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À chaque exposition, les pavillons devaient etre plus grands et plus spectaculaires.

\n

Palais omnibus (on l'appelait aussi \"le cirque\" ou \"le colisée du travail humain\". Pas concu par un architecte, mais par un ingénieur (F. LePlay) mais il ne se chargera pas de la construction qui sera confiée à Jean-Baptiste Krantz et Gustave Eiffel

\n

La forme - pour une visite systématique. Les visiteurs pouvaient organiser leur visite soit par nation, soit par catégorie de produit.

\n

7 galeries concentriques et un petit jardin au centre.

\n

Construction très simple, avait l'air d'une construction industrielle, tout en fer et en verre.

\n

Le \"Palais\" fut très critiqué --> on peut lire dans un guide de Paris publié en 1867 cette description du bâtiment « Palais ! Est-ce bien
le nom qu’il faut donner à cette vaste construction qui enferme dans son enceinte les plus nombreuses créations
de l’art et de l’industrie qui aient jamais été rassemblées dans un même lieu ? Non, si ce mot de palais
implique nécessairement l’idée de la beauté, de l’élégance ou de la majesté. Elle n’est ni belle, ni élégante, ni
même grandiose cette masse faite de fer et briques dont le regard ne saurait embrasser l’ensemble ; elle est
lourde, elle est basse, elle est vulgaire. » Kaempfen, « Promenade à l’exposition universelle », dans Paris guide,
par les principaux écrivains et artistes de la France, (deuxième partie, La Vie), Paris, Librairie internationale,
1867, p. 2007.

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Les représentations architecturales dans l'illustration / par Ségolène Le Men

\n

Study of L'illustration in the year 1855 + study of the \"tête de page\"

\n

L'illustration founded in1843 by Adolphe Joanne, Édouard Chartron, Jean-Jacques-Julien Dubochet and Jean-Baptiste Alexandre and the title was directly inspired by the Illustrated London News. (for more insight, see David Kunzle, \"L'illustration, journal universel, 1843-53, le premier magazine illustré en France, affirmation du pouvoir de la bourgeoisie\", Nouvelles de l'Estampe, n.43, 1979, p.8-19 and Exhibition Journal universel l'Illustration un siècle de vie francaise, Paris, Musée Carnavalet, 1987. and Jean-Noël Marchandiau, L'illustration (1843/1944) vie et mort d'un journal, Toulouse, Bibliothèque historique Privat, 1987.

\n

Magasin pittoresque was founded in 1833

\n

The word illustration use to signify an image in a text.

\n

Because it lasted for a long period (1843/1944) the iconography of the magazine go from images produced out of wood engravings to photomecanic process (from 1860O and photogravure (from 1880). --> L'illustration was widely distributed so its images were very important.

\n

Different sized of images (flexibility in terms of page layout) and different types of views (panorama, birds eye view, interior views and exterior views....)

\n

If architecture is sometimes the background of important events, sometimes it is also the main topic of the composition - it may be the case when a new building is being built but also for the ephemeral transformation of a building for official celebrations.

\n

\"Les gravures de presse nous renseignent ainsi sur la vie des monuments, sur leur utilisation, sur leur transformation éphémère à l'occasion d'une cérémonie, d'une fête, d'une inauguration, voir sur leur destruction lors d'un incendie.\" (p.41)

\n

\"L'illustration montre en 1848 tout le déroulement des fêtes publiques, offrant un témoignage unique sur des statues éphémères érigées à cette occasion, puis représente, pour les funérailles des victimes de Février, l'église de la Madeleine, la façade drapée d'un immence linceul, et reproduit l'aspect de l'assemblée, y compris celui de la \"salle de carton\" qui héberga de facon temporarire, les députés de l'assemblées.\" (p.44)

\n

1871 - Reportage on the fall of the Vendome column....The engraving was then reproduce in all history books.

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The urban space is omnipresent in L'illustration --> monuments are not represented as isolated objects.

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\"C'est une ville habitée, vivante, que présentent les gravures, alors que les vues photographiques, jusqu'à une date tardive, demeurent étrangement vides et désertes, ce qui leur confère un aspect quasi fantastique. Le présent de la ville s'exprime aussi par les noms de boutiques, l'aspect des rues (à commencer par la rue de Richelieu où les bureaux de l'Illustration, bien sûr, sont findelement reproduits), les inscritpiotns, les palissades, les travaux, l'emplacement des échaffaudagr, tout ce qui change et qui est éphémère. L'histoire de l'haussmannisation, celle du \"nouveau Paris\", trouve ici la chronique de ses chantiers et de ses démolitions, par une sort de reportage indirect...\" (p.47-48)

\n

The engravings are extremely detailed - ambition of being as realistic as possible - the author mentions that a comparative study of the engravings across time (or across countries) would be very interesting.

\n

There is a particular language proper to romantic engraving - homogeneity of images in L'illustration 

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L'illustration wants to inform the public of what is going on in the world.

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Pacte naturaliste (to show and tell real things) + Pacte actualiste (show what is happening).

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Baudelaire, invention de la \"vie moderne\"

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Vignette en une de l'illustration. Operates on 3 levels: esthetic, realistic and symbolic.

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\"Une telle encyclopédie urbaine au quotidien montre l'architecture au fil du temps, qui apparait, se transforme, est détruite, telle quelle est vécue par ses habitants et percue par ses contemporains: cette phénoménologie de l'espace urbain peut intéresser l'historien des usages de l'architecture, comme l'historien du regard sur la ville et ses monuments, même si tout historien de l'architecture peut y trouver matière, quel que soit le type d'architecture qu'il étudie. Les vignettes s'avèrent particulièrement significatives dans le cas des espaces publics et des architectures éphémères.\" (p.65)

\n

 

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Remarques préliminaires à une étude du travail sur l'image dans la presse architecturale du XIXe siècle

\n

\"Pour trafiquer la réalité il ne suffit que de trafiquer son image.\" (p.67)

\n

Around 1860, the illustrated starts to realize its power - and that is what makes it a media.

\n

The author insists on the quantity of architectural 'images' that circulate (through the magazines) between 1800 and 1914. --> \"Ainsi, entre 1800 et 1914, un raz de marée graphique déverse ur l'Europe des dizaines de milliers d'images d'architecture diffusées par des centaines de revues spécialisées dans cet art et dans les travaux d'ingénieurs.\" (p.68)

\n

He explains that the number, size and publication rhythm of images depends on the specificity of each magazine. --> \"Enfin, une analyse de plus en plus précise de la spécificité des revues d'architecture va contribuer à redéfinir les rôles respectifs des des discours écrits et figurés.\" (p.72)

\n

Until 1830, very little images in magazines. Images are for books, magazines are for debate and exchanges.

\n

The magazine, unlike books is a mean of communication adapted to modern life. \"Le périodique, en revanche, s'adapte à l'actualité, crée l'actualité, se renouvelle grâce à elle.\" (p.73)

\n

Working with images means to choose the engraving technique, the type of drawing, and the view point.

\n

Type of images

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Gravure sur bois - good plans, pittoresque views but not for details

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Gravure sur cuivre et lithographie

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Gravure au burin sur acier

\n

Chromolitographie - introduction of color in architectural press

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Livre premier - Précis des opérations

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Chapitre premier - Organisation

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\"Le plan qui formait le principal élément de ce projet avait pour point de départ une classification méthodique, et pour base un double groupement de produits par nature d'objets et de personalité.\" (p.5)

\n

Palais est placé au milieu du champs de mars

\n

\"Le caractère provisoire du Palais et des raisons importantes d'économie ont fait bannir de la construction toute recherche de décoration architecturale.\"

\n

Démolition du palais

\n

\"Une fois les produits enlevés, la Commision impériale dut s'occuper de faire disparaitre les traces de l'exposition et de rendre le Champs de mars et la Berge à leur destination primitive.\" (216)

\n

\"Il répugnait tellement à l'opinion publique de voir anéantir le fruit de tant d'efforts et de tant de dépenses, que plusieurs idées furent mises en avant pour démonter le Palais et le reconstruire ailleurs. Mais aucune ne put aboutir à une solution pratique.

\n

La commission décide finalement de céder les matériaux de contruction à un entrepreneur, qui lui paierait une soulte convenue par avance et se chargerait de tous les frais de démolition.

\n

The demolition was very fast

\n

\"Les chantiers de démolition sont, on le sait, de véritables champs de bataille.\" 3 dead, 76 injured (19 with important injuries and 57 with light injuries).

\n

Remise en état du Champs de Mars

\n

On dit qu'il sera impossible dégaler le succes de l'exposition de 1867 - donc faut0il tendre vers des musées permanent?

\n

 

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Closure, result, dismantling, and legacy

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\"The exhibition closed its doors definitely on 4 November, and the process of dismantling and returning goods could begin.\" (318)

\n

\"Long before conclusion, a debate broke loose in the press concerning whether or not the palace should be preserved.\"

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La presse illustrée connait un énorme développment au XIXe siècle (tant presse générale que spécialisée)

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Les historiens de l'archi du XIXe s'en serve peu - peut être à cause du peu de rentabilité du dépouillement.

\n

Cet article fait une 'consultation suivie' d'une année - 1855

\n

L'illustration lancé le 4 mars 1843 par un groupement d'éditeurs inspiré par la création, l'année précédente de l'Illustrated London News. Jusqu'en 1944.

\n

L'illustration se définit par l'omniprésence de l'image (contribue même à faire accepter le sens moderne du mot illustration pour désigner une image dans un texte.) (p.40)

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Dessins gravés sur bois de bout --> Procédé photomécanique (à partir de 1860) puis photographie à partir de 1880.

\n

Premier magazine illustré en France (ref see \"L'illustration journal universel , 1843-53, le premier magazine illustré en France, affirmation du pouvoir de la bourgeoisie\", Nouvelle Estampe, n.43, 1979. p.8-19; Journal Universel. L'illustration, un siècle de revue fFancaise, Paris, Musée Carnavalet, 1987.

\n

Différents formats d'images, flexibilité - Les images sont partout

\n

\"Les gravures de presse nous renseignent ainsi sur la vie des monuments, sur leur utilisation, sur leur transformation éphémère à l'ocasion d'une cérémonie, d'une fête, d'une inauguration, voir sur leur destruction lors d'un incendie:

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Summary of the book:

\n

5 chapters:

\n

1. Vaporizing Architecture

\n

2. Beyond the Visual versus the Non-Visual: The Sonic and Other Senses

\n

3. Beyond the Formal versus the Material: The Performative

\n

4. Beyond the physical versus the Digital: THe Hybrid

\n

5. Further Questions.

\n

- From preface:

\n

The main argument of the book is that the (re)emergence of the notion of the ephemeral in contemporary culture and architecture is related to the evolution of digital media such as portable devices mobile phones, computers, internet and virtual devices. The new media enables (1) new ways of thinking about space and everyday situations, and how we inhabit and represent space, and (2) they inform (or SHOULD inform) design processes.

\n

1: Vaporizing Architecture:

\n

The book is a research on the intangible aspects of space and how architects comprehend, involve and represent them in design process. Intangible aspects such as: atmosphere, non-visual sensations (sound, smell, texture, temperature), the way space is inhabited, are all central part in places performances - their nature, character, meaning. Digital media is one of these intangible aspects, creating invisible fields, territories, boundaries. How are these themes related to contemporary trends and shifts in society, culture and science?

\n

Ref. Marshal McLuhan on p. 2: the new electronic media has caused a \"shift in sensorium\" and has readdressed the significance and role of other kinds of experiencing and sensing. (Marshal McLuhan and Bruce R. Powers, The Global Village: Transformations in the World Life and Media in the 21st Century (New York; Oxford: Oxford university Press, 1989)).

\n

 

\n

 

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About the author:

\n

Senior lecturer at the University of Liverpool. Kronenburg has written a book on portable architecture, his interest in ephemeral architecture seems to be related to that. He organized a conference called \"Portable architecture\" in 1995.

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Reflection:

\n

Possible relevance: the idea that the digital media influence the idea and perception of space, and the design processes, and that this relate to general shifts in society might be related to similar investigations of the influence of architecture and print media - (Carpo and Forty (?)

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About the author:

\n

practicing architect, senior Lecturer in Architecture at the University of Portsmouth. Research projects \"on urban and virtual environments through sound and film.\"

", "tags": [], "relations": {}, "dateAdded": "2015-01-28T14:50:33Z", "dateModified": "2015-01-28T14:50:38Z" } }, { "key": "5T2P8HQ7", "version": 64, "library": { "type": "group", "id": 323676, "name": "Ephemeral Nordik", "links": { "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/323676/items/5T2P8HQ7", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik/items/5T2P8HQ7", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/323676/items/Q29SWTEP", "type": "application/json" } }, "meta": { "createdByUser": { "id": 1663385, "username": "mathdahl", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/mathdahl", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "5T2P8HQ7", "version": 64, "parentItem": "Q29SWTEP", "itemType": "note", "note": "

A very brief outline the possible classifications of Ephemeral architecture, in the sense of impermanent structures or spaces. Lists some references. 

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Hovedoppgave - Universitetet i Oslo, 1998

", "tags": [], "relations": {}, "dateAdded": "2015-01-28T12:04:24Z", "dateModified": "2015-01-28T12:04:24Z" } }, { "key": "VIXNAQHM", "version": 9, "library": { "type": "group", "id": 323676, "name": "Ephemeral Nordik", "links": { "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/323676/items/VIXNAQHM", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik/items/VIXNAQHM", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1663385, "username": "mathdahl", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/mathdahl", "type": "text/html" } } }, "creatorSummary": "Fjeldstad", "parsedDate": "1998", "numChildren": 1 }, "data": { "key": "VIXNAQHM", "version": 9, "itemType": "book", "title": "\"Nu skal slaget atter stande: som paa Hafursfjordens vande...\": en kulturhistorisk undersøkelse av tre norske industriutstillinger, 1873-1898", "creators": [ { "creatorType": "author", "firstName": "Karen Marie", "lastName": "Fjeldstad" } ], "abstractNote": "", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "1998", "publisher": "Universitetet i Oslo", "place": "Oslo", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "196 s. : ill.", "ISBN": "", "DOI": "", "citationKey": "", "url": "http://ask.bibsys.no/ask/action/show?pid=981532713&kid=biblio", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "", "language": "", "libraryCatalog": "", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "1800-tallet" }, { "tag": "Historie" }, { "tag": "Hovedoppgaver" }, { "tag": "Industri" }, { "tag": "Norge" }, { "tag": "Utstillinger" } ], "collections": [], "relations": {}, "dateAdded": "2015-01-28T12:04:24Z", "dateModified": "2015-01-28T12:04:24Z" } }, { "key": "DSCIJN9R", "version": 8, "library": { "type": "group", "id": 323676, "name": "Ephemeral Nordik", "links": { "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/323676/items/DSCIJN9R", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/ephemeral_nordik/items/DSCIJN9R", "type": "text/html" }, "up": { "href": "https://api.zotero.org/groups/323676/items/HC4N22ND", "type": "application/json" } }, "meta": { "createdByUser": { "id": 1663385, "username": "mathdahl", "name": "", "links": { "alternate": { "href": "https://www.zotero.org/mathdahl", "type": "text/html" } } }, "numChildren": 0 }, "data": { "key": "DSCIJN9R", "version": 8, "parentItem": "HC4N22ND", "itemType": "note", "note": "

Utstillingskomplekset

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Makt/Power

\n

 Focaoult

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Borgerlig offentlighet/Public Sphere

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