessado em 05/12/2016

Pavilhão do estado da Pensilvania, Thos. P. Lonsdale Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/ fa267/1893fair.html. Acessado em 05/12/2016

Pavilhão do estado de Nova Iorque, McKim, Mead, & White. Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/ fa267/1893fair.html. Acessado em 05/12/2016

Pavilhão da Turquia Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/ fa267/1893fair.html. Acessado em 05/12/2016 89

Chicago, 1893

Machinary Hall, Peabody & Stearns. Fonte: http:// www.bc.edu/bc_org/avp/cas/fnart/fa267/1893fair.html Acessado em 05/12/2016

Pavilhão das Mulheres, Sophie Hayden. Fonte: http://www.bc.edu/bc_org/avp/cas/ fnart/fa267/1893fair.html Acessado em 05/12/2016

The Great Wharf, Moving Sidewalk. Fonte: http:// www.bc.edu/bc_org/avp/cas/fnart/fa267/1893fair.html. Acessado em 05/12/2016

Peristilo, Charles Atwood. Fonte: http://www.bc.edu/bc_org/ avp/cas/fnart/fa267/1893fair.html Acessado em 05/12/2016

Pavilhão dos transportes, Louis Sullivan. Fonte: http:// www.bc.edu/bc_org/avp/cas/fnart/fa267/1893fair.html Acessado em 05/12/2016

Bruxelas, 1897

Segundo BIE: Nome oficial: Exposição internacional de Bruxelas 1897 (Exposition Internationale de Bruxelles) Data: 10.05.1897 - 08.11.1897 Tema: Vida Moderna (+ Exposição colonial) Categoria: Exposição Mundial Organizadores: Comissariado Geral Visitantes: 6 000 000 Área: 36 Ha Países participantes: 27 IN: (https://web.archive.org/web/20070927203623/ http://www.bie-paris.org/main/pages/files/expos/ 1897-bis.pdf) Visitantes: 7 800 000 PARTICIPANTES OFICIAIS : EUROPA : Allemagne, Autriche, Bosnie Herzégovine, Bulgarie, Danemark, Espagne, France (Dont Algérie et Tunisie), Grande-Bretagne, Grèce, Hongrie, Italie, Luxembourg, Norvège, Pays-Bas, Portugal, Roumanie, Russie, Suède, Suisse.; AFRIQUE : Congo, Libéria; AMERIQUE LATINE : Chili, Paraguay, République Dominicaine.; AMERIQUE DU NORD : Etats-Unis; ASIE : Perse, Turquie

Fonte: https://en.wikipedia.org/wiki/ Brussels_International_Exposition_(1897). Acessado em 05/12/2016

Bruxelas, 1897

Área: 132 Ha

Bruxelas, 1897

Site do BIE: Modern Life Belgium hosted its first ever World Expo in Brussels between 10 May and 8 November 1897, organised under the theme ‘Modern Life’. The Brussels Expo was held in the Parc du Cinquantenaire, which dated from 1875 when it replaced a large military training ground. The Expo site was host to pavilions from 26 nations and Belgium’s provinces, and the various themed galleries showcased the works of 10,668 exhibitors. The ‘Machine Gallery’ for instance, showcased the latest technological innovations of the time, including boilers, electric converters and ventilation systems, while other sections were dedicated to the social economy or hygiene. Belgium’s main cities each had their own respective pavilions. The city of Brussels was represented by a late Gothic style pavilion designed by Paul Saintenoy. It notably included reproductions of the capital’s three most famous statues; ‘Maneken Pis’, ‘le Cracheur’ and ‘les Trois Pucelles’. The Parc du Cinquantenaire featured several entertainment venues and amusements, including the Brussels-Kermesse (Brussels Fair), which was designed by Jules Barbier and featured a reproduction of the city centre in the 14th century. Featuring actors in period costumes, art installations, shooting ranges, games and plays, the Kermesse had all the atmosphere of Brussels in the Middle Ages. A wooden arch was erected to mark the centre point of the Parc de Cinquantenaire; this arch was later replaced by the triple-stone Arcade du Cinquantenaire, built in 1905. The technological innovations section of the fair was also very popular among the visitors to the Expo. The section notably contained an ‘Electric Sun’ with 4,500 light bulbs, as well as the ‘Zoographic Room’, one of the early precursors to the modern cinema. As a display of its colonial strength, Belgium also organised a separate ‘Colonial Exhibition’ in Tervuren, centred around the Belgian Congo and located 15km from the Expo site. To link the two exhibition grounds, a tram line and the Avenue de Tervuren were built.

Bruxelas, 1897

Site do BIE: Belgian Modernity and Art Nouveau Showcasing Belgian modernity, Expo 1897 was a milestone of the Art Nouveau Movement. The Expo’s advertising poster, designed by Henri Privat-Livemont in his typical Art Nouveau style, became symbolic of the event as a whole. The ‘Temple of Human Passions’, also known as the Horta-Lambeaux Pavilion, was built for the Expo. It was the first building to be commissioned to Victor Horta, the young Belgian architect who would go on to become a pioneer of Art Nouveau. Initially meant to coincide with the opening of the Expo, its inauguration was delayed due to a disagreement between the sculptor and the architect. The Expo also hosted the modernist works of Paul Hankar, Gustave Serrurier-Bovy, Henry Van de Velde, architect Henri Van Dievoet and his sgraffitist brother Gabriel. Transpiring a sense of Art Nouveau, the works of the Expo 1897 influenced the movement far beyond the borders of Belgium. The Austrian architect Otto Wagner, was deeply influenced by the early Belgian Art Nouveau scene when he visited the Expo, especially the geometric style of Paul Hankar. This, in turn, played a role in the development of the ‘Viennese Secession’ aesthetic. Legacy Expo 1897 was thus the expression of a new art form, on the eve of the 20th Century, which spread its aesthetic around the world. Attracting over six million visitors, the city’s rail and street infrastructure was vastly expanded for the World Expo. The Temple of Human Passions is the only remaining structure built for the Expo in the Parc du Cinquantenaire today.

Bruxelas, 1897

Fonte: site do BIE. Acessado em 22/05/2016

Bruxelas, 1897 Planta geral da Exposição e localização na cidade

Fonte: https://archive.org/stream/laviemodernelexp00brau#page/n209/mode/2up Acessado em 05/12/2016

Paris, 1900

Segundo BIE: Nome oficial: Exposição de Paris 1900 (L’Exposition de Paris 1900) Local: Paris Data: 15.04.1900 – 12.11.1900 Tema: 19th century: an overview Categoria: Exposição Mundial Organizadores: Estado Francês Visitantes: 50 860 801 Área: 120 Ha Países participantes: 40 Videos de referência: https://www.youtube.com/watch?v=n-4R72jTb74

Paris, 1900

http://www.youtube.com/watch?v=8MZGusqwKPo

Paris, 1900

Site do BIE: "19th century: an overview" This exposition remains, in the collective imagination, the symbol of Paris' influence during the Belle Epoque. With an especially big site (ten times bigger than the 1855 one) and a record attendance, it was an indisputable success. The Exposition of 1900 is a showcase for the 19th century, but at the dawn of a new era, it also looks at the future and searches for modernity at all costs. This desire can be seen through the important use of electricity: the pavilions and the Eiffel Tower are illuminated all night giving an enchanting atmosphere to the Exposition. There are technical achievements : a moving walkway takes visitors from Quai d'Orsay to Rue des Nations. Other inconspicuous inventions are the results of the Exposition such as the first edition of the Michelin Guide. Paris and the Belle Epoque The Belle Epoque is the scene of the Exposition of 1900. It is a period of economic growth, insouciance, amusement and especially faith in progress. The Exposition atmosphere is full of this joy. It even looks like a funfair with its attractions and the Big wheel. But it is also and above all a great popular event: France, which only had 41 million inhabitants at that time, hosted almost 51 million people in Paris on this occasion. Place of honour for Art Nouveau Whereas the first world's fairs had their roots in the Industrial Revolution, the Exposition of 1900 is different because of its artistic approach and its promotion of Art Nouveau. The Triumphal Gateway, a monumental polychrome structure, designed by the architect RenĂŠ Binet, is a real showpiece. Art Nouveau can also be found in metro station entrances, made by Hector Guimard. This artistic movement, which aims at getting out of the too narrow national sphere, is completely in line with the will and the curiosity to open to the world illustrated by the World Tour Panorama, one of the most famous attractions of the Exposition.

Paris, 1900

A spectacular show To amaze and to dazzle the visitor, this was the purpose of the Exposition of 1900. The list of attractions is therefore very long. The Great Refractor of the Palais de l'Optique, the Exposition's masterpiece, enabled people to see the Moon as if it were a metre away. Reconstitutions were also really popular: the Old Paris or the Swiss village. The Mareorama can also be mentioned: it gave the impression of a sea journey. A rich heritage The Exposition of 1900 is the one which left the biggest heritage to Paris. Indeed, the first metro line Porte de Vincennes-Porte Maillot was inaugurated there. Subsequently, the network developed continuously. Other constructions are still part of the current Parisian landscape: the Alexandre III Bridge, symbol of the French-Russian friendship or the Petit Palais which became one of the 14 Paris City Museums and the Grand Palais which now hosts very prestigious exhibitions.

Do site Brown Library: (http://library.brown.edu/cds/paris/worldfairs.html#de1855) â&#x20AC;˘ Eiffel Tower was painted in yellow for the occasion. â&#x20AC;˘ Charles Giraut designed the Petit Palais entirely, and supervised several other architects with the conception of the Grand Palais.

Paris, 1900

Fonte: http://lartnouveau.com/belle_epoque/expo1900/plans.htm. Acessado em 05/12/2016

Paris, 1900

Fonte: site do BIE. Acessado em 22/05/2016

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Paris, 1900

Fonte: site do BIE. Acessado em 22/05/2016

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Paris, 1900 Mareorama e Tour du Monde

Plataforma móvel - pont des Invalides. http://library.brown.edu/jpegs/ 1303844563250005.jpg. Acessado em 22/05/2016

Palácio da Eletricidade. Fonte: http://library.brown.edu/ cds/paris/worldfairs.html .Acessado em 22/05/2016

Porte monumentale. Projeto René Binet. Fonte: http://library.brown.edu/ jpegs/1303844563250005.jpg. Acessado em 22/05/2016

Mareorama. Fonte: https:// commons.wikimedia.org/wiki/ File:Mareorama_(Scientific_Amer ican).jpg. Acessado em 22/05/2016

Le Tour du Monde: M. Alexandre Marcel, Architecte. Fonte: https:// repository.library.brown.edu/studio/item/bdr: 87128/. Acessado em 22/05/2016 102

Paris, 1900 Áustria

Pavilhão da Áustria Getty images

Poster do pavilhão da Áustria Getty images

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Saint Louis, 1904

Segundo BIE: Nome oficial: Louisiana Purchase Exhibition Local: Paris Data: 30.04.1904 - 01.12.1904 Tema: Celebration of the acquisition of territory Louisiana, April 30 1803 Categoria: Exposição Mundial Organizadores: Celebration of the acquisition of territory Louisiana, April 30 1803 Visitantes: 19 694 855 Área: 120 Ha Países participantes: 60 Fonte: https://www.sos.mo.gov/archives/mdh_splash/default.asp?coll=muellis. Acessado em 05/12/2016

Saint Louis, 1904

Pavilhão Brasileiro: Palácio Monroe

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Saint Louis, 1904

Site do BIE: Celebrating the 100th anniversary of the Louisiana Purchase Expo 1904 in St. Louis was known as the Louisiana Purchase Exposition as it celebrated the 100th anniversary of the American purchase of the territory of Louisiana on 30 April 1803 from France. The Expo stretched from Forest Park to the west of St. Louis over an area of 500 hectares, making it one of the three largest World Expos ever organised. The opening of the Expo was delayed by one year to allow for final preparations, with the site finally opening to the public on 30 April 1904. This delay also allowed more time to attract international participants, with a total of 60 countries having a presence, including China’s first formal participation in a World Expo. The Expo site was so large that it took visitors an entire week to see all of it: 1,500 buildings were erected around the site and 75 km of walkways and railways were laid to move around the site. To encourage visits from further afield, reasonable train prices were made available, and city’s hotel and accommodation facilities were improved so that it had the largest capacity in the United States for the period of the Expo. The Pike The Pike was a 2km section of the Expo that contained all the amusements, with the aim of informing, surprising and entertaining visitors. For example, visitors could visit a replica of a Paris fashion show, view a re-enactment of the Galveston Flood, or submerge themselves in the scenery of Constantinople and Cairo. Foreign pavilions were designed to replicate well-known monuments from their country, with the French pavilion being a replica of the Trianon at Versailles. Memorable pavilions The Texas pavilion was one of the most impressive buildings of the Expo: it was shaped like a five pointed star topped by a dome to symbolise the state of Texas. The pavilion’s entrance was reached by an 8-metre flight of stairs, with enormous columns and porches at the corners of the star. The Festival Hall was another staple of the Expo in St. Louis, featuring the largest dome in the world at the time. The building featured three water cascades draining into the Fountain of Liberty, which was adorned with statues personifying Liberty (the largest of the statues), Genius and Inspiration.

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Saint Louis, 1904

The Palace of Agriculture was the Expo’s largest building, and is remembered for its unusual monuments made out of edible products, like the Louisiana statue made of sugar, a statue of President Roosevelt made entirely of butter and an almost six-metre high lighthouse made of salt. Agricultural resources of each state were shown on a map covering two hectares and presented the crops growing in each state of the nation to visitors. Showcasing the theme of human progress The three main scientific achievements that were showcased at Expo 1904 - automobiles, wireless technology and aeronautics - were exhibited in white palaces dubbed “the Ivory City”. One very popular exhibit in this section was the De Forest Wireless Telegraph Tower, where visitors queued up to send wireless telegraph messages to Chicago. Visitors could also follow the competition for the best aeronautic achievement to date, which took place on the 5-hectare aeronautic field, and featured balloons, kites, planes, a gliding machine, and airships. Legacy Although the St. Louis Expo did not reach its target of 30 million visitors, the organisers were satisfied by the final tally of 19 million. As the majority of the pavilions were built to be temporary, few legacies remain today. However, the Palace of Visual Arts still stands in its place, and now serves as the Museum of Arts of St. Louis, one of the largest arts museum in the United States.

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Saint Louis, 1904 Vista geral

Fonte: https://www.loc.gov/item/98687180. Acessado em 05/12/2016

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Saint Louis, 1904

Fonte: site do BIE. Acessado em 22/05/2016

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Saint Louis, 1904

Palácio das manufaturas Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/ fa267/1904fair.html. Acessado em 05/12/2016

Palacio da eletricidade. Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/fa267/1904fair.html. Acessado em 05/12/2016

Palácio das das Artes liberais Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/fa267/1904fair.html. Acessado em 05/12/2016

Pavilhão da Bélgica Fonte: http://www.bc.edu/bc_org/avp/cas/fnart/ fa267/1904fair.html. Acessado em 05/12/2016

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Liège, 1905

Segundo BIE: Nome oficial: Exposição Universal de Liège (Universal Exhibition of Liege) Data: 27.04.1905 - 06.11.1905 Tema: Comemoração dos 75o aniversário da Independência Categoria: Exposição Mundial Organizadores: Sociedade da Exposição Visitantes: 7 000 000 Área: 70 Ha Países participantes: 35 Pavilhões: Argélia, Alemanha (10.000 m²), Inglaterra (1300 m²), Áustria (1000 m²), Bélgica (45 000 m²), Bósnia, Bulgária, Canadá (1350 m²), China (825 m²), Congo,

Fonte: site do BIE. Acessado em 25/05/2016

Estados Unidos da América (1900 m²), França (30 000 m²), o Grão-Ducado do Luxemburgo, Grécia, Japão (1 800 m² ), Montenegro, Marrocos, Noruega, Pérsia, República Dominicana, Roménia, Rússia (1450 m²), Sérvia, Suécia (700 m²), Suíça (1300 m²), Turquia (400 m²), Tunísia. Seção separada sem pavilhões: Brésil, Cuba, l'Égypte, l'Espagne, l'Indo-Chine, le Mexique, le Portugal, la République Dominicaine et l’Uruguay.

Fotos: http://preauxsourcebis.eklablog.com/l-exposition-universelle-deliege-1905-a108822302

Liège, 1905

Holanda (875 m²), Hungria (500 m²), Itália (1300 m²),

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Liège, 1905

Site do BIE: Celebrating Belgian Independence Expo 1905 in Liège coincided with the 75th anniversary of Belgian independence, and was aimed at showcasing the achievements of Belgium’s scientists, doctors and engineers. Development of Vennes The Expo site was developed on the flood-prone Vennes area of the city, which required a significant amount of ground preparation as well as the construction of new bridges and roads. The Fragnée bridge over the River Meuse remains to this day, and is reminiscent of Pont Alexandre III in Paris. Another significant legacy of the Exhibition is the Palace of Fine Arts, located in Parc de la Boverie. Around 100 Walloon style houses and the Saint Lambert church were reconstructed for the Expo to be part of the “Vieux Liège” attraction, which proved to be very popular with visitors. Technological advancements The Expo featured over 80 pavilions and 17,004 exhibitors, making it the largest Expo to date to take place outside of France and the United States in terms of the number of participants. There was notably a large number of French exhibitors, with highlights including a fingerprint identifying magnifier showcased by the Paris police, as well as Léon Gaumont’s Chronophone projector, which was one of the first devices to synchronise film with sound. Visitors from all over the globe The organisers of the exhibition put great efforts into attracting as many international participants and visitors as possible. Brochures were sent to hotels and trains all over the world, and journalists were invited to visit the pavilions while they were being constructed. Once it was opened, the Expo was visited by a number of foreign dignitaries, including those from afar afield as Russia, Persia and Japan.

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Liège, 1905 Implantação geral

Fonte: http://www.chokier.com/FILES/EXPO/Expo1905-Plan.html. Acessado em 25/05/2016

Fonte: fotos em: http://www.fabrice-muller.be/liege/expo1905/expo1905.html. Acessado em 25/05/2016 112

Liège, 1905 Parque de atrações e ponte de acesso

Fonte: fotos em: http://www.fabrice-muller.be/liege/expo1905/expo1905.html. Acessado em 25/05/2016

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Liège, 1905 Pavilhões nacionais

Fonte: http://www.chokier.com/FILES/EXPO/Expo1905-Plan.html. Acessado em 25/05/2016

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Liège, 1905 Pavilhões

Fonte: fotos em: http://www.fabrice-muller.be/liege/expo1905/expo1905.html. Acessado em 25/05/2016

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Milão, 1906

Segundo BIE: Nome oficial: Esposizione internazionale del Sempione Data: 28.04.1906 - 11.11.1906 Tema: Transportes Categoria: Exposição Mundial Organizadores: Comitê organizador de Milão Visitantes: 7 500 000 a 10 000 000 Área: 100 Ha Países participantes: 40

Fonte: http://www.wheremilan.com/expo-2015/milano-expo-1906/. Acessado em 25/05/2016

Milão, 1906

Número de pavilhões: 107

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MilĂŁo, 1906

Site do BIE: In 1906, in order to celebrate the inauguration of the Simplon Tunnel, Milan held its first World Exhibition. For contemporaries, the Simplon Tunnel was an engineering achievement and a concrete example of the possibilities of applying science to work. The latter progressively became the central theme of the Milan Expo, going well beyond the original reference to transport. One Expo, two venues The Expo was located in two venues simultaneously, some 1,350 meters apart, the Parco Sempione and the former Piazza d'Armi. The transfer of visitors between each venue was assured by an innovative raised electric railway, while on Piazza d'Armi, the links between the pavilions was made possible via an innovative Fiat petro-powered tramway, both innovative attractions facilitating the transport of visitors on the site. Engineering, Art and Entertainment Piazza d'Armi included foreign pavilions and structures housing industrial and engineering exhibits, while pavilions housing fine art exhibits were located in the Parco Real. Train, Car engineering as well as aeronautics and maritime transport were part of the highlights of the Expo. Milan Expo hosted a dedicated Motor Car building, probably the first at a World Expo, and a special parade of automobiles on May, 26 in conjunction with an international congress on the automobile and the conclusion of the Coup d'Or race. Railways occupied 20km of the Piazza d'Armi and enclosed spaces were developed to display signals, communication systems and other railway equipment as well as the use of electricity to power the railway systems. Prototypes of aircraft were also on displayed, all celebrating the idea of progress. In the Parco Real, Pavilions exhibited furniture, tapestries, paintings but also clothes, fabric and accessories made from Silk and manufactured by over 2,000 companies. In a manner typical to World Expos, all the phases from the silkworm to the production of the fabric were for example displayed in a 2,000 square meters pavilion dedicated to the Italian Silk industry.

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MilĂŁo, 1906

The Expo also included numerous light-hearted attractions from fairground rides and air balloons to the cinema (only invented 10 years before the Expo). Most of the 200 temporary buildings were made of wood, metal, glass and plaster. A fire completely destroyed on 3rd August, the joint Hungarian and Italian art building. The only building which can still be admired today is the Civic Aquarium, true symbol of local Art Nouveau architecture. During the Second World War, it was hit by a bomb in the night of the 13/14th August 1943 and was reopened only 20 years later, in 1963. Today, it hosts the hydro-biological section of the Natural History Museum.

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Milão, 1906 Implantação geral

Fonte: http://www.wheremilan.com/expo-2015/milano-expo-1906/. Acessado em 25/05/2016

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MilĂŁo, 1906 Entrada parco Sempione e PavilhĂŁo dos trabalhos

Fonte: site do BIE. Acessado em 25/05/2016

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Milรฃo, 1906

Entrada Parco Sempione. Fonte: http://www.wheremilan.com/ expo-2015/milano-expo-1906/. Acessado em 22/05/2016

Aquรกrio. Fonte: http://www.wheremilan.com/expo-2015/milanoexpo-1906/. Acessado em 22/05/2016

Pavilhao do cairo. Fonte: http://www.wheremilan.com/ expo-2015/milano-expo-1906/. Acessado em 22/05/2016

Parque aerostรกtico. Fonte: http://www.wheremilan.com/ expo-2015/milano-expo-1906/. Acessado em 22/05/2016 121

Bruxelas, 1910

Segundo BIE: Nome oficial: Exposição Universal e Internacional de Bruxelas Data: 23.04.1910 - 07.11.1910 Categoria: Exposição Mundial Organizadores: La Compagnie de l’Exposition de Bruxelles (S.A.) Visitantes: 13 000 000 Área: 90 Ha Países participantes: 26

Bruxelas, 1910

Fonte: site do BIE. Acessado em 25/05/2016

122

Bruxelas, 1910

Site do BIE: Brussels had previously run for the organization of Expo 1905 to celebrate the 75th anniversary of the national independence, but the city of LiĂ¨ge had won the right to host the event. Showcasing industrial progress and colonial power At the turn of the century, Belgium benefited from international prestige thanks to its industrial development and the success of its past Expos (Anvers 1885 and 1894, Brussels 1897 and LiĂ¨ge 1905). Being a strategic crossroads between Germany, the UK and France, Belgium wished, with Expo 1910, to reaffirm its industrial progress and its colonial power. Synonymous of national power at the time, colonies were very much in the spotlight and showcased in many participants' pavilions. Visitors could thus discover the Algerian pavilion, the Indochinese pavilion, the Malagasy or the Tunisian pavilions. The Solbosch plateau and the development of Brussels The 90ha Fair was mainly held on the Solbosch Plateau. The colonial sector was however held in Tervueren and the fine arts area was held in the Centenaire park. The presence of the Expo on the Plateau was a great contribution to the territorial expansion and urbanization policies of the city: the city of Ixelles gave 62,64 of its territory to Brussels. Moreover, a 2 km railroad was built to link the site to the existing roads so that visitors could get to the site by tramway from the city center. A major communication route, avenue des Nations, was also created to extend the Louise Avenue along the woods of the Cambre. The main attractions At the entrance, a reconstitution of old Brussels, called "Brussels Kermess" was the key attraction of the Expo. The "Water chutes" and the "Scenic Railway" were also a great source of entertainment for visitors. The site also offered many leisure spaces and gardens and was overlooked by the Cambre woods.

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Bruxelas, 1910

Many congresses on a variety of issues The Brussels World's fair held many congresses dedicated to experts and the general public on issues such as horticulture, international associations, tropical astronomy, or intellectual property. A terrible incident On the evening of the 14th of August, a fire originated in the post, telegraph and telephone offices and destroyed part of the exhibition. Brussells Kermess, the English section and a part of the French section were damaged. The spoil was hidden behind a decorated wall and the objects that were saved were exhibited. The UniversitĂŠ Libre de Bruxelles and the Franklin Roosevelt Avenue In the 1920s, the UniversitĂŠ Libre de Bruxelles settled on the Solbosch Plateau. The avenue des Nations was renamed Franklin Roosevelt avenue.

124

Bruxelas, 1910

Fonte: site do BIE. Acessado em 25/05/2016

125

Bruxelas, 1910 Palácio da Bélgica e Vista geral

Fonte: site do BIE. Acessado em 25/05/2016

126

Bruxelas, 1910

IncĂŞndio ocorrido em 14;08/1910. Fonte: site do BIE. Acessado em 25/05/2016

127

Bruxelas, 1910

Depois do IncĂŞndio ocorrido em 14;08/1910. Fonte: site do BIE. Acessado em 25/05/2016

128

Ghent, 1913

Segundo BIE: Nome oficial: Exposição Universal e Internacional de Ghent País: Bélgica Data: 26.04.1913 - 03.11.1913 Categoria: Exposição Mundial Organizadores: Sociedade da Exibição Visitantes: 9 503 419 Área: 130 Ha

Ghent, 1913

Países participantes: 24

129

Ghent, 1913

Site do BIE: In 1913, the Belgian city of Ghent hosted a World Expo in the Sint-Pieters-Aalst district, a spot now occupied by the ‘Citadelpark’. The idea of a World Expo in Ghent came from the success of the city’s Provincial Exhibition in 1899, as well as the desire to compete with Liège, which organised an Expo in 1905. The Expo site covered 130 hectares, making it larger than any Expo previously held in Belgium. The major European nations, the United States, Canada, Argentina and Persia all participated with their own pavilions, and other countries were present in the International Hall. The British and French pavilions were the most prominent of the 24 international pavilions. The transformation of Ghent The Expo was an opportunity for Ghent to undertake a major renovation of the city centre, and notably the iconic Graslei (grass quay). The Graslei consists of riverside stone facades dating from the 18th century, and to this day it is one of the city’s biggest tourist attractions. Additionally, the city’s Sint-Pieters railway station was built for the Expo, as well as the neighbouring 600-room Flandria Palace Hotel, which was designed by Jules Van de Hende in a late Art Nouveau style and which overlooked the Expo site. The centre of Ghent was impressively decorated with flowers and plants for the opening of the Expo, as the city’s celebrated Floralies floral exhibitions were organised to coincide with the Expo. The Pavilions: The Old and the New One of the most popular sections, reminiscent of the ‘Brussels Kermesse’ in 1897, was the ‘Old Flanders’ district. Old Flanders was designed by Valentin Vaerwyck, who was also the architect of the Expo’s ‘Modern Village’. The juxtaposition of these two sections allowed visitors to appreciate the difference between the past and the present. ‘Old Flanders’ featured stunning examples of classical Flemish architecture based on the sketchbook of Armand Heins. The ‘Modern Village’ had a symmetrical layout of houses and modern farms featuring the latest technology, such as mechanical milking machines.

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Ghent, 1913

Among the amusements of the Expo were the world's highest water slide, a 5km scenic rail ride around the site and a 'joywheel'. Legacy Ghentâ&#x20AC;&#x2122;s World Expo was Belgium's largest Expo of the time, and was also the last major Expo in Europe prior to the outbreak of the First World War. Most of the structures built for the Expo were destroyed during the war or dismantled in the aftermath. One of the few remaining buildings from Expo 1913 is the Sint Gerardus School, which formed part of the original Modern Village. Designed to showcase modern pedagogy and hygiene at the Expo, the building served as a school after the Expo, and has since been classed as an historical monument. The Flandria Palace Hotel was subsequently used as offices by the Belgian National Rail Company SNCB, and became protected as national heritage site in 1995.

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Ghent, 1913 Implantação Geral

Fonte: http://gallica.bnf.fr/ark:/12148/btv1b8446073x. Acessado em 07/12/2016

Fonte: http://www.gentblogt.be/wp-content/uploads/ 2010/01/20100131_expo.jpg. Acessado em 07/12/2016 132

Ghent, 1913 Imagens da Exposição - Ghent University Library

Anexo da secção francesa.

Av. das Nações.

Secção Inglesa.

Palácio colonial.

Pavilhão da Tunísia.

Pavilhão da Itália.

Fonte: http://www.theeuropeanlibrary.org/tel4/collection/a1035. Acessado em 07/12/2016 133

São Francisco, 1915

Segundo BIE: Nome oficial: Panama Pacific International Exposition País: EUA Data: 20.02.1915 - 4.12.1915 Categoria: Exposição Mundial Organizadores: Sociedade da Exibição Visitantes: 18 876 438 Área: 254 Ha Países participantes: 24

São Francisco, 1915

Souvenir “The Jewel city” e cartaz da Exposição. Fonte: https://en.wikipedia.org/wiki/ Panama%E2%80%93Pacific_International_Exposition. Acessado em 25/5/2016.

134

SĂŁo Francisco, 1915

World Exhibition San Francisco 1915 In 1906, unfortunately, a terrible earthquake and a fire hit San Francisco and destroyed the city. It made the expo project even stronger. From then on, a big project was needed to motivate the reconstruction. On February 20th, 1915, the Panama Pacific International Exposition opened in San Francisco, California. It was a big success and it did a lot to boost morale at the bay and to reassert the value of San Francisco. The Expo site The Expo was located on the South bank of San Francisco's bay next to the Golden Gate. The site covers more than 4 km along the bank (West of Fort Mason and East of Presidio). Built in three years, the Expo's most well recognized buildings were the Tower of Jewels and the Domed City. The majority of buildings and palaces were designed to last only for the Expo period, with the exception of the Palace of Fine Arts, which was not demolished and was entirely rebuilt in the â&#x20AC;&#x2DC;60s. Star attractions and innovations The Panama Pacific International Exposition 1915 was the first Expo to widely use "indirect lighting". These lights reflected the appearance and the colour of the buildings. A phone line was established with New York City, so that people could hear the Pacific Ocean. The Liberty Bell, the symbol of American Independence was exhibited during the Expo. However, the main attraction was the topographical model of the Panama Canal, which covered five acres. A movable platform (1440 feet long with a capacity of 1200 people in 144 carriages continuously connected) turned round the model in 23 minutes for the sum of 50 cents. The mechanism presaged the famous "Futurama" of the New York Expo in 1939. About 19 000 000 visitors were present during the Exposition period, that is to say 289 days. Despite the First World War, 29 foreign countries and 32 American states and territories participated in the Expo.

135

São Francisco, 1915 Four Seasons Court e vista aérea

Fonte: site do BIE. Acessado em 25/5/2016.

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São Francisco, 1915 Four Seasons Court e vista aérea

Fonte: site do BIE. Acessado em 25/5/2016.

Vista do palácio das Fine Arts. Fonte: Wikipedia. Acessado em 25/5/2016.

137

São Francisco, 1915 Four Seasons Court e vista aérea

Réplica do Canal do Panamá. Fonte: en.wikipedia.org/wiki/ Panama–Pacific_International_Exposition. Acessado em 07/12/2016.

Califórnia building. Fonte: en.wikipedia.org/wiki/Panama– Pacific_International_Exposition. Acessado em 07/12/2016.

Festival Hall. Fonte: en.wikipedia.org/wiki/Panama– Pacific_International_Exposition. Acessado em 07/12/2016.

Palácio da horticultura. Fonte: en.wikipedia.org/wiki/ Panama–Pacific_International_Exposition. Acessado em 07/12/2016.

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Barcelona, 1929

Segundo BIE: Nome oficial: Exposició Internacional de Barcelona de 1929 País: Espanha Data: 20.05.1929 - 15.01.1930 Tema: Indústria, Arte e Esporte Categoria: Exposição Mundial Organizadores: Municipalidade de Barcelona Visitantes: 5 800 000 Área: 118 Ha Países participantes: 29 Segundo Wikipedia: Participação oficial: Checoslováquia (sem pavilhão), Dinamarca, Finlandia (sem pavilhão), França, Hungria, Itália, Noruega, Romenia, Suécia, Suíça (sem pavilhão), Reino dos Sérvios, Croatas e Eslovenios, Participação não oficial: EUA, Japão, Países Baixos, Reino Unido

Barcelona, 1929

Alemanha, Áustria (sem pavilhão), Bélgica,

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Barcelona, 1929

“A localização urbana da exposição foi um ponto crucial. A alternativa era Montjuïc, no limite oeste, (…) Trazia a oportunidade de condensar a urbanização de um grande parque na montanha – também previsto por Cerdà, mas muito mais próximo do centro urbano que Besòs – e a vantagem de recuperar para a cidade um lugar emblemático, mas pouco conhecido, colina ao mesmo tempo próxima e proibida, de onde os Bourbon controlavam Barcelona.” (p.33) “Um dos principais nomes do Noucentisme, movimento regional que contesta e sucede ao Modernisme como hegemônico na Catalunha no início do século, Puig i Cadafalch foi o responsável pelo partido urbanístico, pela definição morfológica geral da exposição, e por uma série de peças urbanas. O partido é claro, revelando domínio dos procedimentos do urbanismo francês de origem Beaux-Arts e influências que vão do City Beautiful a Otto Wagner em Viena.” (p.34) “A principal peça urbanística (…) foi o grande eixo entre a Plaça d’Espanya e o Palácio Nacional. “ “(…) pavilhões ou pequenos edifícios de conteúdo temático estiveram presentes na exposição de 1929, mas seu papel era de complementar ou valorizar os palácios ou edifícios principais, feitos para permanecer. Representavam instituições, nações ou marcas comerciais, procurando transmitir uma mensagem publicitária direta, e seu conteúdo arquitetônico era em muitos casos efêmero ou de escasso interesse.” (p. 46) “Ao redor do pavilhão (Alemão) e entre os grandes palácios, dezenas de pequenos edifícios de empresas lutavam por atenção: Nestlé, Hispano Suiza, Aromas de Montserrat e Codorníu apresentaram imagens diretas de seus produtos convertidas em macro-arquiteturas.” (p.47) “Um relato completo da exposição de 1929 deve incluir três eventos singulares e diferenciados: o Pople Espanyol, as atividades esportivas e recreativas, e a iluminação.” (p.47) Mas o grande marco de 1929 foi a espetacular iluminação dos edifícios, fontes e espaços públicos, justificando o epíteto de “exposição mágica”. O projeto desenvolvido pelo engenheiro Carles Buïgas e os técnicos da Westighouse (…).” (p.47) ABREU, Silvio de. Duas Exposições Espanholas: Sevilha e Barcelona1929. In: ARQUITEXTO 16, (pag. 28-53). PROPAR, UFRGS. Porto Alegre, 1992. 140

Barcelona, 1929 Implantação geral “(…) como sede del certamen de 1929 se debe al plan de ordenación general redactado por Josep Puig i Cadafalch y Guillem Busquets en 1915-16, plan que dio pie a los planes sectoriales o de zonas en que se dividiría la exposición: el plan para la sección nacional y el eje de la avenida Maria Cristina, de los mismos arquitectos; el plan de la sección internacional de Lluís Domènech i Montaner y de Manuel Vega i March; y, finalmente, el plan de Miramar, de Enric Sagnier i Villavecchia y August Font. (SAGARRA,2006, p.111) SAGARRA, Carme Grandas. Arquitectura para una exposición: Barcelona 1929, In: Artigrama, núm. 21, 2006, 105-123, Fonte: https://www.unizar.es/artigrama/pdf/ 21/2monografico/04.pdf Acessado em 09/12/2016.

Plano Geral. Fonte: http://wiki.ead.pucv.cl/index.php/ Exposici%C3%B3n_Internacional_Barcelona_1929. Acessado em 09/12/2016

141

Barcelona, 1929

Vista geral. Fonte: https://www.archives.gov/exhibits/ panoramic_photography/images/barcelona_exposition_1929.html. Acessado em 09/12/2016.

142

Barcelona, 1929 Pavilhões oficias “A arquitetura da exposição manifesta um historicismo que haveria de ser qualificado de forma pejorativa como eclético, uma vez que repousa sobre uma mistura de estilos. Deve-se a isso (…) em parte a formação da maioria dos arquitetos, feita na escola de arquitetura de Barcelona, com forte influencia da

Palau de las Misiones- Antoni Darder

Palau de Proyecciones- Eusebi Bona y Francisco Aznar.

Palau de Artes Gráficas- Pelai Martínez y Raimon Duran i Reynals

Palau de Arte Moderno- Antoni Darder.

Palau de Agricultura Josep Maria Ribas y Manuel M.Mayol

Palau de Comunicaciones y TransportesFélix de Azúa y Adolf Florensa

Palau de Prensa- Pere Domènech y Roura.

Escola de Belas-Artes francesa.” “Os pavilhões destinados a Indústria acabaram por revelar-se os edifícios mais interessantes do ponto de vista arquitetônico, conjugando forma e funcionalidade. Desta forma seguindo duas opções vanguardistas presentes na

Palau de la Química: Antoni Sardà.

exposição: a arquitetura déco, presente no pavilhão da França e no Pavilhão dos artistas reunidos e a racionalista presente por sua vez no Pavilhão da Suécia e no destacado Pavilhão Alemão.” (SHERER, 2002, Pag. 108)

Fonte das Imagens: http://wiki.ead.pucv.cl/ index.php/Exposici %C3%B3n_Internacional_Barcelona_1929. Acessado em 09/12/2016

Palau de la Metalurgia, Electricidad y Fuerza Motriz: Amadeu Llopart y Alexandre Soler y March.

143

Barcelona, 1929 Pavilhões Nacionais

Hungría: Dénes György y Nikolaus Menyhért. Este edificio fue el exponente del expresionismo.

Futura Yugoslavia: Dragisa Brasovan. Obra era un pabellón de concepción vanguardista, con planta en forma de estrella y fachada con listones de madera en blanco y negro.

Dinamarca: Tyge Hvass. En su fachada se podía observar una áncora, un fajo de trigo, una rueda dentada y la bandera de Dinamarca; todos estos elementos simbolizaban la economía del país.

Rumanía: Duiliu Marcu. Planteó una construcción de planta rectangular con revestimiento de madera y estuco, torre rectangular y arquera acabada en forma de pérgola.

Italia: Piero Portaluppi. Se trata de un edificio en forma de U, destacaban una águila imperial romana en las columnas, un friso con el nombre del país y un frontal con la estatua de la diosa Minerva.

Suecia: Peder Clason. Un pabellón de madera de estructura geométrica.

Alemania: Ludwig Mies van der Rohe. De todos los pabellones y palacios sólo este puede ser considerado como un auténtico modelo de arquitectura moderna.

Bélgica: Verhelle. Presentaba un edificio de planta cuadrangular en el cual destacaba una torre “beffroi” que doblaba en altura el edificio.

Francia - Georges Wybo. Se trataba de un edificio de estilo clasicista con elementos de arte Déco; un edificio en forma cúbica con una escultura de una mujer en su parte frontal Noruega - Ole Lind Schistad. Recordaba las casas típicas de montaña, hechas todas de madera. Fonte: http://wiki.ead.pucv.cl/index.php/Exposici%C3%B3n_Internacional_Barcelona_1929. Acessado em 09/12/2016 144

Barcelona, 1929 Pavilhões Oficiais - Atualmente

Palacio de la Prensa. obra de Pere Domènech i Roura

El Palacio Nacional, actual Museo Nacional de Arte de Cataluña. obra de Eugenio Cendoya y Enric Catà

Palacio de la Agricultura - Obra de Josep Maria Ribas i Casas y Manuel Maria Mayol,

Pal. das Artes Gráficas. Projeto Raimon Duran i Reynals y Pelai Martínez, de estilo novecentista con influencia del Renacimiento italiano, 145

Barcelona, 1929 Pavilhões comerciais

Pavilhão Equitativa

Pavilhão Nestlé Pavilhão Uralita

Fonte: https://www.unizar.es/ artigrama/pdf/21/2monografico/04.pdf Acessado em 09/12/2016. Pavilhão Rocalla

Pavilhão Asland

Pavilhão Banco Vitalícia da Expanha

146

Chicago, 1933

Segundo BIE: Nome oficial: A Century of Progress, International Exposition, 1933-34 País: EUA Data: Primeira abertura 27.05.1933 - 12.11.1933; Segunda abertura : 01.06.1934 - 31.10.1934 Tema: The independence among Industry and scientific research Categoria: Exposição Mundial Organizadores: A Century of Progress Visitantes: 38 872 000 ( 1933: 22 317 221 e 1934: 16 554 779) Área: 170 Ha

Vídeos de referência: https://www.youtube.com/watch?v=gjOBS8Nw7Wk https://www.youtube.com/watch?v=xY8rZN3tyVA Fonte: site do BIE. Acessado em 27/5/2016.

Chicago, 1933

Países participantes: 21

147

Chicago, 1933

Site do BIE: 40 years earlier, it had organized the Expo of 1893 in honour of the 400th anniversary of the discovery of the American continent by Christopher Columbus. It had welcomed more than 27,5 millions visitors. Great expectations In the 1920s, Chicago was plagued by mafias and suffered from a bad reputation. In 1929, rolling on the extravaganza of the times, Chicago decided to organize its second Expo to try to improve its local and international image. To meet this ambition, the organizers chose an impressive site of over 170 ha in Burnham Park along the Lake Michigan and selected a theme that would enable them to show off their prestige and power: " a century of progress". An Expo caught in the midst of the Great Depression It was the first World Expo held under the auspices of the BIE. Even though the Expo of 1933 was a success, it started on a dramatic note. As usual in the USA for big events of the sort, it was decided that the Expo would be financed exclusively by private funds and even though the stock market was beginning to show signs of danger, 10 million dollars were printed in bonds on the 28th of October 1929. The following day, the US stock market crashed: it was the infamous "Black Tuesday". An amazing success that led organizers to reopen the Expo in 1934 One can imagine the severe consequences of such a crisis on the organization of the event. As an example: only 20 countries managed to participate. However, the organizers carried on, and the Expo opened its doors on May 27th 1933 until November 12th 1933. It was such a success that it reopened from June 1st 1934 to October 31rd 1934. The two Expos combined not only erased the organizer's financial debt but were even a source of profit. The Largest Aerospace exhibition Among the many discoveries that were presented, the Expo offered a particularly important space to aviation and it became the largest exhibition ever organized in this field.

148

Chicago, 1933

Great public attractions â&#x20AC;˘ The Sky Ride : The greatest attraction of the event was the Sky-ride : a 191 meter-high (628 feet) cable car system that offered visitors a panoramic view of the site. At night, a light show would illuminate the attraction and transform the cable car cabins in rockets. Despite its entertaining qualities, the building wasn't built to last and was removed after the Exhibition. â&#x20AC;˘ The Belgian Village: Belgium created for the Expo one the world's first amusement parks. It actually inspired Walt Disney to open his own in California. One controversy Expos are an amazing opportunity to show the world a country's innovations and power. Germany saw Expo 1933 not only as a promotion tool, but as a propaganda tool : an airship bearing the Nazi Swastika was launched in the sky above the Expo, only a few months after Hitler was made Chancellor.

149

Chicago, 1933 Pavilhões dos Países Baixos e França

Fonte: site do BIE. Acessado em 27/5/2016.

150

Chicago, 1933

Fonte: site do BIE. Acessado em 27/5/2016.

151

Chicago, 1933

Panoramic view of the 1933 Century of Progress World's Fair

ImplantaĂ§ĂŁo Geral. Fonte: http://www.chicagohs.org/history/century/map.html. Acessado em 09/12/2016

152

Chicago, 1933 Imagens pavilhões nacionais e áreas temáticas

Beleguim Village. Acessado em 27/5/2016.

Pavilhão de Paris. Acessado em 27/5/2016.

Fonte: http://www.chicagohs.org/history/century/map.html Spanish Village. Acessado em 27/5/2016.

English Village. Acessado em 27/5/2016.

Enchanted Island in the Midway. Acessado em 27/5/2016. 153

Chicago, 1933 Imagens pavilhĂľes institucionais e comerciais

Hall of Social Science. Acessado em 27/5/2016.

EdifĂcio Chrysler. Acessado em 27/5/2016.

Enchanted Island in the Midway. Acessado em 27/5/2016.

Time and Fortune Magazines building. Acessado em 27/5/2016. The Life Building. Acessado em 27/5/2016. Fish Market. Acessado em 27/5/2016.

Fonte: http://www.chicagohs.org/history/ century/map.html

Transport and travel building. Acessado em 27/5/2016.

Hall of Science. Acessado em 27/5/2016.

Eletricity Building. Acessado em 27/5/2016. 154

Chicago, 1933 Exposição House of Tomorrow

Imagens. Fonte: https://www.loc.gov/resource/hhh.in0357.photos/?sp=27. Acessado em 27/5/2016. Planta Baixa. Fonte: https://en.wikipedia.org/wiki/House_of_Tomorrow_(Indiana). Acessado em 27/5/2016. 155

Bruxelas, 1935

Segundo BIE: Nome oficial: Exposição Universal de Bruxelas (Exposition universelle de Bruxelles 1935) País: Bélgica Data: 27.04.1935-06.11.1935; Tema: Transportes Categoria: Exposição Mundial Visitantes: 20 000 000 Área: 150 Ha Países participantes: 35 Primeira Expo regularizada pelo BIE e classificada como Exposição Geral Internacional de Primeira

Fonte: http://www.pavilon-expo2015.cz/ en/historie/expo-1935-brusel. Acessado em 10/12/2016.

Fonte: https://www.brussels.be/ artdet.cfm/6324. Acessado em 10/12/2016.

Bruxelas, 1935

Categoria.

156

Bruxelas, 1935

Site do BIE: Celebration of Belgian transport and colonies In 1935, Belgium celebrated the centenary of the creation of its first railway. That is why the theme of transports was chosen. On the facade of the Grand Palais, some allegories of Belgium's transport system can be seen: aviation, shipping activities, steam locomotive... This anniversary was an opportunity for Belgium and the other participating countries to revisit the progress made in a century, in terms of transportation. The public could also visit the prototype of an "ideal" railway station. At the same time, Brussels Exhibition also paid tribute to its colonies by dedicating a significant space to them. The Belgian Congo owned its own pavilion in which visitors could have an overview of Congolese teaching, literature or scientific researches. France was not outdone either. In fact, its pavilion "France d'Outremer" gathered all its colonies. Synergy between art and technique The exhibition provided visitors with an overall view of human production. Thus, technical skills and art were celebrated in all their diversity. In order to concretise these goals, the architect Joseph Van Neck was chosen to design the exhibition plans. His expertise in terms of world expositions made him the best person to manage such a building site. He succeeded in making the site a harmonious and well-designed place. The main construction, the Grand Palais, was an imposing structure made of reinforced concrete. The use of this material evidenced that innovation was at the core of the exhibition. Major firms at the Exposition Besides pavilions linked to industry, many companies attended the Exhibition. Two of them launched some new products specifically for the occasion not knowing that these products would become very popular. The LancĂ´me Company exhibited its first perfumes and the chocolate maker, CĂ´te d'Or, produced its chocolate miniatures used as samples. Nowadays, they have become a flagship product of CĂ´te d'Or. Heysel: a new site created Brussels and Belgium gained a lot from the Exhibition of 1935. From an economic point of view, it allowed the country to recover from the economic crisis of the 30's. It was also an opportunity to renew the Heysel area which was abandoned. Indeed, major developments were made. Today, the Grand Palais and the surrounding buildings constitute the "Brussels Expo" complex, which is the biggest expo park in the country. The very famous Expo 58 took place there. 157

Bruxelas, 1935 ImplantaĂ§ĂŁo geral

Fonte: http://www.worldsfaircommunity.org/topic/10045-3dreconstruction-project-with-the-bie/?page=1. Acessado em 27/5/2016.

158

Bruxelas, 1935

Fonte: site do BIE. Acessado em 27/5/2016.

159

Bruxelas, 1935 Alguns Pavilhões institucionais

Parque diversões, palácio da “Vida Católica” (arq. Henri Lacoste) e Via “pitoresca, Quiosque

Galeria das Artes. (arq. Henri Lacoste) Fotos e reprodução em 3D - 150 meters long with a width of 17 meters.

Grad Palais. Ainda existente - Interior e vista externa. Arq. Joseph Van Neck - comprimento: 150 metros; largura: 87 altura: 31 metros Estrutura feita com 12 arcos de concreto

Palácio do comissário Geral.

Fonte: http://www.worldsfaircommunity.org/topic/10045-3d-reconstruction-project-with-the-bie/?page=1. Acessado em 27/5/2016. 160

Bruxelas, 1935 Pavilhões nacionais

Pavilhão dos países baixos. Architect: D. Roosenburg. Fonte: http://www.bmiaa.com/ what-is-the-netherlands-by-amo-politicsand-construction-of-the-dutch-pavilions/. Acessado em 10/12/2016

Pavilhão Checo. Fonte: http://www.pavilonexpo2015.cz/en/historie/expo-1935-brusel. Acessado em 10/12/2016

Pavilhão da Turquia. Fonte: http:// expo2016-antalya.blogspot.com.br/ 2016_01_01_archive.html. Acessado em 10/12/2016

Pavilhão do Brasil.

161

Paris, 1937

Segundo BIE: Nome oficial: Exposição Internacional de artes e Técnicas da vida moderna (International Exposition of Arts and Technics in modern life) País: França Data: 25.05.1937 - 25.11.1937 Tema: artes e Técnicas da vida moderna Categoria: Exposição Mundial Organizadores: Inicialmente a organização pertencia ao Estado mas os fundos foram divididos entre o Estado e a cidade Paris. Visitantes: 31.040.955 Área: 105 Ha Países participantes: 45

Paris, 1937

Cartazes da Exposição. Fonte: http://www.expositions-universelles.fr/1937-expositioninternationale-paris.html. Acessado em 10/06/2016.

162

Paris, 1937

Site do BIE: In An Expo on the eve of World War II The Pavilions of Nazi Germany and the Soviet Union faced each other in a highly symbolic way on the Varsovie Square. The Pavilion of Republican Spain, designed during the Civil War, warned about the dangers of fascism. Its most famous exhibit was Pablo Picasso's "Guernica" created for the event. "Guernica" is a direct refrence to the German air force attack on the Basque town but it has become a symbol, a universal reminder, of the horrors of war. Art and technology to promote peace The aim of the Expo was to demonstrate that art and technology are not opposed but rather their union is indispensable: the Beautiful and Useful must be inextricably linked and should promote peace. The plan to present the latest scientific discoveries was developed by Nobel laureate and under-secretary Jean Perrin. The objective was to use exciting attractions and comprehensible learning aids to bring the latest scientific developments, from meteorology to nuclear physics, to a broader public. The Cinema Pavilion, the Printing Pavilion, the Palace of Radio, the Palace of Light, the Palace of Refrigeration and the Pavilion of Flight were organized for this purpose. The exhibition was not only designed by scientists and architects but also involved painters such as Fernand Léger who had published an article in 1935 on the convergence of art and science - his contribution was the decorative wall painting “The Transfer of Forces” presented at the Discovery Palace. The legacies of the Expo Today, many buildings of the 1937 Exhibition are still standing in Paris. The Palais de Chaillot is perhaps the best known monument. It replaced the old Palais du Trocadéro built for the 1867 World’s Fair. It is in the Palais de Chaillot that the United Nations' General Assembly adopted the Universal Declaration of Human Rights on December 10, 1948. The building now houses several museums and a theater.

163

Paris, 1937

Map of the exhibition

Vista geral com a torre Eiffel entre os pavilhões da Alemanha e da URSS. Fonte: http://culturedarm.com/1937-paris-international-exposition/ Acessado em 10/06/2016.

Mapa- Implantação geral. Fonte: http://culturedarm.com/1937-paris-internationalexposition/ Acessado em 10/06/2016.

164

Paris, 1937

Vista geral e PavilhĂŁo da BĂŠlgica. Fonte: site do BIE. Acessado em 10/06/2016. 165

Paris, 1937

Vista geral das provĂncias e Guernica de Picasso exposta ao pĂşblico pela primeira vez. Fonte: site do BIE. Acessado em 10/06/2016.

166

Paris, 1937 Pavilhões Nacionais

1. Pavilhão da Grécia. Fonte: http:// www.riha-journal.org/articles/ 2016/0131-0140-special-issue-southernmodernisms/0140-Kosmadaki. Acessado em 10/12/2016 2. Pavilhão Checo. Arq. Jaromír Krejcar, Bohuslav Soumar, Zdeněk Kejř and designer Ladislav Sutnar. Fonte: http:// www.pavilon-expo2015.cz/en/historie. Acessado em 10/12/2016 3. Pavilhão dos EUA http:// www.arthurchandler.com/paris-1937exposition/. Acessado em 10/12/2016 4. Pavilhão da Espanha “El programa exigía que el edificio alcanzase el rango de Pabellón de Estado, un escaparate que recogiese los valores de la República española. Había que concienciar, a quien lo visitase, sobre la lucha que contra el fascismo se estaba librando en España. En su interior, en vez de patentes industriales, se expuso arte. Vanguardia contra la guerra.” Fonte: http://www.plataformaarquitectura.cl/cl/ 02-367803/transiciones-de-la-forma-lamodernidad-alternativa-del-pabellonespanol-para-la-exposicion-de-parisde-1937. Acessado em 10/12/2016.

167

Paris, 1937 Pavilhões nacionais (Alemanha e URSS) ‘the Paris Fair building is a low, extended, and suitable base for the dramatically realistic sculpture it carries, whereas the Palace of the Soviets itself is a case of a thoroughly unsuitable, badly over-dramatised base underneath realistic undramatic sculpture.’ He (FLW) concluded that the Soviet Union pavilion was ‘the most dramatic and successful exhibition building at the Paris Fair’. Pavilhão Soviético Corte e Imagem. Fonte: http:// culturedarm.com/1937-paris-internationalexposition/ Acessado em 10/06/2016.

“Speer was to design the German pavilion for the 1937 exposition. On a visit to Paris several months prior to the exposition’s opening – at which point the site of the Soviet and German pavilions had already been confirmed by the French organisers, headed by chief planner Jacques Gréber – Speer ‘stumbled into a room containing the secret sketch of the Soviet pavilion’. (…) Speer created an indomitable vertical mass, capped by an eagle perched atop the swastika.”

Pavilhão Alemão. Planta, elevação e Imagem. Fonte: http://culturedarm.com/1937paris-international-exposition/ Acessado em 10/06/2016.

168

Paris, 1937 Pavillon des temps Nouveaux, Le Corbusier

Pavillon des Temps Nouveaux, Le Corbusier. Fonte: http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx? sysId=13&IrisObjectId=5070&sysLanguage=fr-fr&itemPos=45&itemSort=frfr_sort_string1%20&itemCount=78&sysParentName=&sysParentId=64. Acessado em 10/06/2016. 169

New York, 1939 - 1940

Segundo BIE: Nome oficial: Exposição Mundial de Nova Iorque (New York World’s Fair 1939-1940) País: EUA Data: 30.04.1939 - 31.10.1939 - 11.05.1940 – 27.10.1940 Tema: Construindo o Mundo do Amanhã. (Building the World of Tomorrow) International Exposition 2nd Category) Organizadores: Companhia da Expo de Nova Iorque Visitantes: 44 955 997 (1939: 25 817 265 & 1940: 19 138 732) Área: 500 Ha Países participantes: 54 (49 após o incio da II Guerra Mundial) Vídeos: http://footage.framepool.com/en/bin/1959943,world's +fair,expo+1939,new+york+city,1939/

Trylon, Perisphere and Helicline photo by Sam Gottscho. Fonte: http://time.com/3879706/1939-new-york-worldsfair-photos/

Nova Iorque, 1939 - 1940

Categoria: Exposição Mundial - (General

170

New York, 1939 - 1940

Site do BIE: The success of Chicago's 1933 Expo led New York to host its own World's Fair to erase the bad memories of the economic crisis. The Expo, that praised a world of capitalism, consumerism and democracy, was impacted by the start of Word War II overseas. Proof of its public success, almost 45 million people visited the event, however the Expo wasn't able to pay off what it had cost. "The world of tomorrow" Even though the Expo was held on the 150th anniversary of the government of George Washington and the new American Constitution, New York 1939 was resolutely turned towards the future. Its theme "The World of tomorrow" aimed at demonstrating the positive impact that technologies would have in the future. The Expo showcased the link between scientific progress and democracy, capitalism and consumerism and presented them as values that would guaranty a high quality of life. Architectural achievements The emblematic monuments of the Expo were the Trylon and Perisphere erected in the thematic area. The Trylon, designed by Wallace K. Harrison was a 212 meter-high triangular tower. Jacques Fouilhoux's Perisphere was a huge globe whose diameter measured 65 meters. Inside, visitors could discover the "Democracity" designed by Henry Dreyfuss. It was a diorama of a 2039 city that showcased a day in that city in 5 minutes.

171

New York, 1939 - 1940 Atrações Principais

Descrição no Site de arquitetura Stylepark. Fonte: http:// www.stylepark.com/en/news/propagandabrand-change/359420. Acessado em 10/12/2016

• Futurama Futurama was extremely popular. It took visitors on a ride over a huge diorama of the 1960 city. Designed by Norman Bel Geddes, it was part of the Transportation zone by General Motors. The landscape of the 1960 city was very rich: bridges and highways were very present, but nature took up one third of the attraction with parks and gardens placed on building rooftops. • The time capsule The firm Westinghouse designed a 2,28 m. long and 21,27 m. large time capsule. It contained objects from daily life such as a toothbrush or a slide rule and samples of different materials such as text, film or music. Any document that needed a specific machine to be read was enclosed with the instructions to create the specific machine. The capsule was destined to be opened again in the year 6 939. • Television Expo New York 1939 witnessed the first television broadcast in history: the opening of the Expo on April 30th 1939 by President Franklin D. Roosevelt was broadcasted by the RCA on the Expo site and in Manhattan. The day after, TV stations were sold for the first time in the US. A second edition deeply impacted by World War II Despite its millions of visitors, Expo 1939 experienced important financial losses. To continue paying off the costs, the organizers of the Fair decided to reopen the event in 1940. However, at that time, World War II was well under way, and the political and military situation overseas had important repercussions on the Expo. Following Germany, who had decided not to participate to the 1st edition of the Expo, the USSR backed out of the event in 1940 after signing the Nazi-Soviet Pact in August 1939. Several pavilions, such as those of Poland and the Czech Republic did not reopen. The tensions continued even after the Expo. On December 15th 1941, 8 days after the attack on Pearl Harbour, New York destroyed the Japanese pavilion that was supposed to be a legacy of the event. Despite the financial loss, the post expo was well managed Even though the second edition of the Fair did not generate any profit, the site of the Expo is now an important part New York City. The Fair allowed the successful transformation of the Corona Dumps, an old dumpster nicknamed the "Valley of ashes" by F. Scott Fitzgerald in "The Great Gatsby." Today, the area has become the "Flushing Meadows – Corona Park" and is very much enjoyed by the inhabitants of Queens. Inside, visitors can find a museum in the former Pavilion of New York and they can also assist to the US Open.

172

New York, 1939 - 1940 ImplantaĂ§ĂŁo e Vista geral

Imagens de New Your library digital archive. Fonte: https:// digitalcollections.nypl.org/search/ index?utf8=%E2%9C %93&keywords=world+fair +1939+pavilions#/?scroll=78 Acessado em 10/06/2016.

173

New York, 1939 - 1940 General Motors - Futurama, projeto de Norman Bel Geddes

Coluna1 - Craftsmen Working on General Motors' â&#x20AC;&#x153;Futuramaâ&#x20AC;?. Fonte: http://time.com/3879706/1939-newyork-worlds-fair-photos/ Acessado em 10/06/2016 Colunas 2 e 3 - Futurama - cidade do futuro General Motors. Fonte: https:// digitalcollections.nypl.org/search/ index?utf8=%E2%9C %93&keywords=world+fair +1939+general+motors#/?scroll=62. Acessado em 10/06/2016

174

New York, 1939 - 1940 PavilhĂľes comerciais

Coluna1: Gas Industries Coluna 2: Ford Building Coluna 3: National Cash Register Building Imagens de NY library digital archive. Fonte: https://digitalcollections.nypl.org/search/ index?utf8=%E2%9C%93&keywords=world +fair+1939+pavilions#/?scroll=78 Acessado em 10/06/2016.

175

New York, 1939 - 1940 Alguns pavilhões nacionais

Pavilhão da Itália. Acessado em 10/06/2016.

Pavilhão da Bélgica. Acessado em 10/06/2016.

Pavilhão da Polônia. Acessado em 10/06/2016.

Pavilhão da Dinamarca. Acessado em 10/06/2016.

Pavilhão do Egito. Acessado em 10/06/2016.

Pavilhão do Chile. Acessado em 10/06/2016. Pavilhão do Chile.

Pavilhão do Equador. Acessado em 10/06/2016.

Pavilhão da URSS. Acessado em 10/06/2016.

Pavilhão da Gran Bretagna. Acessado em 10/06/2016.

Imagens de NY library digital archive. Fonte: https://digitalcollections.nypl.org/ search/index?utf8=%E2%9C %93&keywords=world+fair +1939+pavilions#/?scroll=78 Acessado em 10/06/2016. Pavilhão do Brasil, Niemeyer e Lucio Costa. Fonte: acervo.estadao.com.br. Acessado em 10/06/2016.

Pavilhão do Canadá. Acessado em 10/06/2016.

176

Porto Príncipe, 1949

Segundo BIE: Nome oficial: Exposição internacional do bicentenário de Porto Príncipe (Bicentennial International Exhibition of Port-au-Prince) País: Haiti Data: 08.12.1949 - 08.06.1950 Tema: O festival da Paz (The festival of Peace) Categoria: Exposição Mundial - (General International Exposition 2nd Category) Visitantes: 250 000 Área: 24 Ha pavilhões nacionais: Argentina, Cuba, França, Guatemala, Itália, México e Venezuela[2] + vaticano

Fonte: site do BIE. Acessado em 21/05/2016.

Porto Príncipe, 1949

Países participantes: 15

177

Porto Príncipe, 1949

Site do BIE Under the theme of the 1949 exhibition “The festival of Peace”, the Port of Prince World Expo created an opportunity for the Haitian government, led by Dumarsais Estimé, to transform the capital of Port-au-Prince into a visionary "modern" city, to develop a tourism industry for future decades and bring Haiti international attention, a task which it achieved. The Expo was inaugurated on 8 December 1949 with its national section together with the pavilion of agriculture, fine arts and folklore, but the international section was only opened on 12 February 1950. The 1949 Port-au-Prince World Expo was developed on a 24 ha waterfront land along the Gonave Bay transformed with palm trees and modernistic buildings and was soon titled by Life Magazine the "Little World’s Fair." The construction was supervised by August Ferdinand Schmiedigen, an architect from New York who had already worked for other World Expos such as Paris 1937 and New York 1939-1940. The boulevard, which was named in honour of President S Truman and which divided the expo site, was enriched with Art Nouveau style buildings decorated with colourful frescoes depicting Haitian life. These pavilions became part of the permanent architecture of Port-au-Prince as government office buildings. Among the main attractions of the Expo site, the 250.000 visitors enjoyed art and culture in the so-called Voodoo Amphitheatre, the botanical gardens, the aquarium with the tropical fish and the park Les Palmistes, which hosted a street carnival, a Ferris Wheel and the Ross Manning Shows.

178

Porto PrĂncipe, 1949 Planta e vista gerais e imagem pavilhĂľes institucionais.

Fonte: http://ufdc.ufl.edu/AA00010663/00001/1j. Acessado em 21/05/2016

179

Bruxelas 1958

Segundo BIE: Nome oficial: Exposição Universal e internacional de Bruxelas (Exposition Universelle et Internationale de Bruxelles; Wereldtentoonstelling Brussel 1958 - Expo’58) País: Bélgica Data: 17.04 - 19.10.1958 Tema: Balanço para um mundo mais Humano (Balance for a more Humane World) Categoria: Exposição Mundial - (General International Exposition 1nd Category) Organizadores: Executive Committee of the Society of the exhibition: (President: Lucien Cooremans, Mayor of Brussels) Visitantes: 41 454 412 Países participantes: 39

Bruxelas, 1958

Área: 200 Ha

180

Bruxelas 1958

Site do BIE: The beginning of a new era In 1958, traces of the Second World War are starting to fade, the European Economic Community has just been created, Sputnik is orbiting, technological innovations are popping up one after the other, the consumer society is emerging and the population wants to believe that the dawn of a period of peace, prosperity and progress has arrived. A transition into a new kind of Expo Expo 1958 marked a turning point in the history of Expos. Even though the Expo was influenced by past expos, and their showcasing of national prestige, with the presentation of the Belgian colonial regions or the “Little Holland”, it questionned the unconditional celebration of technological progress that was at the heart of past Fairs. With its theme dedicated to Progress and Humankind, Brussels 1958 placed humanity at the heart of the event, not technology. A highly technological Expo During the Expo, experts pointed out the high level of the new technologies that were exhibited, such as Sputnik, nuclear power plant mock-ups as well as instruments and components made of synthetic materials, automated machines, new engines and computers. The architecture was also quite innovative using for example the pre-stressed reinforced concrete (the Philips Pavilion by Le Corbusier) or walls suspended from the roof (French pavilion). The Atomium The main pavilion and icon of Expo 1958 was the Atomium. The unique structure was not intended to survive beyond the Fair but its popularity and success soon made it a landmark and a great touristic attraction of Brussels

Artigo Vitruvius: Países como França (Guillaume Gillet, René Sarger e Jean Prouvré), Japão (Kunio Maekawa) e Iugoslávia (Vjenceslav Richterz) apresentaram estruturas complexas e designs sofisticados. Fonte: http://www.vitruvius.com.br/revistas/read/arquitextos/01.007/947. Acessado em 11/06/2016. 181

Bruxelas 1958

Mapa illustrativo da implantaĂ§ĂŁo. Fonte: https://whewellsghost.wordpress.com/ 2017/01/31/whewells-gazette-year-03vol-24/. Acessado em 11/02/2017.

182

Bruxelas 1958

Entrada e Atomium. Fonte: site do BIE. Acessado em 11/06/2016.

183

Bruxelas 1958

Pavilhão da Alemanha RFA Pavilhão Gran Bretagna. Fonte: site do BIE. Acessado em 11/06/2016.

184

Bruxelas 1958

PavilhĂŁo da EUA. Fonte: site do BIE. Acessado em 11/06/2016.

185

Bruxelas 1958 Pavilhão do Brasil, Sérgio Bernardes

Pavilhão do Brasil. Fonte: http:// www.vitruvius.com.br/revistas/read/ arquitextos/01.007/947. Acessado em 11/06/2016.

186

Bruxelas 1958 Pavilhão Philips e poème eletronic, Le Corbousier, Edgar Varese e Iannis Xenakis

F o n t e : h t t p : / / w w w. g i l l e s - a r n a u d sphere.com/2015/11/29/le-pavillonphilips-1958-edgard-varese-iannisxenakis-le-corbusier-architecture-poemeelectronique/ Acessado em 11/06/2016.

Fonte: Pavilhão do Brasil. Fonte: http:// www.archdaily.com/157658/ad-classicsexpo-58-philips-pavilion-le-corbusier-andiannis-xenakis/image-15-2. Acessado em 11/06/2016. 187

Bruxelas 1958 Pavilhão da Checoslováquia, František Cubr, Josef Hrubý, Zdeněk Pokorný

Theme of the Czech exhibition: One Day in Czechoslovakia Author(s) of Pavilion: František Cubr, Josef Hrubý, Zdeněk Pokorný Author(s) of exhibition: Jindřich Santer, Jiří Trnka, Antotnín Kybal, Stanislav Libenský, Jan Kotík, Josef Svoboda (Polyekran), René Roubíček, Alfred Radok

http://www.pavilon-expo2015.cz/en/ historie/expo-1958-brusel. Acessado em 11/12/2016.

188

Bruxelas 1958 Pavilhão da Áustria, Karl Schwanzer

“According to Schwanzer, the starting point of the concept was "the humanist idea that makes man the centre and measure of cultural and intellectual progress”.

Fonte: http://mobilelearning.21erhaus.at/ glossar/kuenstler/karl-schwanzer/ein%C3%B6sterreich-pavillon-f%C3%BCrbr%C3%BCssel. Acessado em 11/06/2016.

189

Bruxelas 1958 Pavilhão da França, arq. Guillaume Gillet, René Sarger e Jean Prouvré

“This imposing looking structure is the France Pavilion. The large tower on the left side of the picture actually supported most of the weight of the building, which was constructed without any interior support poles.” One of the more unusual structures was the Civil Engineering Pavilion, which featured a giant spire reaching over a three-dimensional map of Belgium. Fonte: http:// www.worldsfairphotos.com/expo58/ expo58-tour-1.htm. Acessado em 11/06/2016.

Coluna 1. Fonte: http:// archiwebture.citechaillot.fr/fonds/ FRAPN02_SARRE/inventaire/vignette/ document-5653 Acessado em 11/06/2016. Coluna 2. Fonte: http:// www.worldsfairphotos.com/expo58/ expo58-tour-1.htm. Acessado em 11/06/2016.

190

Bruxelas 1958 Pavilhão da Holanda, arq. Guillaume Gillet, René Sarger e Jean Prouvré

“ M a n y f o re i g n c o u n t r i e s exhibited at Expo 58. This imaginative exhibit was the Netherlands or Holland pavilion. The nautical theme was designed to showcase the Holland-America Line, a prominent shipping company.” Fonte: http:// www.worldsfairphotos.com/expo58/ expo58-tour-1.htm. Acessado em 11/06/2016.

Foto colorida.Fonte: http:// www.worldsfairphotos.com/expo58/ expo58-tour-1.htm. Acessado em 11/06/2016. Fotos PB. Fonte: http://en.nai.nl/collection/ view_the_collection/item/ _rp_kolom2-1_elementId/1_294202#. Acessado em 11/12/2016.

191

Bruxelas 1958 Pavilhão da URSS

“Located next to the circular United States pavilion, the Soviet Union structure was completely different, for it was a large rectangular building. After Expo 58 it was dismantled and moved to Moscow, where it still serves as an exhibit hall. As a giant statue of Lenin looks on, visitors parade past displays of Soviet technology, including models of missiles and aircraft. Displays of Russian culture were overshadowed by more industrial displays of items like giant turbines.” Fonte: http://www.worldsfairphotos.com/expo58/expo58-tour-1.htm. Acessado em 11/06/2016.

192

Seattle, 1962

Segundo BIE: Nome oficial: Century 21 Exposition Seattle World’s Fair País: EUA Data: 21.04 – 21.10.1962 Tema: An overview of Mankind life during the next century, the predictable development of Industry, science, trade and culture, sports and distractions. Man in the Space age Concept of man in the World of century 21 in an era of peace, cultural advancement and economic development Categoria: Exposição Mundial - (General International Exposition 2nd Category) Visitantes: 9 000 000 Área: 30 Ha

Segundo EXPO MUSEUM: Tema: Ciência Descrição do sítio: área central de Seattle Países participantes: 24

Seattle, 1962

Países participantes: 49

193

Seattle, 1962

Site do BIE: The conquest of Space at the heart of the Expo The theme of the Expo "Man in the space Age" aimed at emphasising the contributions of science and research to the American Way of Life, and help reduce the shock of the Soviets' successful space programme. The fair was divided in five main areas: the World of Science, the World of the 21st Century, the World of Commerce and Industry, the World of Art and the World of Entertainment - but space travel was the key of the Century 21 Exposition. The Space needle and architectural innovation The fairgrounds were dominated by a symbol of space travel: the Space Needle by John Graham, a 185 metres high spire with a glazed revolving restaurant at the top that could be reached with external lifts that looked like space capsules. Architectural innovation was not limited to the Needle. Paul Thiry designed the futuristic Coliseum (now Key Arena) to house the Washington State Pavilion while Minoru Yamasaki blended Japanese and Gothic aesthetics to create the elegant U.S. Science Pavilion, today's Pacific Science Centre. The nation pavilions were joined by numerous American company pavilions, among them Ford's dome-shaped building and the building of IBM that exhibited the first computers. The objects of the Future Many impressive displays showed how the experts believed man would live, work, play and travel in Century 21. The Expo presented a fantastic preview of the future, displaying such attractions as a wall-size television, future outer-space communications, the home and car of the future, the electronic library, a working model of a 40-foot-high hydroelectric dam and a clock that runs on gas. The importance of Art Art was also extremely present in the Fair with 72 masterpieces from artists such as Titian, El Greco, Caravaggio, Rembrandt, Rubens, Toulouse-Lautrec, Monet, Klee, Braque and Picasso.

194

Seattle, 1962

Pรณrtico de entrada e Pavilhรฃo do Canadรก. Fonte: site do BIE. Acessado em 11/06/2016.

195

Seattle, 1962 ImplantaĂ§ĂŁo geral

Fonte: http://1962seattle.blogspot.com.br/. Acessado em 11/12/2016.

196

Seattle, 1962 Space Needle e pavilhões nacionais

Pavilhão da União européia

Pavilhão das Filipinas

Pavilhão do Canadá

Pavilhão do Hawaii e Brasil

Fonte: http://digitalcollections.lib.washington.edu/cdm/search/collection/seattle/searchterm/Century%2021%20Exposition,%201962/mode/all/order/title/page/1 Acessado em 11/12/2016.

197

Montreal, 1967

Segundo BIE: Nome oficial: Exposição Universal e internacional de Montreal (Universal and International Exhibition Montreal Expo ’67) País: Canadá Data: 28.04 – 27.10.1967 Tema: O homem e seu mundo (Man and his World) Categoria: Exposição Mundial - (General International Exposition 21nd Category) Organizadores: Cia canadense da Exposição universal Visitantes: 50 306 648 Área: 400 Ha

Montreal, 1967

Países participantes: 62

198

Montreal, 1967

Site do BIE From Moscow to Montreal The fair was originally intended to be held in Moscow and was timed to coincide with the 50th anniversary of the October Revolution. When the USSR withdrew its application in 1962, Montreal was elected to host the World Expo of 1967. That year made a lot of sense for the Confederation as it marked the 100th anniversary of the Canadian Confederation and the 325 years of the founding of Montreal. A theme to adress Man's social and environmental responsibility The Expo’s theme was borrowed from the book « The Planet of Mankind » (« La Terre des Hommes ») by Antoine de Saint-Exupéry and addressed universal problems of humanity, following the lead of Expo Brussels 1958. It was no longer scientific, technological and industrial progress alone that were to be presented and promoted in the exhibition, but also man's social responsibility and environmental consciousness. In compliance with the theme, the organizers scheduled many international thematic pavilions: Man and his Health, Man in the Community, Man and the Ocean, Man and the Space, Man the Creator, etc. Discoveries and innovations from participating countries Many nations participated with significant exhibits. France displayed discoveries from Jacques Cousteau's underwater research expeditions in the “Man Explorer” pavilion. From the Netherlands, there was a model of the Zuiderzee bay that presented advances in land reclamation. The Soviet Pavilion exhibited the original space capsule in which Juri Gagarin became the first man to orbit the earth. It attracted over 13 million visitors and was one of the greatest attractions of Expo '67. In « The Man the Creator » pavilion, 180 works of famous painters from 50 national galleries were shown. Finally, the Montreal Expo was the launch site of the IMAX, today’s most widely used system for special-venue film presentations.

199

Montreal, 1967

Architectural highlights Expo 67 showcased the latest architectural trends. One of the Expo's landmarks was the residential complex called Habitat-67 : 158 standard reinforced concrete apartment boxes that combined the advantages of individual houses with dense urban development. Another landmark was Buckminster Fuller's geodesic dome. Legacies Without a doubt, Expo '67 was one of the most successful World Exhibitions. Over 50 million visitors attended it at a time when Canada's population was only 20 million, setting a per-capita record for World Exhibition attendance. Although several buildings were removed immediately after Expo 67, most of the pavilions continued on through an exhibition called ÂŤ Man and His World Âť, which opened every summer until 1981. When the exhibition was discontinued, the Expo site was incorporated into a park run by the city of Montreal, known today as Parc Jean Drapeau. Buckminister Fuller's dome, now called the Montreal Biosphere, has become the Environmental Sciences Museum; and Habitat 67 is now a condominium residence.

200

Montreal, 1967 Caleidoscรณpio e pavilhรฃo do Canadรก

Designed by Morley Markson and Associates Music by R. Murray Schafer Kaleidoscope Pavilion Architect: Irving Grossman, Toronto

Fonte: site do BIE. Acessado em 11/06/2016.

201

Montreal, 1967 Pavilhões nacionais

Pavilhão da Etiópia

Pavilhão da República da China

Pavilhão do Marrocos

Austria, Marrocos, Ontário e China Fonte: http://expolounge.blogspot.com.br/ search/label/pavilions-a-gogo. Acessado em 11/06/2016. Corea, Etiípia e Nações Árabes - Fonte: http://expo67.ncf.ca/index.html. Acessado em 11/06/2016.

Pavilhão da Áustria, arq. Karl Schwanzer

Pavilhão de Ontario

Pavilhão das Nações Árabes

Pavilhão da Corea

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Montreal, 1967 Pavilhões nacionais

Fonte: http://expo67.ncf.ca/index.html. Acessado em 11/06/2016.

Pavilhão do Iran

Pavilhão da França

Pavilhão dos Países Baixos

Pavilhão do Japão

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Montreal, 1967 Kindergarten e Habitat 67 e PavilhĂŁo Alemanha

Kindergarten, projeto feito todo montessoriano. arq. Karl Schwanzer

Fonte: http://expolounge.blogspot.com.br/ search/label/pavilions-a-gogo. Acessado em 11/06/2016. Habitat 67 - Moshe Safdie

Fonte: http://www.archdaily.com/623689/ ad-classics-german-pavilion-expo-67-freiotto-and-rolf-gutbrod. Acessado em 11/12/2016. PavilhĂŁo Alemanha, Frei Otto 204

Montreal, 1967 PavilhĂŁo dos EUA, Buckminster fuller e interiores Cambridge seven architects

Imagem superior - Fonte: site do BIE. Acessado em 11/06/2016. Imagens inferiores - Fonte: http:// expolounge.blogspot.com.br/search/label/ pavilions-a-gogo. Acessado em 11/06/2016.

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Osaka, 1970

Segundo BIE: Nome oficial: Expo Osaka 1970 País: Japão Data: 15.03 – 13.09.1970 Tema: Jinrui no shinpo to Chowa : Human progress into harmony Categoria: Exposição Mundial - (General International Exposition 1st Category) Organização: Governo Japonês Visitantes: 64 218 770 Área: 330 Ha

Osaka, 1970

Países participantes: 78

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Osaka, 1970

Site do BIE Focus on the need for technological progress to serve Mankind Expo Osaka 1970 was dedicatd to the theme "Progress and Harmony for Mankind." It aimed at paying tribute to and casting a critical eye on technological progress. This theme was adressed via 4 subthemes : For the Fuller Enjoyment of Life, For the Fuller Usage of the Gifts of Nature, For the Fuller Application of Technology in Life and For Better Mutual Understanding. Great international participation A record of countries participated in the Expo in addition to many international organizations, 10 provincial and city governments and 32 private firms. Expos being a reflection of the world in one location, the tensions of the Cold War and particularly the rivalry between the USSR and the USA, were tangible. The Expo's exhibits Among the most remarkable exhibits were an electron microscope with up to 500,000-fold magnification and the model of a train with an electromagnetic pad capable of going up to 500 km/h (Japan), lunar rock samples (USA), a full-scale nuclear reactor mock-up (UK), the IBM computers and full-scale mock-ups of numerous space vehicles (USA and USSR). The Expo was very much inspired by Science Fiction: giant robots rendered services during the Expo such as lighting and TV-recordings, laser beams were used for data transmission, and the use over 100 computers proclaimed Japan's innovative power in electronics. The urban development of Osaka The legacy of the Expo was impressive. Between 1963 and 1969 an artificial residential city, Suita, was created between the city and the Expo grounds. The architectural concept adopted preserved green areas, kept residential areas to a more compact size and guaranteed good transport links to the inner city. It was intended to alleviate the density problems of Osaka. The airport was expanded and an express railroad line between Osaka and Tokyo was renovated. The Shin-MiddoSuji motorway and the railway line joined the centre of the city to the Expo grounds and a new type of computer system was implemented to monitor traffic.

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Osaka, 1970 Vista geral e pavilhĂŁo do gĂĄs

Fonte: site do BIE. Acessado em 22/06/2016.

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Osaka, 1970 Vista geral e Interior pavilhĂŁo Hitashi

Fonte: site do BIE. Acessado em 22/06/2016.

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Osaka, 1970 Metabolismo Japonês - Kisho Kurokawa architect & associates

“The Metabolists saw the fair as the realization of the urban ideas that they had been developing in the 1950s and 1960s. The grounds were conceived as a living, changing organism with a central “spine that could serve as the center of a future city.” Fonte: https://archpaper.com/2015/06/ relive-glory-1970-osaka-expocomplete-space-frames-metabolisminflatables-geodesic-domes/. Acessado em 22/06/2016

Fonte imagens: http://www.kisho.co.jp/ page/211.html. Acessado em 22/06/2016

Toshiba-IHI Pavilion Design: - 1967 - - 1968 Construction: - 1968 - - 1970 Site Area: 6,440m² Building Area: 3,030m² Total Floor Area: 4,849m² Structure: Steel Structure Basement 2 Stories, 2 Stories

Design: Construction: 1968 - 1970 Site Area: 1,000m² Building Area: 298m² Total Floor Area: 1,237.6m² Structure: Steel Structure 1 Basement Stories + 4 Stories

Design:1968 - 1969 Construction: 1969 - 1970 Site Area: N/A (built on 30 m high) Building Area: Total Floor Area: 3,890m²（entire pavilion） Structure: Steel Structure

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Osaka, 1970 Pavilhões nacionais “The National Pavilions took on a myriad of wild and technologically advanced forms” Fonte: https://archpaper.com/2015/06/ relive-glory-1970-osaka-expocomplete-space-frames-metabolisminflatables-geodesic-domes/. Acessado em 22/06/2016 Pavilhão da Bulgária

Imagens coluna 1 e 2 - Fonte: https:// archpaper.com/2015/06/relive-glory-1970osaka-expo-complete-space-framesmetabolism-inflatables-geodesic-domes/. Acessado em 22/06/2016 Imagens coluna 3 - Fonte: http:// www.archdaily.com.br/br/624060/ classicos-da-arquitetura-pavilhao-dobrasil-em-osaka-paulo-mendes-da-rochae-equipe

Pavilhão da URSS - Architecte: M. Posokhin Theme Pavilhão dos Países Baixos, Bakema, Jacob Berend e Weeber, Carel

Pavilhão da Australia, James Maccormick MBE OAM

Pavilhão da Suíça, Walter, Willi

Pavilhão do Brasil, Paulo Mendes da Rocha 211

Osaka, 1970 Pavilhões comerciais e institucionais

“This is certainly true for one of the Expo’s more prescient projects, the Pepsi Pavilion, designed by the art collective Experiments in Art and Technology (E.A.T.). The building was a dome that immersed visitors in projected images, while the exterior featured a cloud-like water vapor sculpture that enveloped the faceted exterior of the dome. It was Diller Scofidio and Renfro’s Blur Building 30 years earlier.”

Expo Tower, Kiyonori Kikutake Arq.

Nine Floating Fountains, Isamu Noguchi

Fuji Group Pavilion, Yutaka Murata, Kawaguchi & Engineers

Fonte: https://archpaper.com/2015/06/relive-glory-1970-osaka-expo-complete-space-frames-metabolism-inflatables-geodesic-domes/. Acessado em 22/06/2016

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Sevilha, 1992

Segundo BIE: Nome oficial: Exposição Universal de Sevilha País: EUA Data: 20.04.1992 - 12.10.1992 Tema: A era do descobrimento Categoria: Exposição Mundial Organização: Companhia estatal Expo´92 Visitantes: 41 814 571 Área: 215 Ha Países participantes: 108

Sevilha, 1992

Fonte: http://edition.cnn.com/2015/02/25/travel/seville-expo-cnngo/. Acessado em 22/06/2016

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Sevilha, 1992

Site do BIE: The Expo had a very positive impact on the image of Andalusia as it allowed the region to showcase its organizational and logistical skills. A project for Spain Expo 1992 was held to present the new positioning of Spain. As soon as Juan Carlos the 1st ascended the throne after General Franco's death, he announced the country would host a World Expo. 16 years later, with Expo Seville, the country was able to exhibit its cultural diversity through the pavilions of the Autonomous Regions and to ensure its position in Europe and on the international stage, in part thanks to the presence of the European Community Pavilion located on the "Avenue of Europe". A reflection of History The Expo was prepared for the most part during the Cold War, but its opening took place after it ended, which had important consequences on the organization of the event. Following the fall of the Berlin wall and the reunification of Germany, there were no longer two but one pavilion to present the country. Georg Lippsmeier's pavilion designed for the Federal Republic of Germany was chosen for this purpose. The USSR pavilion became the Russian Pavilion. Estonia, Lithuania and Latvia presented themselves as newly independant countries under the common roof of the Baltic countries pavilion and Yugoslavia canceled its participation. The Expo was also impacted by other historical events such as the Gulf War that impeded Irak from participating. The Cartuja Island The theme of the Expo was "The Age of discovery" to celebrate the 500th anniversary of the discovery of the Americas by Christopher Columbus. The Isla de la Cartuja, where the explorer is said to have lived before his journey, was chosen to host the Expo.

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Sevilha, 1992

The Road of the Discoveries The historical Puerto de las Indias, entryway to the Expo site and the monastery of La Cartuja were both included in the event along the main avenue of the Expo : the Road of the Discoveries. The avenue was composed of 10 thematic pavilions that embarked visitors on a journey through time where they could witness the evolution of science, technology and culture over 500 years. Among other attractions, they were able to board a XVth century caravel before hopping on a spaceship. A rich cultural program Expo 92 offered many activities, day and night. The site vibrated with the festive Andalusian spirit. Every evening, fireworks and light shows over the Lake of Spain launched the beginning of "Expo-night". The cultural choice was impressive and diverse: visitors could enjoy traditional operas (New York Metropolitan Opera, the Vienna Opera, La Scala of Milan), philharmonic and symphonic orchestras (Celibidache, Abbado, Metha), plays (Laurie Anderson, Centro Dramatico Nacional, Floats), Jazz Festivals and Flamenco or Salsa music until 4 am. Urban development of Seville The city of Seville benefited greatly from the works done to ensure a high-quality Expo. The airport built a new terminal; a more functional train station replaced the two stations of the city; a new high-speed line was created to link Seville to Madrid; highways were built and the Barqueta, Alamillo, Cartuja and El Cachorro bridges were erected to facilitate the access to the Expo site. The transformation of the Site The Cartuja Island, once the Expo ended, became Cartuja 93, a technical and economic development center. Several pavilions were kept, such as the Puerto Rican pavilion, and turned into offices. And an amusement park was created near the Lake of Spain.

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Sevilha, 1992 Maquete de implantação geral - mostrando os novo e existentes edifícios.

Fonte: http://edition.cnn.com/2015/02/25/ travel/seville-expo-cnngo/. Acessado em 22/06/2016

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Sevilha, 1992 Avenida Europa e pavilhĂŁo do MĂŠxico

Fonte: site do BIE. Acessado em 22/06/2016.

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Sevilha, 1992 Alguns pavilhões nacionais

Marrocos. Fonte: http:// edition.cnn.com/2015/02/25/ travel/seville-expo-cnngo/. Acessado em 22/06/2016 Chile, Germán del Sol e José Cruz

Japão, Tadao Ando and Chico, Cardona and Theilacker Fonte: http://www.takenaka.eu/ 1973-1992/c-113/expo-92japanese-pavilion/. Acessado em 11/12/2016

Kwait, Santiago Calatrava Fonte: http://edition.cnn.com/ 2015/02/25/travel/seville-expocnngo/. Acessado em 22/06/2016

Gran Bretagna, arq. Nicholas Grimshaw Fonte: https:// grimshaw.global/projects/ british-pavilion-expo/

Hungria, Makovecz Fonte: http://www.solaripedia.com/ 13/65/592/ makovecz_seville_pavilion_bui lding.html. acessado em 22/06/2016

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Hannover, 2000

Segundo BIE: Nome oficial: The 2000 Hanover’s World Exposition Expo 2000 Hannover País: Alemanha Data: 01-06-2000 – 31-10-2000 Tema: Human being – Nature – Technology Energetic and space economy Categoria: Exposição Mundial Organização: Expo 2000 Hannover Gmbh Visitantes: 18 100 000 Área: 160 Ha

Hannover, 2000

Países participantes: 155

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Hannover, 2000

Site do BIE: Expo 2000: a new importance to the Expo theme Expo 2000 changed how Expos address their theme. Unlike previous Expos that focused on present advances in science and technology, EXPO 2000 focused more on developing and presenting solutions for the future. To do that, it introduced the Thematic Areas, which have become a key feature of World Expos ever since. Before Hanover, thematic pavilions existed but were spread throughout the Expo sites. Expo 2000 grouped them in one location, thus allowing visitors to understand the global scope of the Expo theme and its future perspectives. The thematic areas were dedicated to the Future of Labour, Environment, Healthf and Nutrition. A boost in sustainability at Expo Following the 1994 resolution of the BIE that stated Expos must tackle the challenge of environmental protection, Expo 2000 wrote ÂŤ The Hannover Principles Âť : a set of guidelines to create a site as sustainable as possible. Participants therefore had to consider the environmental and social impact of their pavilion and their potential for re-use after the Expo. This is key to Expos today. The importance of dialogue The mission of Expos is to be international dialogue platforms. Expo Hanover 2000 embraced this objective by creating the "Global House" and the "Global Dialogue". The latter was a series of ten 3-day debates on major issues such as health, labour, technologies, social and environmental responsibility, or culture. Launched in collaboration with 60 institutions and organisations from all over the world, the debates brought together top scientists, economic and political stakeholders, NGO representatives as well as a younger public, between 19 and 28 years old. The goal was to create a 10 point program for a more sustainable future. Along those lines, the "Global House" aimed at showing the benefits of international cooperation though an exhibition of 100 projects from 50 countries that showcased ways to ensure a harmonious co-existence between Man, Technology and Nature.

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Hannover, 2000

National pavilions : many sustainable ideas This sustainable approach led to many very interesting pavilions. One of the noteworthy examples was the Venezuelan Pavilion that was constructed with no waste and was completely re-usable. Based on the concept of tensegrity, the building opened and closed like a flower. The flower petals were positioned according to the weather, to shade, keep dry or allow sun to shine on the pavilion. Another good example is the Pavilion of Japan designed by Frei Otto. The pavilion was a curvy tunnel built almost entirely of paper. The Expo allowed the development of Hanover For Expo 2000, an entirely new railway station was constructed some 500 metres west of the fairground, a new network of urban roads was created, the tram network was extended and a third terminal was constructed at the city airport. Furthermore, the Expo allowed the globalization of the Deutsche Messe AG, the company in charge of the event.

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Hannover, 2000 Pavilhões nacionais

Pavilhão da Groenlândia. arq. Ámi Páll Jóhansson , Dinamarca, Klaus-Peter Gnass e Emirados Árabes´Fonte: site do BIE. Acessado em 22/06/2016.

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Hannover, 2000 Pavilhão da esperança, China e França

Pavilhão da Esperança, Thomson Adsett Architects in collaboration with Buchhalla & Partners´Fonte: site do BIE. Acessado em 22/06/2016.

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Hannover, 2000 Pavilhões nacionais

Portugal, Souto de Moura e Álvaro Siza. Fonte: https://www.mvrdv.nl/projects/ expo. Acessado em 13/12/2016.

“Netherland creates space” MVRDV. Fonte: https://www.mvrdv.nl/projects/ expo. Acessado em 13/12/2016.

Japão. Shigeru Ban Fonte: http:// www.shigerubanarchitects.com/works/ 2000_japan-pavilion-hannover-expo/ index.html. Acessado em 13/12/2016.

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Shangai, 2010

Segundo BIE: Nome oficial: Expo Shangai 2010 País: Alemanha Data: 01-06-2000 – 31-10-2000 Tema: Cidade melhor, Vida melhor (Better City, Better Life) Categoria: Exposição Internacional registrada (International registered exhibition) Organização: Governo Chinês Visitantes: 73 000 000 Área: Países participantes:

Shangai, 2010

Pavilhão da China Fonte: site do BIE. Acessado em 22/06/2016.

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Shangai, 2010

«Better city, Better Life »: a theme particularly in tone with its time Today, more than one in two people live in a city. By 2030, 60% of the world population will be urban. These constantly growing numbers raise important issues like social mix, sustainability, security or hygiene. Shanghai with its 23 million people is particularly concerned by these questions and therefore chose to be the first Expo to tackle urban planning and offer a place to discuss innovative solutions and new policies for the development of sustainable cities. The Chinese pavilion: magnificence between tradition and modernity China's pavilion alone would be enough to understand the magnitude of the whole event: 160 000 m2 (190 000 yards2) and 69 meters (226 feet) high. It was dedicated to « Chinese wisdom in urban development », and was named « oriental crown ». It was painted in red, the colour of wealth and happiness in Chinese culture. In the building, visitors could learn about the process of urbanization in China. The main attraction of the pavilion was the «wisdom chain » that helped visitors imagine new models of urban development around the notion of respect, a crucial value in Chinese culture. 73 million visitors: a world record. When the Expo closed its doors on October 31st 2010, the attendance confirmed the titanic size of Shanghai 2010. With 73 million visitors, the Expo broke the record of Osaka 1970 that had welcomed 64 million visitors. The legacy of Shanghai 2010 is still alive

The Expo site: new urban center of Shanghai

Hannover, 2000

Expo 2010 produced 2 important documents: the Shanghai Manual, which is a guide for sustainable development of cities and the Declaration of Shanghai. Among the principles set by the Declaration, the creation of a World Cities Day was suggested. Thanks to the joint efforts of the Chinese government, the UN and the BIE, the World Cities Day was celebrated for the first time on October 31st 2014.

The reuse of the Expo site is part of an urban plan to turn the site in a new cultural and commercial area of Shanghai. New buildings and parks have been built and new museums have opened. A major project is currently under preparation: the World Expo Museum. Scheduled to open in 2016, it will be the first Museum in the World dedicated to World Expos.

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Shangai, 2010 Implantação geral

Implantação geral da Expo Fonte: http:// www.expomuseum.com/2010/map/ expo2010map-large.jpg. Acessado em 12/12/2016.

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Shangai, 2010 Imagens gerais - Site do BIE

PavilhĂľes da Dinamarca e Hungria, Eixo central e PavilhĂŁo da CoreaFonte: site do BIE. Acessado em 22/06/2016.

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Shangai, 2010 Pavilhões nacionais

Bélgica

Russia

Angola

Portugal

Alemanha

Israela

Argentina

Qatar

Brasil

Iran

Itália

Marrocos

Fonte: http://www.evolo.us/architecture/all-the-pavilions-at-the-2010-shanghai-world-expo/. Acessado em 12/12/2016.

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Shangai, 2010 Pavilhões nacionais

França, Jacques Ferrier Architectures. Fonte: https:// www.dezeen.com/2010/04/30/ french-pavilion-at-shanghaiexpo-2010-by-jacques-ferrierarchitectures// Acessado em 12/12/2016.

Países Baixos, John Kormeling. Fonte: https://www.dezeen.com/ 2010/05/05/netherlands-pavilionfor-shanghai-expo-2010/ Acessado em 12/12/2016.

Dinamarca, BIG. Fonte: http:// www.archdaily.com/57922/ denmark-pavilion-shanghaiexpo-2010-big Acessado em 12/12/2016.

Austria, SPAN and zeytinoglu architects. Fonte: http://www.archdaily.com/19028/ austrian-pavillion-for-shanghaiexpo-2010-span-and-zeytinogluarchitects Acessado em 12/12/2016. 230

Considerações finais

Ao se fazer esse percurso pelas exposições mundiais, fica claro a relação existente entre as construções e implantações das exposições e a história da arquitetura fora delas. Em sua origem, com os grandes pavilhões expositivos únicos, a exemplo do Palácio de Cristal de Joseph Paxton (1851) ou o Pavilhão Champs-de-Mars de Le Play (1867), cujo engenheiro chefe foi Gustave Eiffel, que viria a fazer anos mais tarde a Torre Eiffel, demonstravam a fé e a crença na técnica e na engenharia através de arquiteturas monumentais e estruturas em ferro com grandes vãos livres ou mesmo de torres, a exemplo da de Eiffel construída em 1889. Notamos que conforme foram entrando os pavilhões nacionais autônomos, institucionais e a posteriori, pavilhões comerciais, o caráter de suas edificações foi se diversificando em dialogo com a arquitetura fora das exposições. A diversidade de linguagens e estilos começa a aparecer no final do século XIX, quando os pavilhões nacionais e institucionais passam a ser apresentados. Por vezes, dialogam com as arquiteturas locais de seus países - fazendo uma reconstrução de arquiteturas tradicionais ou vernaculares - a exemplo das pagodas ou das choupanas Africanas construídas por Charles Garnier na expo 1889 - ou do ecletismo presente as arquiteturas coloniais dos países em questão - a exemplo do pavilhão da Venezuela ou da Bolívia na expo de 1889. Por vez seguem uma linguagem única, a exemplo da exposição de Chicago de 1893 em que os pavilhões foram todos construídos segundo o estilo neoclássico francês Beaux-Arts,

Hannover, 2000

conforme indicação do plano diretor da exposição. Nesta exposição, os pavilhões nacionais, em sua maioria, remetiam a palacetes, a exemplo do Pavilhão da França, ou do Brasil, projetado por Souza Aguiar (que viria também a projetar o pavilhão do Brasil - palácio Monroe - para a expo de Saint Louis em 1904).

Já em Bruxelas, um novo estilo começa a aparecer e ganha reconhecimento na Expo de 1897: o Art nouveau - que viria a

se consolidar como estilo na Expo de 1900, em Paris, quando foram construídos as atualmente conhecidas entradas do metrô da cidade. Em Paris, em 1900, a influência Art Nouveau aparece também na porta monumental de René Binet e mesmo em uma das principais atrações da expo, Le Tour du Monde.

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Dando um salto no tempo, chegamos na exposição de 1929, em Barcelona, ano em que foi construído o pavilhão alemão projeto de Mies Van der Rohe. Nesta exposição, identificamos uma lógica próxima a que ocorre atualmente, uma vez da presença e mistura de linguagens, tempos e estilos arquitetônicos. Se por um lado, alguns pavilhões nacionais, a exemplo do de Mies e do da Suécia, o racionalismo na arquitetura demarca presença ou o pavilhão da Iugoslávia que dialogava com o futurismo soviético, por outro, a maioria do pavilhões nacionais e institucionais podem ser classificados como ecléticos, seguindo um historicismo que já não estava em dialogo com as vanguardas do seu tempo. Outros pavilhões nacionais, buscavam referências em suas arquiteturas vernaculares a exemplo do pavilhão da Noruega ou da Romênia ou da Dinamarca. Em contraponto a essas diferentes linguagens, os pavilhões comerciais se apresentavam como experimentações formais racionalistas, em dialogo com o art-deco ou mesmo com o moderno. Também, essas edificações comerciais, começavam a indicar uma característica que tornou-se predominante a partir dos anos 1970 na arquitetura: uma arquitetura vernacular comercial, nos termos de Venturi et. al, em que o letreiro passa a ganhar importância na fachada do edifício, conforme pode-se notar nas imagens. Essa característica comunicativa retoma na exposição de 1933 em Chicago como predominante, principalmente nos pavilhões comerciais, a exemplo do pavilhão da Time, Chrysler Motors (com uma estilo art decô) ou da Life. (p.154). Os

Hannover, 2000

edifícios cenográficos começam a surgir nas exposições norte-americanas. Nessa mesma exposição, o pavilhão de Paris apresenta-se com uma navio, o que remete a arquitetura industrial levantada por Le Corbusier como a fonte para uma arquitetura, dez anos antes.

Em 1935, em Bruxelas o estilo moderno já começava a se consolidar, havendo vários pavilhões nacionais que seguiam os preceitos da Carta de Atenas ou ensaiavam o racionalismo moderno através de pavilhões com geometrias puras.

Em 1937, em Paris, Le Corbusier que, conforme Assal (2014) propôs de fazer a exposição sob o tema da habitação, uma questão urgente na Europa nesse período do entre-guerras, acabou por somente apresentar o pavilhão dos “Tempos Novos”, que abrigava uma exposição sobre o urbanismo moderno.

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A expo de Paris de 1937, ficou marcada pela presença dos dois pavilhões, da Alemanha Nazista e da União Soviética, como sua linguagem construtivista, posicionados frente a frente, o que demonstrou o forte caráter simbólico que as exposições e suas arquiteturas podem ter. No meio da cidade, foi aberta em 1939 a primeira exposição em Nova Iorque e a maior em área e países participantes desde o início das exposições mundiais. Essa exposição pode ser considerada um marco na afirmação da sociedade de consumo com um otimismo sobre o impacto das tecnologias sob o futuro. Foi marcada também pela presença de muitos pavilhões comerciais e por grandes atrações interativas que abordavam questões referentes ao novo estilo de vida. A principal, Futurama, consistia em uma viagem pela cidade ideal do futuro. Em Nova Iorque, Niemeyer e Lúcio Costa projetaram e construíram o pavilhão do Brasil, que veio a tornar-se uma vitrine para a arquitetura brasileira de então. Depois da segunda Guerra mundial, as exposições passaram a alterar um pouco seu formato, focando mais na educação e na diversão, em oposição a fé no progresso técnico pertinente às exposições antes da guerra. A característica do lúdico e do entretenimento que passa a predominar, se ensaiava nas exposições desde seus primórdios: em 1867 em Paris foi construído o primeiro parque de diversões, pavilhões de restaurantes e atrações fora do pavilhão principal da exposição de produtos. Ja em 1893, em Chicago, a maior roda-gigante do mundo foi construída, tornando-se ícone da exposição e que, Park ou atualmente como símbolo de Londres, a London Eye.

Hannover, 2000

conforme descrição do site do BIE, viria a se tornar um exemplo para os parques temáticos americanos a exemplo do Luna

Nesse sentido, a arquitetura dos pavilhões nas exposições que sucedem, após o intervalo de 20 anos no pós-guerra, tem

como característica e linguagem do entretenimento, em sua maioria. Porém, salienta-se alguns pavilhões de exposições que para além do entretenimento, colocam a arquitetura juntamente em discussão:

Na Expo de 1958, o pavilhão Philips, projeto de Le corbusier, e Iannes Xenakis, apresentou-se como um prelúdio de

muitos pavilhões atuais: uma experiência imersiva para o público com grandes projeções estavam contidas em uma casca de concreto de geometria complexa. Este pavilhão poderia ser comparado ao pavilhão de Foster para os Emirados Árabes na Expo 2015 projetado e construído digitalmente, com suas curvas barrocas e tecnologia interativa na exposição, quase 70 anos depois.

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Nessa mesma edição, em 1958, Sérgio Bernardes apresentava o pavilhão brasileiro, explorando os potenciais do concreto, tal qual Le Corbusier, e aludindo talvez à ideia das feiras e parques no inicio das exposições: Um balão voando, símbolo da diversão, demarca o pavilhão brasileiro. Ao olharmos para imagens de exposições antigas, a imagem do balão é recorrente: Expo 1906 em Milão tinha um parque aerostático, na perspectiva ilustrativa da Expo Paris, em 1878 ou na Expo Chicago, em 1893, um balão demarca e compõe as imagens. Em 1958, também cabe ressaltar os pavilhões da Áustria e Holanda, que ao compararmos com os dos mesmo países na última edição, apresentam características comuns: por uma lado a sobriedade monolítica da Áustria e por outro, o lúdico figurativo e narrativo da Holanda. Na Expo 67, em Montreal, muitos exemplos de arquitetura dialogam com a produção de arquitetos fora delas ou com a discussão teórica da arquitetura. À Exemplo, a tenso-estrutura de Frei Otto que viria a se tornar uma característica de seu trabalho e viria a ser associada a arquitetura alemã. Nesse sentido, na Expo 2015, novamente a Alemanha apresentou uma cobertura tensionada demarcando essa característica e o pavilhão do Brasil, teve sua “rede” calculada e detalhada por engenheiros alemães de Stuttgart que trabalharam com Frei Otto, reiterando a tradição. Outro exemplo, o Habitat 67, de Moshe Safdie dialoga com o racionalismo construtivo, levando ao extremo a idéia da

Hannover, 2000

máquina de habitar modular e da pré-fabricação. Buckminster Fuller, realiza um grande domo em vidro, Karl Schwanzer

explora a arquitetura montessoriana, investigações pertinentes à carreira dos dois arquitetos. Todas essas investigações

convivem e coexistem com réplicas de arquiteturas tradicionais (p.201), arquiteturas comerciais de fachada e outras “fantasias tecnológicas” nos termos de Jencks, a exemplo do pavilhão dos Países Baixos, que parecem dialogar com as megaestruturas e porque não, com o Centro George Pompidou que viria a ser construído na década seguinte.

Nesse sentido, a Expo de 1970, em Osaka, apresenta-se como uma vitrine de um movimento que tem nas megaestruturas

sua linguagem: o metabolismo japonês. A implantação e os principais pavilhões foram todos construídos seguindo os

preceitos do movimento. Essas duas exposições podem ser consideradas as principais no pós-guerra em termos de representatividade e especulação arquitetônica.

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Hannover (2000) e Xangai (2010), parecem retomar a figuração iniciada nos EUA nas exposições do entre-guerras, amparadas pelo movimento pós-moderno e a possibilidade da citação, remetendo a tecnologia digital e interativa. Essa figuração tecnológica parece transformar-se na linguagem predominante. Por fim, cabe um olhar sobre as implantações e dimensão das exposições. Em sua maioria, estavam localizadas dentro das cidades, no centro (Paris em todas suas edições, Melbourne em 1880 ) e em alguns casos, vieram a se tornar novos bairros ou parques (Parque Sempione em Milão 1906, Mont Juic em Barcelona 1929, Sevilha, 1992) ou parques afastados da cidade (Montreal, 1967 que permanece até hoje ou Viena em 1873, que estava fora da cidade). Como comparação, a Expo Milão 2015, também foi construída em uma área afastada da cidade, visando um desenvolvimento a posteriori da região, uma região industrial e ainda urbano rural da cidade. Muitas exposições apresentavam eixos monumentais organizadores de seu projeto urbanístico, tal qual a Expo 2015 e o Decumano, outros apresentavam-se como “cidades-Jardim” a exemplo de Montreal em 1967. Outro dado notável é a presença da água nas exposições, quer seja pela implantação na orla de um rio, ou mar (Michigan, 1893, Chicago 1933, Paris que fez todas suas exposições na borda do Rio Sena, consagrando o Eixo da torre Eiffel em exemplo da Expo 2015 ( Saint Louis 1904, Chicago 1893, Bruxelas, 1958).

Hannover, 2000

1889, Liege 1905, Filadélfia,1876, São Francisco 1915, Sevilha, 1992, entre outras) ou que construíram lagos ou canais, a

Por fim, nota-se um crescimento no numero de países participantes nas exposições do pós-guerra, mesmo que não tenham crescido em área ou visitantes, salvo algumas excessões, em sua maioria, reiterando a globalização das relações atualmente.

Essas considerações apresentam-se como um pequeno resumo visando compreender relações entre as exposições e o

momento coetâneo no que se refere a produção arquitetônica e também com a atualidade. Serão desenvolvidas e

aprofundadas para a dissertação como forma de apreensão do universo arquitetônico das exposições mundiais e como forma de aproximação das características ainda permanecentes ou alteradas em relação às origens do evento.

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