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Books > History > World history > 1750 to 1900
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Architecture of Great Expositions 1937-1959 - Messages of Peace, Images of War (Paperback)
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Architecture of Great Expositions 1937-1959 - Messages of Peace, Images of War (Paperback)
Series: Ashgate Studies in Architecture
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This book investigates architecture as a form of diplomacy in the
context of the Second World War at six major European international
and national expositions that took place between 1937 and 1959. The
volume gives a fascinating account of architecture assuming the
role of the carrier of war-related messages, some of them
camouflaged while others quite frank. The famous standoffs between
the Stalinist Russia and the Nazi Germany in Paris 1937, or the
juxtaposition of the USSR and USA pavilions in Brussels 1958, are
examples of very explicit shows of force. The book also discusses
some less known - and more subtle - messages, revealed through an
examination of several additional pavilions in both Paris and
Brussels; of a series of expositions in Moscow; of the Universal
Exhibition in Rome that was planned to open in 1942; and of
London's South Bank Exposition of 1951: all of them related, in one
way or another, to either an anticipation of the global war or to
its horrific aftermaths. A brief discussion of three pre-World War
II American expositions that are reviewed in the Epilogue supports
this point. It indicates a significant difference in the attitude
of American exposition commissioners, who were less attuned to the
looming war than their European counterparts. The book provides a
novel assessment of modern architecture's involvement with national
representation. Whether in the service of Fascist Italy or of
Imperial Japan, of Republican Spain or of the post-war Franquista
regime, of the French Popular Front or of socialist Yugoslavia, of
the arising FRG or of capitalist USA, of Stalinist Russia or of
post-colonial Britain, exposition architecture during the period in
question was driven by a deep faith in its ability to represent
ideology. The book argues that this widespread confidence in
architecture's ability to act as a propaganda tool was one of the
reasons why Modernist architecture lent itself to the service of
such different masters.
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