Matches in UGent Biblio for { ?s ?p At Expo 58, the first post-war world’s fair, discussions on national representation were central in the production of architecture and exhibition design. These discussions involve several parties: the organizers of the event, the commissioners of pavilions, architects, engineers, interior decorators, artists, script writers, etcetera. “The pavilion” is composed of the edifice, its exhibition and exhibits and the texts and images used to explain the representation. With this pavilion, or the entire fair in the case of the organizers, commissioners aim at the public at large: fairgoers, but also the public in the homeland. This text explores the functioning of power and control in the explicit representation of the nation in several projects at Expo 58 and discusses the nature of these representations, the processes of design and promotion, the authors involved and the issues at stake. To acquire insight in the discussions, this text claims, it is necessary to confront the diverging viewpoints of the authors and to include the reactions of the public and the press. In this post-war fair, most governments identified with modern architecture, but did feel the need to specify their nationality through architecture and exhibition design. At Expo 58, the various attempts placed national representation in modern architecture on the agenda of the public at large and the architectural discipline, evoking strong discussions. National representation in architecture and design became a collaborative creation of which the results were continuously discussed as outcomes of a “democratic” process. Still under the strong control of governmental institutions, in several remarkable cases, these commissioners were ostentatiously permissive of critical stances, which, in a later stage, were included in the national images.. }
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- aggregation abstract "At Expo 58, the first post-war world’s fair, discussions on national representation were central in the production of architecture and exhibition design. These discussions involve several parties: the organizers of the event, the commissioners of pavilions, architects, engineers, interior decorators, artists, script writers, etcetera. “The pavilion” is composed of the edifice, its exhibition and exhibits and the texts and images used to explain the representation. With this pavilion, or the entire fair in the case of the organizers, commissioners aim at the public at large: fairgoers, but also the public in the homeland. This text explores the functioning of power and control in the explicit representation of the nation in several projects at Expo 58 and discusses the nature of these representations, the processes of design and promotion, the authors involved and the issues at stake. To acquire insight in the discussions, this text claims, it is necessary to confront the diverging viewpoints of the authors and to include the reactions of the public and the press. In this post-war fair, most governments identified with modern architecture, but did feel the need to specify their nationality through architecture and exhibition design. At Expo 58, the various attempts placed national representation in modern architecture on the agenda of the public at large and the architectural discipline, evoking strong discussions. National representation in architecture and design became a collaborative creation of which the results were continuously discussed as outcomes of a “democratic” process. Still under the strong control of governmental institutions, in several remarkable cases, these commissioners were ostentatiously permissive of critical stances, which, in a later stage, were included in the national images.".