Předkládaná práce se bude snažit podat celistvý pohled na účast československého skla na světových výstavách ve třicátých letech dvacátého století. Na poli třech světových výstav (Brusel 1935, Paříž 1937, New York 1939) porovná jednotlivé přístupy ke sklářské expozici v samostatných československých pavilonech. Diplomová práce se bude snažit předložit seznam sklářských firem, které byly na jednotlivých výstavách ve sklářské expozici zastoupeny a prozkoumat sklářské zejména sklářské artefakty, kter nejvyšších ocenění a nacházejí se v českých sbírkách. Diplomová práce tak seznámí s vrcholnou československou sklářskou tvorbou druhé poloviny třicátých let, poukáže zejména na umělecké předměty, které vznikly právě pro příležitost reprezenta československého státu na světových výstavách.

Em finais da década de 1930, mais especificamente entre 1937 e 1940, o estado brasileiro se fez representar internacionalmente com a construção oficial de pavilhões nacionais em quatro grandes exposições universais: a Exposition Internationale des Arts e Techniques dans la Vie Moderne (Paris, 1937); a New York Worlds Fair (1939-1940), a Golden Gate International Exposition (São Francisco, 1939-1940) e a Exposição do Mundo Português (Lisboa, 1940). Procedentes de uma tradição de quase um século de grandes exposições universais, chama atenção as particularidades do cenário político internacional em que esses eventos tiveram lugar: a década de 1930 se caracterizou por crises econômicas em escala global, pela força dos discursos nacionalistas, pela ascensão em suas vertentes tanto mais brandas quanto mais terríveis da chamada política de massas e, já em seus últimos anos, pelo início da Segunda Guerra Mundial. Tampouco o cenário nacional brasileiro da década de 1930 seria tranquilo, marcado por instabilidades, a subida ao poder de Getúlio Vargas e finalmente o golpe que daria início à política ditatorial do Estado Novo. A presente tese aborda a idealização, concepção arquitetônica e concretização espacial dessas exposições bem como a participação brasileira nesses processos problematizando suas inserções no contexto arquitetônico e político do período em que foram realizadas. Busca-se entender as articulações e circuitos diversos de negociação, referência e disputa pelos quais as decisões no campo da arquitetura relacionaram-se com as múltiplas escalas de poder e projetos políticos na conformação desses espaços de representação. / In the late 1930, more specifically between 1937 and 1940, the Brazilian State represented itself internationally with the construction of official national pavilions on four great Worlds Fairs: the Exposition Internationale des Arts and Techniques dans la Vie Moderne (Paris, 1937); the New York World\'s Fair (1939-1940), the Golden Gate International Exposition (San Francisco , 1939-1940,) and the Exposição do Mundo Português (Lisbon, 1940). Coming from a tradition of nearly a century of World\'s Fair, there were some particularities in the international political scenario in which these events took place: the decade of 1930 was characterized by economic crises on a global scale, by the strength of nationalist speeches, by the rise in its more tender and most terrible aspects of the so-called policy of masses and, in its later years, by the beginning of World War II. Either the Brazilian national scenario of the decade of 1930 would be peaceful, marked by instability, the rise to power of Getúlio Vargas and finally the coup that would begin the dictatorial period of the Estado Novo. This thesis discusses the idealization, architectural conception and implementation of these Worlds Fairs as well as the Brazilian participation in these processes drawing attention to the architectural and political context of the period. The aim is to understand the connections and circuits of negotiation, reference and dispute in which the decisions in architectural specific field related with the multiple scales of power and political projects in the conformation of these spaces of representation.

The 1967 Universal and International Exhibition, the Montreal world's fair commonly known as Expo 67, produced both continuations of and crises in the emancipatory project of modern architecture. Like many world's fairs before it, Expo 67 was designed to mediate relations between peoples and things through its architecture. The origins of this work lay in the efforts of Daniel van Ginkel and Blanche Lemco van Ginkel, architects and town planners who, in remarkable reports, drawings, and architectural ideals advanced between 1962 and 1963, outlined the basis of a fundamentally new, though never fully realised, world's fair in the late twentieth century. Party to the Congrès Internationaux d'Architecture Moderne and its influential prewar edicts on functionalist town planning as well as to groups like Team 10 and their opposition to diagrammatic generalisations by an emphasis on the personal, the particular, and the precise, the van Ginkels also drew on contemporary theories and practices of North American urban renewal when first conceiving Expo 67 as an instrument for redeveloping downtown Montreal. The resulting work, Man and the City, which officially secured the world's fair bid but remained unbuilt, carefully drew on the legacies of most great exhibitions, especially those of the nineteenth century, in order to conceive of sufficiently heroic structures making immanent novel forms of human interaction, social control, and the technical organisation of space. In 1967, this was to suggest a new world historical project - in a space existing for only six months but crowded with 50 million visitors - promoting senses of fraternal self-awareness through the unrelenting promise of progress. The resulting well-known Expo 67 theme, Man and His World, was a paean to contemporary humanism first used by the van Ginkels and their architect allies to reject the most enduring symbols of world exhibitions: the nation-state and its emblematic architecture. They imagined new kinds of architecture that could somehow engender new senses of political consciousness (inspired by, for example, UNESCO or the celebrated Family of Man photography exhibition of 1955) outside nationalist chauvinism. This was a vision of late modernity: a transitional form of political subjectivity still clinging to the shared passions of the citizen (thus for the polis) before being subsumed by mass culture - in other words, a moment during which nationalisms could still be channelled into alternative forms of political belonging free of narrow self-interest. The belief marked every aspect of the van Ginkels early plans and had half-lives in two consequential works: the theme pavilions Man the Producer and Habitat 67, which, with outward emphasis on the aesthetics and technics of innovative structures (and mass production), were seen as fulfilling the ambitions of the megastructural movement in the 1960s. As such, theses architectures of late modernity reflected a markedly modernist conviction of long duration: on the one hand, an abiding faith in technological salvation and, on the other hand, the sense of some liberative social mass giving rise to a new citizen of the world. At the very same moment, this universalism was fraught with ambiguity: on the one hand, any abiding faith in techno-scientific salvation was shaken in the aftermath of global war and the terror of nuclear holocaust; on the other hand, assumed geopolitical ideals were being upended, however temporarily, by, say, decolonisation and resulting alternative global alignments on a postwar world's fair). Expo 67, perhaps the most consequential twentieth-century world's fair in terms of utopian hopes of modern architecture, was prey to these and related desires to reinvigorate the modern project of uniting instrumental reason, mass edification, and popular spectacle in a genuinely new public realm. It would irrevocably shape the ways in which Canada, as a host nation purposely celebrating its centennial in the ambit of a world's fair, was to confront its collective sense of cultural representation and global belonging.

Em finais da década de 1930, mais especificamente entre 1937 e 1940, o estado brasileiro se fez representar internacionalmente com a construção oficial de pavilhões nacionais em quatro grandes exposições universais: a Exposition Internationale des Arts e Techniques dans la Vie Moderne (Paris, 1937); a New York Worlds Fair (1939-1940), a Golden Gate International Exposition (São Francisco, 1939-1940) e a Exposição do Mundo Português (Lisboa, 1940). Procedentes de uma tradição de quase um século de grandes exposições universais, chama atenção as particularidades do cenário político internacional em que esses eventos tiveram lugar: a década de 1930 se caracterizou por crises econômicas em escala global, pela força dos discursos nacionalistas, pela ascensão em suas vertentes tanto mais brandas quanto mais terríveis da chamada política de massas e, já em seus últimos anos, pelo início da Segunda Guerra Mundial. Tampouco o cenário nacional brasileiro da década de 1930 seria tranquilo, marcado por instabilidades, a subida ao poder de Getúlio Vargas e finalmente o golpe que daria início à política ditatorial do Estado Novo. A presente tese aborda a idealização, concepção arquitetônica e concretização espacial dessas exposições bem como a participação brasileira nesses processos problematizando suas inserções no contexto arquitetônico e político do período em que foram realizadas. Busca-se entender as articulações e circuitos diversos de negociação, referência e disputa pelos quais as decisões no campo da arquitetura relacionaram-se com as múltiplas escalas de poder e projetos políticos na conformação desses espaços de representação. / In the late 1930, more specifically between 1937 and 1940, the Brazilian State represented itself internationally with the construction of official national pavilions on four great Worlds Fairs: the Exposition Internationale des Arts and Techniques dans la Vie Moderne (Paris, 1937); the New York World\'s Fair (1939-1940), the Golden Gate International Exposition (San Francisco , 1939-1940,) and the Exposição do Mundo Português (Lisbon, 1940). Coming from a tradition of nearly a century of World\'s Fair, there were some particularities in the international political scenario in which these events took place: the decade of 1930 was characterized by economic crises on a global scale, by the strength of nationalist speeches, by the rise in its more tender and most terrible aspects of the so-called policy of masses and, in its later years, by the beginning of World War II. Either the Brazilian national scenario of the decade of 1930 would be peaceful, marked by instability, the rise to power of Getúlio Vargas and finally the coup that would begin the dictatorial period of the Estado Novo. This thesis discusses the idealization, architectural conception and implementation of these Worlds Fairs as well as the Brazilian participation in these processes drawing attention to the architectural and political context of the period. The aim is to understand the connections and circuits of negotiation, reference and dispute in which the decisions in architectural specific field related with the multiple scales of power and political projects in the conformation of these spaces of representation.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

This study maps a way of looking at design history in New Zealand through the investigation of a taxon of industrially manufactured ceramics. Understanding design as an enfolded process of production, distribution, mediation and consumption, three threshold moments are identified as occurring within the European settlement period: the internationalisation of commodity production and consumption; the emergence of import substitution; and the deregulation of the market. While production has formed an element in the design of ceramics in New Zealand, it is contended that greater significance lies in both the trade and the mediation of these commodities and in particular in the way these have influenced local consumer choice. Emerging from this study, a series of key binaries become apparent: between the metropolitan centre and the frontier; between state and business; and between the traditional and the progressive. Likewise, the positioning of design within the institutionalised sites of power-or its absence from them-has been a prime force both in the development of manufacturing industry and in determining the nature of the consumer market.

Plus que d’autres types de grands évènements, les expositions internationales et universelles contribuent à changer le visage des villes organisatrices. Résolument comparative, cette analyse se propose de travailler sur trois expositions ayant eu lieu ces dernières décennies dans la péninsule ibérique. Les exemples de Séville, Lisbonne et Saragosse, villes de taille comparable et de contraintes similaires permettent de mieux évaluer les impacts de cette catégorie de grand évènement à la fois aux échelles métropolitaine, régionale et nationale. Au-delà de cet apport, l’objectif est également de dégager des éléments permettant d’analyser les bénéfices et les limites de ce type de grand évènement atour de quatre principaux items : l’impact urbain, l’impact économique, l’impact en termes d’image et l’impact sur les acteurs. Cette thèse vise à comprendre ce que ces expositions récentes ont apporté à ces villes, à la fois sur le court et le long terme, en analysant successivement les temps de la projection, de la réalisation et de la reconversion des sites d’exposition Ce travail démontre ainsi que les expositions, au-delà des réflexions postulant pour leur déclin progressif et inexorable, sont en fait de véritables accélérateurs du développement urbain et du processus de métropolisation. Mieux préparées et utilisées, elles pourraient donc être appelées aujourd’hui plus qu’hier encore à transformer les villes, notamment pour leur permettre de se mettre en cohérence avec les critères d’un développement métropolitain plus durable. / More than other major events, universal and international exhibitions contribute to revamp host cities. Associated to a comparative method, this analysis intends to study the three exhibitions which took place those ultimate decades in the Iberian peninsula. The examples of Sevilla, Lisbon and Saragossa, comparable towns with similar issues allow to evaluate the impacts of this kind of major events considering the metropolitan, regional and national scales. Beyond this contribution, the goal is to underline the elements that allow to analyse the benefits and the limits of that type of major events given four principal elements: urban impact, economical impact, representative impact and social impact. This thesis aims at understanding the exhibition’s contribution to those towns, on a medium and a long term, considering the time of projection, realization and reconversion of exhibitions spots.This work also demonstrates that exhibitions, beyond the assumption of a progressive and inexorable decline, are real boosters for urban development and metropolisation process. Better prepared and used, exhibitions could be involved now more than ever in cities’ transformation, particularly to respect the criteria of a more sustainable metropolitan development.

Made available in DSpace on 2016-04-04T18:21:45Z (GMT). No. of bitstreams: 1 Pedro Soria Castellano-1.pdf: 373498 bytes, checksum: 1f2e23b3234c7d7a968bf04f3587a3f7 (MD5) Previous issue date: 2008-02-12 / This academic research aims to a study of the fundamental differences between modernism and post-modernism at the same time analyse how so distincts theories of city can behave in a certain urban fabric. To develop, this research used Berlin as a stage, and two International Exhibitions of Construction: the first one in the 50 s, called Interbau, and the second, with the city divided by the Wall, the end of the 80 s, called IBA. The research, which used methodologically bibliographic material and analysis of projects, take place in the history of urbanism, as well as interventions in urban centres, for the nature of the Exhibitions that are objects of study. As a result, it is expected a contribution to the architectural and urban thinking to bring forth the objects designed for the Exhibitions, so the two events studied are seen as examples of theories of the Modern Movement and the post-modernism in architecture and urbanism. / A presente pesquisa tem como objetivo uma reflex?o sobre as diferen?as fundamentais entre o modernismo e o p?s-modernismo ao mesmo tempo em que busca analisar de que forma teorias t?o distintas de cidade comportam-se em um determinado tecido urbano. Para desenvolver-se, o trabalho utilizou a cidade de Berlim como palco, bem como duas Exposi??es Internacionais de Constru??o que ocorreram na capital alem? em per?odos distintos da hist?ria: a primeira no p?s- Segunda Guerra durante a d?cada de 1950 denominada Interbau, e a segunda, j? com a cidade dividida pelo Muro, no final da d?cada de 80, chamada IBA. A pesquisa, que utilizou metodologicamente material bibliogr?fico e an?lise de projetos, situa-se no campo da hist?ria do urbanismo, bem como no de interven??es em centros urbanos, dada a natureza das Exposi??es que t?m por objetos de estudo. Como resultado, espera-se uma contribui??o ao pensamento arquitet?nico e urban?stico ao trazer a tona os objetos projetados durante as Exposi??es, de modo que os dois eventos estudados sejam vistos como exemplos das teorias do Movimento Moderno e do p?s-modernismo em arquitetura e urbanismo.

Esta investigación aborda la participación española en las exposiciones universales celebradas en París durante el siglo XIX. Se ha tomado una perspectiva global, analizando, por tanto, el conjunto de factores que conformaron la imagen de lo español en las cinco ediciones universales organizadas en París: las instituciones efímeras y organismos permanentes que se encargaron de la organización de la asistencia española, los espacios e instalaciones que se adecuaron en París para albergar las colecciones nacionales, los productos seleccionados para representar a España (obras de arte, minerales, libros, tejidos, máquinas, productos agrícolas, etc.), así como los visitantes y comisionados que acudieron a la entonces denominada capital cultural del siglo. / This research focuses on the Spanish participation in the international exhibitions held in Paris during the nineteenth century. It has been taken a global perspective, analyzing, therefore, all the factors that shaped the image of the Spanish in the five universal exhibitions organized in Paris: the ephemeral institutions and permanent organizations that were responsible for the Spanish attendance, the area and premises that were adapted in Paris to house the national collections, the items which were selected to represent Spain (works of art, minerals, books, fabrics, machines, agricultural products, etc..) as well as the visitors and commissioners who attended to the so-called cultural capital of the century at that time.

Международные выставки являются эффективным коммуникационным инструментом между глобальными корпорациями, предприятиями и сообществами. При этом, для успешного осуществления международной коммуникации организаторам и участникам интернациональных выставок необходимо учитывать культурные особенности международной аудитории при разработке концепции выставки или участия в ней. В этой работе предпринята попытка изучить специфику организации межкультурной коммуникации на международных выставках. В работе проанализированы особенности международных выставок как коммуникационного инструмента, определена модель для анализа выставочной концепции, проведен сравнительный анализ международных выставок из России и Европы в сферах искусства, образования и спорта. На основе полученных результатов разработана концепция участия языкового центра в международной образовательной выставке «Study World 2019» в Лондоне с учетом культурных особенностей данного рынка. / The international exhibition is an effective communication tool for global corporations, enterprises and communities. However, successful act of communication is only possible on condition that participants and exhibition planners take into consideration cultural features of their international audience while developing exhibition concept. This work attempts to analyze specificity of organizing cross-cultural communication at international exhibitions. In this work, we examined specific features of international exhibitions as a communication tool. We defined a five-step-model to analyze exhibition concepts and compared international exhibitions from Russia and Europe in the spheres of sport, education and art. Basing on the collected data, we gave some advice on how to develop a concept of participation in the international education exhibition in “Study World 2019” in London.