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Academic literature on the topic 'International Architectural Exhibition'
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Journal articles on the topic "International Architectural Exhibition"
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Nikitin, Yury, Vasiliy Goryunov, Vera Murgul, and Nikolay Vatin. "Russian Sections at World and International Fairs." Advanced Materials Research 1065-1069 (December 2014): 2674–80. http://dx.doi.org/10.4028/www.scientific.net/amr.1065-1069.2674.
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Russian exposition pavilions at world and international fairs, expressive and unique in their artistic formulation, were always among the most visible national buildings. Beginning with the first structures at the 1867 World Fair in Paris, Russia presented medieval Russian architectural forms at all subsequent exhibitions. An important feature of Russia’s exhibition building abroad was the supreme desire to achieve high quality despite the fact that the structures were doomed to destruction. Russian architects strove to create an original image of the national exhibition pavilion, and so their appeal to medieval Russian architecture was natural. The path followed by Russia when participating in world and international exhibitions was not chosen by chance. This was the route to Russia’s assertion of her national culture in the West.
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Stamper, John W. "The Industry Palace of the 1873 World’s Fair: Karl von Hasenauer, John Scott Russell, and New Technology in Nineteenth-Century Vienna." Architectural History 47 (2004): 227–50. http://dx.doi.org/10.1017/s0066622x00001763.
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The buildings and landscaped grounds of the nineteenth-century international exhibitions were directly related to the architectural and urban design traditions of the cities in which they were built. At the same time, they possessed idealized qualities that made them innovative and distinct from other contemporary buildings. The result of collaborative planning among architects, engineers, and planning committees, the exhibitions were built to evoke ideal civic settings, their exhibition palaces, pavilions, and gardens forming exemplary complexes that synthesized both invention and tradition. The International Exhibition, the Weltausstellung, held in Vienna, Austria in 1873, was one such event (Fig. 1). Its buildings were both related to the architectural and urbanistic design traditions of nineteenth-century Vienna, and at the same time possessed idealized qualities that were inventive and progressive, marking new technological achievements.
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Neto, Teresa. "PORTUGUESE INTERNATIONAL PAVILIONS AND NATIONAL STYLE — ARCHITECTURE TENDERS SHAPED BY POLITICAL AND CULTURAL AGENTS." ARTis ON, no. 7 (December 23, 2018): 101–10. http://dx.doi.org/10.37935/aion.v0i7.197.
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Universal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparked a debate between architects and key cultural and political agents, selected as jurors for the architectural tenders held for the Portuguese Pavilions. Evaluating these events means identifying pivotal participants, their proposals and their thoughts on the issue of a representative ʻnational styleʼ. This particular period also dwells with the issue of implementing modern architecture, distanced from eclectic historicisms yet rooted in vernacular elements.
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Duha, S. D., U. Siahaan, and S. Simatupang. "Exhibition center design in Bekasi with a Hi-Tech architecture approach." IOP Conference Series: Earth and Environmental Science 878, no. 1 (2021): 012040. http://dx.doi.org/10.1088/1755-1315/878/1/012040.
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Abstract Indonesia as a tourist destination has the opportunity to develop MICE tourism potential (Meeting, Incentive, Conference, and Exhibition). Globalization and regional autonomy provide opportunities and challenges for development in each region. Each region is required to develop all the capabilities that it has both the value of comparative advantage (competitive advantage) and competitive advantage (competitive advantage). Bekasi City is a city located in West Java, has the potential as a gateway for international trade in West Java. Especially with the construction of 4,000 manufacturing companies and 21,000 expatriates in Bekasi. With this potential, it is possible for Bekasi City as a trade and service node nationally and even internationally. The Exhibition Centre is a container that functions as a fulfilment of the need for MICE activities that combine the functions of meetings (meetings and conferences), exhibitions (exhibitions), and recreation (incentive travel). Hi-Tech Architecture is a design concept that is interpreted as a flow of architectural style that leads to the idea of a modern architectural movement that exaggerates the structure and technology of a building [1]. High-Tech Architecture is an indicator of developments in the world, both in the field of technology and architecture. Bekasi City is one of the cities that is developing in West Java Province. Therefore, High-Tech Architecture was chosen as an approach to planning and designing an exhibition center in Bekasi City as a symbol that Bekasi is a developing city.
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Guereñu, Laura Martinez De. "The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence." Heritage of Mies, no. 56 (2017): 56–63. http://dx.doi.org/10.52200/56.a.uy5o2bw6.
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The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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Ardhiati, Yuke, Ashri Prawesthi D, Diptya Anggita, et al. "An Adaptive Re-use of Cultural Heritage Buildings in Jabodetabek (Greater Jakarta) as the National Gallery of Indonesia's Satellites." International Journal of Built Environment and Scientific Research 4, no. 2 (2020): 115. http://dx.doi.org/10.24853/ijbesr.4.2.115-126.
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The Nasional Gallery of Indonesia is a reputable art gallery owned by Indonesian State. It roles as the venue for exhibitions and art events on International scale. To maintain the reputation then it employed the Independent Curators to cary out exhibitions. In recent years, the phenomenon of the proffesional Fine Art Artists show the hing spirits. To enrich their international publication then they began to realize their opportunity to exhibit at this gallery. Unfortunately, the gallery building is an adaptive reuse of the Cultural Heritage Building. The National Gallery building which has a distinctive Dutch Colonial architectural style has not been optimally utilized. So, it has existence has wide limitations and space limitation that unable to accommodate such high interests. On the other hand, Jabodetabek is stands for Jakarta-Bogor-Depok-Tangerang-Bekasi are the Greater City of Jakarta, has Cultural Heritage Buildings. There are many of architectural style of heritage buildings that has chance to be the exhibition spaces. The study is an idea to aim solutions of the availability of exhibition area in Jabodetabek to accommodate the Fine Art Artists interest of exhibiting. According to the Adaptive-Reuse of the National Gallery’s case, and by refers to the Grounded Theory Research method and Case Studies related to the Jabodetabek’s Cultural Heritage buildings. A Working Hyphotesis is Jabodetabeks’s Cultural Heritage Buildings opportunities as The National Gallery’s Satellites. The findings are the Satellite Galleries Rank, and the Properties Display recommendation based on the Cultural Heritage’s rules that can be offered to make them as the “Satellite” as well as the ICOM as the National Gallery of Indonesia’s standard.
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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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Konysheva, E. V. "The Soviet Pavilion at the World Exhibition in New York: Search and Implementation of an Architectural Image." Modern History of Russia 10, no. 3 (2020): 715–46. http://dx.doi.org/10.21638/11701/spbu24.2020.310.
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This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archiveal documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main data base for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.
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Ivanov, Aleksandr. "Something there is that doesn’t love a wall… (Notes on the 16th Venice Architecture Biennale 2018)." Judaic-Slavic Journal, no. 1 (2) (2019): 148–68. http://dx.doi.org/10.31168/2658-3364.2019.1.1.5.
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The article reviews two exhibitions presented at the Israeli and German pavilions at the 2018 Venice Architecture Biennale,where the 16th International Architecture Exhibition was themed and titled as FREESPACE.The Manifesto,written by Yvonne Farrell and Shelley McNamara, the chief curators of the Biennale, proclaimed, among other things, that FREESPACE provides its participants with «…freedom to imagine the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary…» In accordance with the Manifesto, the curators of the Israeli exhibition named In Statu Quo: Structures of Negotiation attempted to deconstruct, in the historical and architectural perspective,the stages of interfaith struggle for holy sites in Israel and on the West Bank of the Jordan River. The German exhibition Unbuilding Walls was dedicated to the twenty-eighth anniversary of the destruction of the Berlin Wall. One of its key exhibits was the visual installation Wall of Opinions, composed of video interviews with residents of various countries, including Israel, where demarcation lines (all kinds of walls, fences, barriers) still exist today, turning «free spaces» into exclusion zones. Both exhibitions convincingly showed the political and social problems that the modern society faces when attempting to create «free spaces» for informal interaction between diverse ethnic and social groups in different countries. Moreover, the exhibition of the Israeli pavilion clearly points at the hidden dangers of new demarcation barriers when the sides of interethnic and interconfessional conflicts fail to reach an agreement about the status of one or another place, while the curators from Germany, symbolically dismantling the global walls of misunderstanding, give us hope to overcome such problems.
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Grigoryeva, Elena, and Andrey Chernikhov. "A tournament, not a competition." проект байкал, no. 77 (October 29, 2023): 12–16. http://dx.doi.org/10.51461/issn.2309-3072/77.2182.
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On May 27, 2023, the jubilee V Tournament of Architectural Graphics “Line of Thought”, established by the Iakov Chernikhov International Foundation in 2018, was held within the framework of the XXVIII International Exhibition of Architecture and Design “ARCH MOSCOW”. The aim of the Tournament is to support the art of hand-made graphics. The prize, the Silver Stylus, was unexpectedly awarded to Marianna Antonova, a beginning architect from St. Petersburg. Architect Andrey Chernikhov, the author of the idea and the President of the Iakov Chernikhov International Foundation, will tell us what the Graphics Tournament is all about.