missing images
Paris 1855: The Universal Exposition Interior and Exterior of the Palace of Industry
These selected images, an exterior view of the Palace of Industry and a view of the interior of the palace during the distribution of awards, are both detailed views from which much can be observed. Since both images are illustrations, as opposed to photographs, they may not be entirely accurate. The image of the interior is a lithograph, which is approximately thirty-five inches by fifteen inches. Because of the medium employed, the details of the image are not very sharp, but many details are included. Emperor Napoleon III can be seen handing out the awards, and his empress is seen seated behind him. The other image appears to have been taken from a French newspaper article. Today, the actual paper is very old, as can be evidenced by the large tear in the middle of the picture and its worn edges. The actual size of the illustration is about fifteen inches long and eight inches wide. Most significant about the Palace of Industry are its historical precedents, the evolution of its design, its successes and failures, and finally its role at the fair.
After London hosted the first international exposition in 1851, Napoleon III realized that France needed to seize back the initiative. The motive given for the 1855 Paris exposition was to celebrate forty years of peace in Europe since Waterloo (Findling, pp. 16-17). A hidden agenda, however, was the competition among the major European nations, to establish their industrial and artistic supremacy. Napoleon III decided that France needed a spectacular structure "based on the plan of the Crystal Palace of London" (Lavedan, p. 228). Therefore, in 1852, France held a competition fo...
... middle of paper ...
...e success of the Palace of Industry, it did nothing to promote the careers of either Viel or Barrault. Regardless, the Palace of Industry was an influential step in the integration of this revolutionary material, iron, with traditional architecture.
Bibliography
Findling, John E. Historical Dictionary of World's Fairs and Expositions 1851-1988. New York City: Greenwood Press, 1990.
Lavedan, Pierre. French Architecture. London: Scholar Press, 1956.
Mignot, Claude. Architecture of the Nineteenth Century in Europe. New YorkCity: Rizzoli International Publications Inc.,1984.
Hautecoeur, Louis. Histoire de l'architecture classique en France. v. 7. Paris: Rue Bonaparte, 1943.
Steiner, Frances H. French Iron Architecture. Ann Arbor, Michigan: UMI Research Press, 1984.
Taché, J. C. Canada at the Universal Exhibition of 1855. Toronto: Yonge Street, 1856.
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990 Komendant, August, "Post-Modern on Habitat", Progressive Architecture 1968 March vol.49, p.138-147
Write an essay discussing the historical insights presented in Erik Larson’s Devil in the White City, being sure to answer the following questions: In what ways does the Chicago World’s Fair of 1893 represent the contrasts and conflicts of the Gilded Age? What is the Fair’s lasting imprint on American society & culture, & what new trends does it signal for the twentieth century?
The World’s Fair of 1893 was set to commemorate the 400th year anniversary of Columbus’ voyage to America. When the top leaders in the US heard about the opportunity of hosting the fair, they quickly showed their interest. The main cities that showed interest were New York,...
Erik Larson’s book Devil in the White City is full of magic and madness that has shaped the society of the late 19th century that is specific to in Chicago. The issues that have been handled through this time frame that are addressed in this book is that how Chicago was known to be the black city at first, and how the city hoped that hosting the World’s fair would increase their reputation. Secondly, the magic of a man named Daniel Burnham that did put the plans of the world fair in Chicago into life and the obstacles that he had overcame. Next, once the world fair was complete, it has made Chicago “The White city,” by its dazzling designs and attractions that made it memorable. Then, the madness of H.H. Holmes and how his evil deeds has seemed to undermine the world fair and the things that are going on within it with his murders and treachery that does grip Chicago once his evil deeds have been found out. Finally, the events that happened in the world fair that relate to the issues that occur in the late ninetieth century within the United States. The city of Chicago was in a desolate condition before it hosted the World Fair.
Hitchcock, Henry Russell. Early Victorian Architecture in Britain Volumes I and II. New Haven: Yale University Press, 1954.
To describe the 1933 Chicago World's Fair in a word, one might choose, "modern" or "dazzling," perhaps even "outrageous." The fair experimented with modern architecture, dazzling electric illumination, and a daring color scheme meant to reflect the scientific content of the fair's exhibits. The fair featured advancements in all fields of science, ranging from the inner-workings of the automobile engine to the most recent theory on the structure of the atom. Entitled "The Century of Progress," it used these vivid colors and impressive exhibits to create a light-hearted and uplifting experience intended to distract the nation from the hardships of the Great Depression. The viewbook featured here provides visitors with a souvenir of this striking event and a way to remember the exhibits and buildings after the exhibition was over and the fairgrounds returned to a public park.
The “White City” was a vast collection of architecture and arts that were put on display in the year 1893. The Chicago World Fair, also called the “White City”, was a major event in American history that impacted America’s culture, economic, and industry. The Chicago World Fair was held to honor Columbus’ discovery of the New World. The real reason why it was made was to proudly have back their wealth and power. Larson said, “the tower not only assured the eternal fame of its designer, Alexandre Gustave Eiffel but also offered graphic proof that France had edged out the United States for dominance in the realm of iron and steel…”(15). To accomplish this, architects led by Daniel Burnham and John Root made numerous buildings and beautiful scenery
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
image on Exposition souvenirs was ideal in light of the fair's theme - our nation's 150th
Findling, John E. Historical Dictionary of World's Fairs and Expositions 1851-1988. New York: Greenwood Press, 1990.
Print. The. Mike. The Evolution of Gothic Architecture. Aquinas Multimedia.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Kathy Prendergast, further contends, that it is this convergence of the Gothic art style and Romantic genre which was quintessential of the nineteenth century era. Both collided to spotlight terror, valuelessness emotion and vulnerability. Both collided to perpetrate a sense of wonderment in the reader/viewer, a sense of helplessness in the face of some superior force. The Gothic architecture with its peculiarity, mystery and imperilment; the Gothic architecture with its a...
The purpose of this paper is to examine the problems that Pierre L'Enfant encountered in designing and building Washington D.C. What delays did the project have and how might they have been avoided? Why was L'Enfant dismissed from his work in 1792?
Holt, Elizabeth G. From the Classicist to the Impressionists: Art and Architecture in the 19th Century. New Haven, CT: Yale University Press, 1966.