Dublin 1853 Main Hall
This image is a beautiful color lithograph, measuring 25 by 35 inches, which features the main hall of the Great Exhibition Building in Dublin in great detail. The hall was 425 feet in length by 100 in width, and 105 in height. In the back there is a large organ. Displayed high on the walls are flags from different countries.
The building is best described by The Illustrated Dublin Exhibition Catalogue, which says:
Presenting a front to Merrion-square of 300 feet, the main or centre feature of elevation consists of a semicircular projection, which forms the Eastern termination of the Central Hall. This in a noble apartment of 425 feet in length, and 100 feet in height, covered by a semicircular roof trellis robs, in one span of 100 feet. On each side of the Centre upon trellis ribs, in one span of 100 feet. On each side of the Centre Hall, and running parallel to it for the same length, are two halls 50 feet wide, with domed roofs, similar to that which covers the main nave or hall of the building. The Height from the floor to the roof of each of these halls is 65 feet. They are approached through passages from the Centre Hall. In addition to these three halls are four compartments of 25 feet wide, running the whole length of the building; two are placed between the Centre Hall and the side halls, and two on each side of the latter; divided into sections of 25 feet square, forming convenient divisions for the purposes of classification. Over these compartments are spacious galleries, also running the length of the building, which not only afford increased space for exhibition, but form an agreeable promenade from whence the effect of the three halls may be seen to greater advantage. To the south ...
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...or, which made its splendid halls themselves, examples of an incentives to something higher and grander in design than had before been attained (Sproule). "The Building itself was perhaps the most successful novelty exhibited, both in Art and Manufacture (Sproule)."
No information on the fate of the Great Exhibition Building, other than it no longer stands and no attempt was made to rebuild the structure with more permanent materials.
Works Cited:
Findling, John E., editor, Historical Dictionary of World's Fairs and Expositions, 1851-1988. New York: Greenwood Press, 1990. p. 10-11
Ingram, J.S., The Centennial Exposition; Described and Illustrated. St. Louis: Hubbard Bros., 1876. p. 31-33
The Illustrated Dublin Exhibition Catalogue. London: Virtue, 1853. p. v Sproule, John. Irish Industrial Exhibition 1853. London: William S. Orr & Co., 1854. p. 27-41.
"Historical Events for Year 1904." Today in History, Birthdays & History Articles. N.p., n.d. Web. 25 Oct. 2013.
Philadelphia: J.B. Lippincott, 1876. Print. The. Moody, John. The.
Carden, Robert W. "The Franco-British Exhibition." Architectural Review 1908 July, v. 24, p. [32]-37 ; 1908 Sept., p. [108]-111
The viewbook was compiled by the Architectural Commission for the fair, with the text by Allen D. Albert, an honorary secretary, and forward by Rufus C. Dawes, the president. The book, approximately nine by twelve inches, and consisting of 64 pages of vibrant images of the fair, depicts the major buildings, exhibits and attractions. These images are mostly watercolors, sometimes enhanced photographs or cartoons. Th...
The Exhibition Hall built by Stephen Kemp, is the oldest and most unique hall on the fairgrounds; it was the first hall to be built (Wynn). Only used “from (1850-1860), the innovation octagon style was used for hou...
Findling, John E. Historical Dictionary of World's Fairs and Expositions 1851-1988. New York: Greenwood Press, 1990.
Brinkley, Alan American History A Survey, Volume I: To 1877, New York, NY: McGraw-Hill, 2003. pg. 101-122, 209-213.
One story describes the planning of the 1893 Chicago World’s Fair that had been proposed to celebrate the four hundred years since Columbus landed in America. The idea didn’t get much attention until a year earlier, when Paris held a world fair and unveiled the Eiffel Tower. Not to be outdone, America decided now it was a matter of who would hold a fair that would put France’s fair to shame. There was a dilemma of where the fair would be built New York or Chicago, but votes were tallied up and the majority of the vote was Chicago. Among the many architects in Chicago, the main job of the designing the fair was given to Daniel H. Burnham. He needed a companion to help him with the design and other features of the fair, so he chose John Root, a very close friend of his and former associate. Because of the amount of time it took to decide where to build the fair, The White City was believed to be impossible to construct because of time con...
... that unity to mass produce products and beautiful art has earned it the right to be known as the House of Construction.
Built in the 16th arrondissment in Paris, the L-shaped plan lies along the south end and east side of a private cul-de-sac. The shape of the structure was influenced by the site. The larger portion follows the road, the main axis running through the site, whilst the smaller section sits perpendicular, crossing the axis. The two pieces are contrasting in design; the larger a more dominant and robust living block built to house a family in the Jeanneret house and La Roche’s private areas on the other side. The smaller feels more delicate as it has no ground floor and is raised on pilotis, housing only the light and airy gallery space. Both exteriors mimic the intended use of the interior.
On a positive note, there are designers who have accomplished what seems like the impossible and created spaces that stand timeless in their place. The Eiffel Tower, Grand Central Station, Sydney Opera House are just a few examples of spaces that provide a unique experience for the people and contribute to the identity of the city.
The purpose of the pavilion was to exhibit the technology of the Philips corporation, a Dutch electronics company specializing in everything from sound production to fluorescent lighting to X-ray technology. Philips' aim was obviously promotional, integrating corporate advertisement into an exhibit much like the pavilions by General Motors and Ford at the Chicago fair of 1933 and the New York fair of 1939. But rather than having a traditional pavilion that would display their products for the visitors to browse through, Philips chose to create an integrated work of modern art that would utilize its wide array of technologies. Therefore, the Philips pavilion had no exhibits per se; rather it was a kind of exhibit in itself; an all-encompassing showcase of what the Philips corporation could offer.
A smaller pool lays adjacent to the building on the opposite side enclosed by a wall of marble. Mies designed the pavilion to blur the lines between inside and outside space. There are parts of the walls that seem to be missing which creates a flow between the two main spaces. The pavilion’s thin sweeping roof is supported by eight cruciform columns clad in chrome. This created an open and free space where he lined the outside of the building with glass. He then carefully placed a thin slab of onyx in the middle of the open volume.
Richards, C.B. Reports of the United States Commissioners to the Universal Exposition. Google eBook: U.S. Government Printing Office: 1891.
Spence, H. D. M. Daniels. London; New York: Funk & Wagnalls Company, 1909. Print. The.