The document provides information about several major exhibitions in history that showcased architecture and design. It discusses the Great Exhibition of 1851 in London, known as the Crystal Palace Exhibition. It then discusses several World's Fairs held in Paris in the 19th century, including in 1855, 1867, 1878, 1889, and 1900. Each of these featured large temporary structures to house exhibits. The document also discusses the Werkbund Exhibition of 1914 in Cologne, Germany, best known for Bruno Taut's Glass Pavilion structure. In under 3 sentences, the document summarizes key exhibitions that highlighted architecture and design over time.

1. HISTORY OF ARCHITECTURE
EXHIBITIONS OF HISTORY
Submitted To: Submitted By:
Ar . Abhishek Shrivastav Aaditya Sharma
Kshitija Kapoor
Lakshay Jangir
Nikita bhuraria
Duvish Devnani
Paridhi Pal
Anubhav singh

2.  The Great Exhibition of the
Works of Industry of All
Nations or The Great
Exhibition, sometimes
referred to as the Crystal
Palace Exhibition in reference
to the temporary structure in
which it was held, was an
international exhibition that
took place in Hyde Park,
London, from 1 May to 15
October 1851.

Great Exhibition
It was the first in a series of World's Fairs, exhibitions of
culture and industry that became popular in the 19th
century, and it was a much anticipated event.

3.  Although the Great Exhibition was a platform on which countries
from around the world could display their achievements, cultures
and history.
 Six million people at the time visited the Great Exhibition
 No of countries – 25
 The Great Exhibition was organized by Henry Cole and Prince
Albert, husband of the reigning monarch, Queen Victoria

4.  A special building, nicknamed
The Crystal Palace, or "The
Great Shalimar", was built to
house the show.
 It was designed by Joseph
Paxton with support from
structural engineer Charles
Fox, and went from its
organization to the grand
opening in just nine months.
The Crystal Palace
• The building was architecturally adventurous, It took the form of a
massive glass house, about 564 meters long by about 138 meters
wide and was constructed from cast iron-frame components and
glass.

5.  From the interior, the building's large size was emphasized with
trees and statues; this, not only to add beauty to the spectacle, but
also to demonstrate man's triumph over nature.
 The Crystal Palace was an enormous success, considered an
architectural marvel, but also an engineering triumph that showed
the importance of the Exhibition itself.
 The building was later moved and re-erected in 1854 in enlarged
form in south London, an area that was renamed Crystal Palace. It
was destroyed by fire on 30 November 1936.
 Joseph Paxton's plan for the garden, fountains, terraces, small
waterfalls and other skills was very good
 It later became the Victoria and Albert Museum.

7. Queen Victoria opens the Great Exhibition
in The Crystal Palace in Hyde Park,
London, in 1851.
Exhibition interior

8.  There were five World Fairs in Paris during the
nineteenth century: in 1855, 1867, 1878, 1889 and 1900.
 When the French decided to emulate the British and to
organize a World Fair in Paris, it was decided that unlike
what had been done in London, the Fine Arts and
Industry products would be exhibited in two different
buildings.
PARIS EXHIBITIONS

9.  EXHIBITION OF 1855
 The Exposition Universelle of 1855 was an International
Exhibition held on the Champs-Élysées in Paris from 15 May to
15 November 1855.
 There were works from artists from 29 countries
 The main building of the Fair was the Palais de l’Industrie, on the
Champs Elysées
Plan and section - palais de
I”industrie
Palais de l'industrie

10.  The construction of the Palais de l’Industrie had been planned a few
years before the Fair.
 Its size was massive: it was 850 feet long and 350 feet wide.
 Built in stone, its structure was supported by iron beams. The size
and the bulkiness of the building were often criticized at the time.
 It housed most of the 1855 World Fair’s industry exhibit, but proved
too small for the entirety of the industrial products,
 so it was decided that two other temporary structures would be built
for the occasion: the Galerie des Machines and the Palais des Beaux-
Arts.
 it was destroyed at the beginning of the twentieth century, when the
Grand Palais was built for the 1900 World Fair.
Palais de I’Industrie

11. EXHIBITION OF 1867
 The 1867 exhibit was the first of many to take place in the
Champ-de-Mars
 Built by engineer Frederic LePlay with the help of the young
Gustave Eiffel as a chief designer,
 Main building was Palais du Champ-de-Mars
 The oval structure of the Palais allowed having thematically
organized sections in the concentric circles and national
exhibits in the galleries radiating from the centre.
• It was also the first World Fair to have
pavilions, restaurants, and
amusement parks around the main
building.
• The 1867 Fair was more successful in
that regard : in 1855, there had been a
little more than 5 000 000 people
visiting the Fair, while they 15 000 000
in 1867.

12. Plan of Palais du Champ-de-Mars

13. Palais du Champ-de-Mars

14. . Internat!onal Exhibition, Paris, 1867. Galerie des Machines. The entire
span of thirty-five meters was achieved without visible tie bars.

15. EXHIBITION WAS DIVIDED INTO THREE
PARTS
• EXHIBITION OF INDUSTRIAL MACHINERY WAS HELD IN THE OUTER
MOST GALLERY
• CLOTHING, FURNITURE AND RAW MATERIAL IN THE NEXT THRE
GALLERIES MOVING TOWARDS THE CENTER
• HISTOIRE DU TRAVAIL AND THE FINE ARTS WERE EXHIBITION IN
THE TWO INNER MOST GALLERIES

16. EXHIBITION OF 1878
 The 1878 World Fair took place under a very
different political and financial climate than its
predecessors.
 The Franco Prussian war, the Paris commune, and
the downfall of the Empire left France politically
and financially vulnerable.
 two large scale buildings were erected for its
purpose: the temporary Palais du Champ-de-
Mars and the Palais du Trocadéro, which was to
serve as a permanent concert and conference hall
once the fair was over.

17.  THE EXHBITION OF 1878 WAS INTENDD TO SHOW THE
WORD THAT FRANCE RECOVERED FROM ITS IN 1870 THE
SUCCESS OF THE SUCCESSOF THE EXHIBITION OF 1867
HAD BEEN SO GREAT THAT IN PLANNING ITS SUCCSS A
LARGE AREA WAS FIXED UPON
 THE EXBHITION WAS DIVIDED INTO SECTION ONE
DEVOTED TO A MONUMENTAL BUILDING IN STONE THE
OTHER TO TEMPORARY EXHBITION STRUCTURES ON THE
FAR SIDE OF THE STONE PALACE

18.  The Palais du Champ-de-Mars (designed by architect Hardy) was
different from the one that had been built for the 1867 Fair: its
shape was rectangular, and it was much bigger than the 1867
construction.
 the building was very innovative: its basement allowed for a system
of ventilation and air conditioning, and the Palais also had a hidden
railway system which was covered during the fair, but which made
the erection and subsequent dismantlement of the building much
easier and faster.
Palais du Champ-de-Mars,

19.  The second building erected for the
1878 fair was the TROCADÉRO
PALACE.
 Unlike the Palais du Champ-de-Mars,
the Trocadéro was not conceived to
be a temporal building: the state
commissioned it as a permanent
concert and conference hall.
 The building combined several
architectural styles: the circular
structure of its base was inspired by
that of the coliseum in Rome,
• the two minaret towers were built in a Moorish style,in a
neo-baroque style.
• The site was embellished by the grandiose waterfalls and
sculptures that were installed in front of the building

20. EXHIBITION OF 1889
 The 1889 World Fair was the second one to take place under a
republican regime in France.
 It was symbolically important, since the year 1889 marked the
hundredth anniversary of the French Revolution, and the Fair
was announced as a celebration of the event
 The scale of the 1889 World Fair was to be much bigger than the
previous ones. And it remained particularly famous in the history
of the capital for its main architectural realization: the Eiffel
Tower.

21.  The Fair had this time two sites: on the one hand, the Trocadéro and
the Champ-de-Mars were housing the Fine Arts and industrial
exhibits, as in 1878.
 On the other hand, east of the main site, was housing a colonial
exhibit, as well as several state-sponsored pavilions.
 Many buildings sprang up on the Champ de Mars, starting with the
Eiffel Tower designed by Gustave Eiffel in 1886. Yet, the Tower was
far from being unanimously praised.
 It was even very harshly criticized: the artists and writers of Paris
protested against its erection in an official letter sent to the director of
the Fair, calling it “unnecessary and monstrous.”

22.  The main halls of the fair were next to the Eiffel Tower on the
Champ-de-Mars.
 The Palais des Beaux-arts and Palais des Arts Libéraux were both
designed by the architect Joseph Bouvard. They stood right next
to the Eiffel Tower. The two other main buildings were the Palais
des expositions diverses (designed by Formigé) and the biggest
building of all of them, the Galerie des machines (designed by
Dutert).
Le Palais des Arts Libéraux,
The Palais des arts libéraux contained
exhibits on medicine, geography,
teaching and pedagogy, music
instruments, and photography, among
many other things. The Palais des
Beaux-arts housed many Naturalist
paintings

23. • The Palais des Machines was the last
building on the Champ-de-Mars
• The building was technologically
innovative: its size was very impressive,
all the more since it had been built with
as few roof supports as possible.
• The Palais was made of steel and glass
panels, and was about 375 feet long.
• One could visit the industry exhibit on
the ground floor, but one could also see
it from above by taking the moving
platforms that were going back and
forth from one end of the hall to
another.
• These platforms also helped to build
and dismantle the structure of the
building before and after the Fair.
Galerie des machines 1889.

24. • THE IRON SKELETION OF GALLERIE DES MACHINES HAVING SPAN OF
35MTS AND HEIGHT OF 25 MTS CINSISTED OF PILLARS 28 MTS HIGH
THE ARCHES OF THE VAULT GIRDERS REACHED 25 MTS INTO THE AIR
• THE PILLARS DID NOT STOP AT THE LEVEL OF VAULTING BUT WHEN
STRAIGHT INTO THE AIR THIS WAS DONE TO AVOID THE TIE BARS AND
TO SUPPORTS THE LATERAL STRESS BY BUILT OUT FRIM THE PILLARS
TO THE BASKET ARCHES
• THESE PILLAR WERE USED AS ELAG POLES AS THE COULD NOT BE
HIDDEN
• HYDRAULIC LIFTS WITH ALL THE CLUMSINESS OF NEWBORN
MONSTERS AFFORDED COMMUNICATION BETWEEN THE GROUND
FLOOR AND THE FLOOR ARROUND WHICH THERE RAN A PLATFROM
GIVING A STRIKING VIEW THIS CITY OF GALLERIES IN CORRUGATED
IRON AND GLASS
CONSTRUCTION OF GALLERIE DES MACHINES

25.  The first Werkbund Exhibition of 1914
was held at Rheinpark in Cologne,
Germany.
 Bruno Taut's best-known building, the
prismatic dome of the Glass Pavilion, was
brightly colored landmark.
 Walter Gropius and Adolf Meyer designed
a model factory for the exhibition.
 Planning began in earnest in 1912, and
construction work started in early 1914.
 The exhibition was opened to the public
on May 15th, 1914
Werkbund Exhibition (1914)

26.  The Glass Pavilion was a pineapple-shaped multi-faceted polygonal
designed rhombic structure. It had a fourteen-sided base constructed
of thick glass bricks used for the exterior walls devoid of rectangles.
Each part of the cupola was designed to recall the complex geometry of
nature. The Pavilion structure was on a concrete plinth, the entrance
reached by two flights of steps (one on either side of the building),
which gave the pavilion a temple-like quality. Taut's Glass Pavilion was
the first building of importance made of glass bricks.
The exhibition happened mainly on the
initiative of the later German chancellor
Konrad Adenauer. The city spent the
luxurious sum of 5 million Goldmarks on the
event.

27. • Taut's best-known single building is the prismatic dome
of the Glass Pavilion at the Cologne Werkbund Exhibition
(1914).
• The use of glass and transparency was a romantic hymn
at the time, an expressive and poetic inspiration that had
no influence whatsoever on the real issues at stake.

28. WALTER GROPIUS Fagus work, 1911-13.
• In the Faguswork, Gropius and Meyer
adapted the syntax of Behrens's Turbine
Factory to a more open architectural
aesthetic.
• The corners still serve to contain the
composition, as in all of Behrens's large
AEG structures, but where Behrens's
corners are invariably of masonry here
they are of glass.
• The vertical panels of glazing, set
forward from the battered brick facing,
give the illusion of being miraculously
suspended from the up stand at roof level.

29. Bauhaus

30. THANK YOU !