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Relevant bibliographies by topics / Centennial International Exhibition

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Academic literature on the topic 'Centennial International Exhibition'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Centennial International Exhibition"

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VEIT-BRAUSE, IRMLINE. "German-Australian Relations at the Time of the Centennial International Exhibition, Melbourne, 1888*." Australian Journal of Politics & History 32, no. 2 (2008): 201–16. http://dx.doi.org/10.1111/j.1467-8497.1986.tb00348.x.

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Rydell, Robert W. "Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia (review)." Technology and Culture 44, no. 2 (2003): 407–9. http://dx.doi.org/10.1353/tech.2003.0088.

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Spillman, Lyn. "When Do Collective Memories Last?: Founding Moments in the United States and Australia." Social Science History 22, no. 4 (1998): 445–77. http://dx.doi.org/10.1017/s0145553200017910.

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In 1876, there was a huge commemoration of the centennial of American independence. The year was marked in many ways, by many groups, in many parts of the country. The central event, though, was a grand International Exhibition in Philadelphia, four years in the making. Planners first met in 1872 in Independence Hall and spoke at length about the sacredness of the venue: “It is altogether fit and wise that we should take our first step and utter our first words in this hall. There sat John Hancock, presiding over that immortal body. There came Jefferson, Franklin, Adams, Sherman, and Livingston presenting the sacred declaration. There lies the broken and silent bell, which at the word proclaimed liberty throughout the land to all the inhabitants thereof” (USCC 1873: 24-25). The theme was taken up by many others in many different ways. Images of the Liberty Bell, Independence Hall, Washington, and Franklin were scattered throughout centennial ceremonies, buildings, poems, histories, and other documents. The revolution was used as a touchstone in talk about the exhibition and as a rich source of national symbolism.

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Yanni, Carla. "Review: Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia by Bruno Giberti." Journal of the Society of Architectural Historians 62, no. 2 (2003): 266–68. http://dx.doi.org/10.2307/3592484.

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McCarthy, Christine. "Against ‘Churchianity’: Edmund Anscombe’s Suburban Church Designs." Architectural History 52 (2009): 169–200. http://dx.doi.org/10.1017/s0066622x00004184.

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Edmund Anscombe (1874-1948) was an important New Zealand architect, well known for his design of the 1925 New Zealand and South Seas International Exhibition (Logan Park, Dunedin) and the 1940 New Zealand Centennial Exhibition (Rongotai, Wellington), as well as for his art deco buildings in Hawkes Bay (especially Hastings), and in Wellington.This article explores Anscombe’s contribution to New Zealand’s early twentieth-century church design by presenting new archival research and examining his distinctive use of secular imagery, notably the architectures of the house and schoolhouse. The article locates these designs simultaneously within traditions of Nonconformist architecture and within a Victorian interest in the home as productively informing a spiritual understanding of church building. While some architectural examples of this thinking were apparent in late nineteenth-century America, there are no other known examples in New Zealand. Anscombe’s use of this secular and domestic imagery in his church design enabled fashionable and theologically-informed architectures to co-exist.

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Pedro Leão Neto. "About the International Conference for the 5th issue of Sophia Journal." Sophia Journal 5, no. 1 (2020): 3–4. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_01.

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The International Conference on the 5th issue of Sophia Journal, which took place at FAUP, opened a new cycle of international forums, henceforth to be held annually, and taking up the theme and topics examined in Sophia for each year. Sophia Journal’s International Conference presented both a live and videoconference program organized by CEAU / FAUP, in partnership with UNIZAR and DECA / ID - U. Aveiro. The event was broadcast live online, encompassing a rich and diverse program: (i) a series of videoconferences; (ii) the roundtable launch and presentation of the 4th issue of the peer reviewed journal Sophia: “Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image”; (iii) the presentations of articles of the 5th issue of Sophia Journal: “Visual Spaces of Change: Designing Interiority - shelter, shape, place, atmosphere”; (iv) the launch of the open call for papers for the 6th issue of Sophia Journal: “Visual Spaces Of Change: photographic documentation of environmental transformations”; (v) the announcement of the awards of the International Competition of Ideas: Exhibition and Mobile Projector and the Visual Spaces of Change exhibition, developed for this conference and for the spaces of FAUP, where new contemporary photography projects will be communicated, as well as a new exhibition structure that was awarded with the first prize in the International Competition of Ideas: Exhibition and Mobile Projector. The objective of these international forums is to promote the reflection and debate on the universes of Architecture, Art and Image, addressing various issues transversal to the worlds of Photography and Architecture, and exploring how the image can be a means to cross borders and shift boundaries between different disciplines. This event provided the opportunity to visit the exhibition of the Visual Spaces of Change Projects developed for this conference using FAUP’s interior and outdoor spaces, featuring novel projects in the new exhibition modular structure, which awarded the first prize to Sérgio Magalhães representing studium.creative studio. The Visual Spaces of Change research project proposes a visual communication strategy based on the development of contemporary photography projects that reflect upon different dynamics of urban change to open new horizons of public intervention in the public space. Wilfried Wang (UTSOA) O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin and Guest Editor of Issue #6 of Sophia journal: “Visual Spaces of Change: photographic documentation of environmental transformations” announced the open call for this 6th issue of Sophia journal. This issue will bring together photographers and researchers who make significant contributions to these discussions, including the material processes of creating, managing and interpreting sets of documents. We are interested in material processes where photography is explored as a significant research tool for critical and innovative views on architecture and urban transformation in their expanded fields and contextualized by larger systems: cultural, political, artistic, technical, and historical dimensions. Finally, some words about the published content in Sophia’s other sections besides the peer reviewed articles, with the former having been integrated into the journal’s structure as a way of enrichening the publication with diverse viewpoints from experts in the field and other types of readings apart from the articles from the call. [...]

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Harvey, Bruce G. "Bruno Giberti. Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia. Lexington: University Press of Kentucky, 2002. xii+304 pp.; 130 illustrations, bibliography, index. $50.00." Winterthur Portfolio 39, no. 2/3 (2004): 196–200. http://dx.doi.org/10.1086/433204.

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Robey, Ethan. "Bruno Giberti. Designing the Centennial: A History of the 1876 International Exhibition in Philadelphia. xii + 304 pp., illus., app., bibl., index. Lexington: University Press of Kentucky, 2002. $50 (cloth)." Isis 95, no. 2 (2004): 304. http://dx.doi.org/10.1086/426235.

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Lochhead, Ian. "Resisting Modernism or the Last Gasp of the Arts and Crafts?: Church Building in Canterbury and North Otago in the 'Thirties." Architectural History Aotearoa 3 (October 30, 2006): 52–59. http://dx.doi.org/10.26686/aha.v3i.6797.

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The dominant historical narratives of twentieth-century architecture present the 1930s as the period during which Modernism's claim to be the architectural style of the century was consolidated and when the new architecture began to spread across the globe. In New Zealand, as in the rest of the world, this master narrative has tended to obscure the significance of buildings constructed in more traditional styles. The five New Zealand buildings included in the RIBA's Centennial Exhibition, International Architecture 1924-1934, were not, however, the latest examples of Modernism in this country, but relatively conservative designs, including Cecil Wood's Arts and Crafts inspired St Barnabas's Church at Woodend (1932). Wood's building forms part of an extensive group of small country churches built throughout Canterbury and North Otago during the 'thirties. These include Wood's St Paul's, Tai Tapu (1930-31) and Herbert Hall's St David's Memorial Church at Cave (1930), although by far the best know is RSD Harman's Church of the Good Shepherd at Lake Tekapo (1935). These small, unpretentious churches, many built with assistance from a government fund initiated to stimulate the construction industry, made use of modern materials, especially reinforced concrete, but their mode of expression remained conservative. They were often embellished with furnishings executed in the traditions of the Arts and Crafts movement. In most cases these churches were important statements of local identity while at the same time expressing the diverse cultural origins of those who built them. In style they were invariably Gothic yet within that dominant idiom considerable stylistic diversity was achieved. For both architects and their clients Modernism, with its emphasis on internationalism and the machine, was unable to express the rich veins of meaning which such buildings were required to embody. Yet as expressions of the uncertainties of the time, their conservative aesthetic values, their reassertion of pioneering roots and of an enduring local identity were as significant as Modernism's confident assertion of a better, essentially urban, future. At a time when the approaching Centennial events of 1940 was stimulating a reassessment of the country's past, these buildings also acted as powerful statements of consolidated achievements.

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Griffith, Anna, Mary Brigit Carroll, and Oliver Farrell. "From Sèvres to Melbourne: Art and education museums in 19th-century Victoria." History of Education Review ahead-of-print, ahead-of-print (2021). http://dx.doi.org/10.1108/her-08-2020-0048.

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PurposeThis paper focuses on the donation in 1888 of a Sèvres Vase to the Education Department of Victoria after the International Exhibition in Melbourne. Using the vase as its focus the paper reflects on what this donation may be able to tell us about the impact, primarily on education, of a series of International Exhibitions held both in Australia and internationally between 1851 and 1900. The life of the Sèvres vase highlights the potential of the Exhibitions for the exchange of ideas internationally, the influence of the International Exhibition movement on education and the links between a 19th-century gift and the teaching of Art in 1930s Melbourne.Design/methodology/approachThe paper examines one object in relation to education in its wider historical context through a reading of the archival records relating to the Melbourne Teacher’s Training College and Melbourne High School.FindingsThe influence of the educational exhibits of the 1888 Centennial International Exhibition held in Melbourne are shown to have had an impact on the design of the Melbourne Teachers Training College.Originality/valueThis paper provides a new and original perspective on the Melbourne Teachers Training College and its foundation through its library and museum collections.

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Dissertations / Theses on the topic "Centennial International Exhibition"

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Orr, Kirsten School of Architecture UNSW. "A force for Federation: international exhibitions and the formation of Australian ethos (1851-1901)." Awarded by:University of New South Wales. School of Architecture, 2006. http://handle.unsw.edu.au/1959.4/23987.

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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

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Books on the topic "Centennial International Exhibition"

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Centennial, Exhibition (1876 Philadelphia Pa ). Canada at the International Exhibition, 1876, Fairmount Park, Philadelphia. s.n., 1985.

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Centennial Exhibition (1876 Philadelphia, Pa.). Canada at the International Exhibition, 1876, Fairmount Park, Philadelphia. s.n., 1985.

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Grierson, Elizabeth. New Zealand women printmakers: Zonta International Touring Exhibition, Celebrating Suffrage Centennial 1993. Zonta International, 1993.

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Yivo Institute for Jewish Research. The story of the Jewish Labor Bund, 1897-1997: A centennial exhibition. Edited by Greenbaum Leo, Web Marek, and New York University. Edgar M. Bronfman Center for Jewish Student Life. YIVO Institute for Jewish Research, 1998.

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5

Hodgins, J. George. Special report to the honourable the minister of education, on the Ontario educational exhibit and educational features of the international exhibition at Philadelphia, 1876. s.n.], 1987.

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Lesage, Siméon. Eposition [sic] internationale de Philadelphie, 1876. s.n., 1986.

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Levin, Miriam R. When the Eiffel Tower was new: French visions of progress at the Centennial of the Revolution. Mount Holyoke College Art Museum, 1989.

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Levin, Miriam R. When the Eiffel Tower was new: French visions of progress at the centennial of the Revolution. Mount Holyoke College Art Museum, 1989.

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Centennial Exhibition (1876 : Philadelphia, Pa.), ed. Catalogue of Canadian exhibitors at the International Exhibition, Philadelphia. s.n.], 1986.

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Centennial Exhibition (1876 : Philadelphia, Pa.), ed. Catalogue of Canadian exhibitors at the International Exhibition, Philadelphia. s.n.], 1986.

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Book chapters on the topic "Centennial International Exhibition"

1

Rezende, Livia. "Nature and the Brazilian State at the Independence Centennial International Exhibition in Rio De Janeiro, 1922." In Cultures of International Exhibitions 1840–1940. Routledge, 2017. http://dx.doi.org/10.4324/9781315095189-7.

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Conference papers on the topic "Centennial International Exhibition"

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REZENDE, Livia Lazzaro. "Transforming territories and forging identities at the Independence Centennial International Exhibition in Rio de Janeiro (1922)." In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-052.

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