Throughout time, International Expositions, the precursors of what we now know as amusement parks, introduced the world to some of history’s most relevant scientific and technological innovations. These discoveries, often fused with architecture and design, facilitated the transition towards modern societies and encouraged competition between nations to create a positive impact for generations to come. Paris, for instance, hosted a series of Expos, which tied the idea of technological progress to economic liberalism and democracy, while further industrializing the city. On the other hand, the World’s Columbian Exposition, hosted in Chicago, showcased new technologies in the form of an idealized version of the city. These fairs embodied progress in their time, and their influence is appreciated today in international events, design biennials, and educational expositions.
The history of Paris’ World Fairs is generally and unfairly summarized with the creation of the Eiffel Tower. While the massive structure became an icon of both capitalism and the city, the Paris Expos (celebrated in 1855, 1867, 1878, 1889 and 1900) literally transformed the city to welcome tourists and progress alike. In 1855, the Exposition Universelle showcased the Palais de l’Industrie, designed by Jean-Marie-Victor Viel
and crafted with iron and glass, rivaling Paxton’s Crystal Palace, which was presented in London’s Great Exhibition (1851); while the following fairs introduced the city to impressive designs such as the Palais des Machines and the Trocadéro conference and concert hall. In order to facilitate circulation throughout the events, the city needed rebuilding. Eugene Henard, a key figure in modern urbanism, proposed the use of boulevards, integrated infrastructure, and public transportation systems to adapt the city and welcome visitors. Knowledge in different fields as a means to progress was encouraged both in competitions and museums, which became centers for social research in terms of urban planning and evolutionary sciences. Aesthetically, and in harmony with existing buildings, the early urban showcases were built following reactionary styles, such as Neo-classical, while the last fair in 1900 paved the way for the Art Nouveau movement, particularly appreciated in Hector Guimard’s iconic Métro entrances.
The echoes of improving society through technology reached the other side of the world and were evident in Chicago’s 1893 Columbian Exposition. Visited by over 25 million visitors, this event was among the first to be widely promoted through national media sources, such as journals and newspapers; one of its main differences regarding past Expos. Much more than a center for intellectual and technological exchange, the Columbian Expo was, above all, a performative experiment. Its greatest achievement was the construction of an idealized version of Chicago, an architectural stage meant to inspire fairgoers to imagine the innovative possibilities of a new American society. Built under the supervision of American architect Daniel Burnham, and aptly named the “White City”, the Neo-classical recreation featured a series of monumental structures, such as the world’s first Ferris Wheel, the Court of Honor, the Transportation Building and the Administration Building, which surrounded a wide artificial lake. At night, and using the latest technologies available, the scenery was illuminated by more than 90,000 lights, accompanied by electric fountains to provide a dream-like ambiance to fairgoers. Along with its monumentality and wonder, the Columbian Exposition proved the impact of ephemeral building and the imaginary of modernity as a whole.
Both Paris and Chicago’s World Fairs have played an essential part in today’s technology and design, having inspired subsequent Expos resulting in some of the world’s most influential buildings, such as Mies Van der Rohe’s Barcelona Pavillion and John Graham Jr.’s Space Needle. Past or present, these Expos share a common goal: to improve society in changing times. Today’s digital era faces an entirely different set of challenges than those faced in the industrial era, but only by following the human need to learn and progress, as well as imagining, and recreating brighter futures, will we reach a better world.
References:
De Tholozany, P., Ph.D. (2020). The Expositions Universelles in Nineteenth Century Paris. Kirkuk University Journal-Scientific Studies, 15(2), 1-16. doi:10.32894/kujss.2019.15.2.1
Levin, M. (2013, January 08). Inventing a Modern Paris. The Dynamic Relationship between Expositions, Urban Development and Museums. Retrieved September 19, 2020, from https://upcommons.upc.edu/handle/2099/12870
Rawn, E. (2015, April 30). The Architectural Lab: A History Of World Expos. Retrieved September 19, 2020, from https://www.archdaily.com/625936/the-architectural-lab-a-history-of-world-expos
Silla, C. (n.d.). View of Chicago World's Fair of 1893: Marketing the modern imaginary of the city and urban everyday life through representation: First Monday. Retrieved September 19, 2020, from https://firstmonday.org/ojs/index.php/fm/article/view/4955/3787
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