The Great Exhibition of 1851 - Essay Example

?Introduction Works of architecture lead to specific changes and expressions for every time frame. The philosophies of architects as well as the creation and exhibition are done through different approaches. However, there are also specific approaches which change from different pieces of architecture. Each of these is connected to past concepts that lead into current themes and ideologies. The philosophies, structure and the approaches to the design remain similar with some of the works of architecture as well as the ways in which they have developed throughout time. When looking at defined ideas within the architecture, there is the ability to identify with a variety of approaches which are a part of the exhibitions. When comparing the Great Exhibition of 1851 to the Millennium Dome 2000 and the Shanghai World Expo 2010, direct relationships are seen with the approach. This is based on the purpose, reason and benefits of each exhibition. This is also a part of the architecture and design that is developed, specifically which states a specific message relating to the architectural designs and approaches. This paper will examine the differences and similarities of each as well as how they have held similar approaches in the development of the architectural principles. The Great Exhibition of 1851 The Great Exhibition of 1851, also referred to as the Crystal Palace Exhibition, took place in London in May of 1851. The idea was based on creating a temporary structure that combined the cultural and industrial changes of the time. The main features of the exhibition were based on having a highlight to modern approaches to industry and design, specifically as a response to the French Industrial Exposition of 1844. The motive was to make a statement that Britain was a leader in the concepts of industry and culture and had superior achievements to others that were a part of the changes into modernism during this specific time frame. The exhibition was formed over a period of 10 days by Joseph Paxton, specifically which was designed as a glass house or green house that stood 1851 feet long and 454 feet wide. The cost to build the exhibit was 500,000 but made a surplus of 16,190,000 pounds as of 2012. The price of admission ranged, dependent on the status of the individual, ranging from three guineas to five shillings. The opening day held 2,500 people as a part of the exhibition with 1/3 of the population, or six million people, going to the final exhibition (Victorian Station, 2001:1). The basis of the Crystal Palace provided a variety of benefits to London and to the holding of the exhibition. The Great Exhibition is now recognized as one of the best world exhibits that was made, specifically which allowed the UK to become recognized as a world leader. The benefits furthered with noting the industrial and technological movements which were in society. The innovations which were added had displays of how different pieces of machinery and other operations were conducted. Those who were visiting the exhibition were able to take part in a deeper understanding of the movement forward with technology and how this was creating an alteration into society at the time. This was furthered with the openness to the cultural relations, art and architecture that was displayed and the music, cultural performances and political recognition which were associated with the exhibition. Each of these were able to influence and create interest within society based on the variety of shows which were held and how this was leading the innovation as well as the various concepts within the historical moments. The interest which this gathered and the approaches which were taken to gain this recognition then allowed the doors of the UK to open into cultural relations, recognition with the technology and responses which were noted from the surrounding society (Victoria Station, 2001:1). An important component with the Great Exhibition was based on the design and architecture which was used in developing the correct approach to the exhibit. This began with the glass structure that was developed, specifically which gave the exhibition area the name of the Crystal Palace. The external structure continued with these features by developing a symmetrical frame with terraces of glass which led to each area of the area as well as pillars and ornamentation on the exterior, such as seen in Figure 1. Figure 1: Exterior of Crystal Palace (Victorian Station, 2011: 1). At this time, the concept of the Crystal architecture was new and innovative, making the building even more popular and a reflection of the different exhibits which were held with technology and culture. The concept consisted of over 18 acres of glass which were used for development. The approach was furthered with the initiative to make each of the areas as a specific room which could be used for discovery of the various exhibitions as well as libraries and meeting rooms. The central area and archway was designed with the idea of opening, specifically which created a main entranceway to the exhibition and the reflection of the glass that could then move throughout the hallway and buildings (Habhouse, 2002:31). The exterior architecture design and display was followed by the interior. The approach which was taken was first designed with the main entranceway and archway. This particular area combined the natural with the innovative as well as various pieces of cultural exhibitions that were used to welcome visitors. The combination of these elements allowed the structure to carry a specific element of man being in combination with and over nature. To display this philosophy, a central fountain and trees surrounding the area as well as displays of landscapes became a part of the exhibition, as seen in Figure 2. Figure 2: Central Arch of the Crystal Palace (Victorian Station 2011: 1) The approach which was taken with this central area was to make the palace similar to the ideology of a museum which was able to contain the various elements of progression which had occurred. This began with the natural, transformation of the natural into manmade landscapes and cultural innovations which were centered in the area. The main exhibition area also held statues and figurines as well as structures of pyramid forms and different components from the Renaissance. These were all based on developing an area in which the landscape and the main attractions were able to show the cultural diversity and unique innovations of the region, while embracing the various styles that were inclusive to the time frame and the philosophy of innovations and modernization (Marstine, 2008:217). While there were specific relationships to the culture, innovations, man over nature and the invitation of new ideologies, a main frame was still in various rooms and structures. This was representative of the architecture of the Victorian Age. The aesthetics which were used with the building came specifically from the commission which was given from Queen Victoria. The architecture then represented the idea of form and aesthetics which she was most interested. This was inclusive of symmetry and balance that was associated with the building as well as the statues which were used as the main features for ornamentation. Larger buildings and ornamentation as well as the proper form were some of the aspects of the culture which were formed. This was combined with the understanding of social boundaries which this time frame was introduced to and trying to break. The aesthetics combined with this overall format while building a sense of inclusion from the current social hierarchy which existed. The placement of the building and the aesthetics developed were created to invite every individual into the main region. This was because of the political agenda of the time, specifically which was working toward innovations which would invite everyone into the changes which were being made in society. The aesthetics of the architecture, both from the internal and external areas, then began to reflect the way in which the aesthetics were presented to those interested in the exhibition (Steegman, 2008:39). Millennium Dome 2000 Another form which was created with the components of new beginnings and innovation was the Millennium Dome of 2000. This was created to invite in the new millennium and to create an experience out of architecture based on the invitation into the new. The dome is noted as the largest in the world and has a white marquee with twelve support towers that are surrounding the dome, all which are 100 meters in size. The towers are used to represent the different months of the year or the surrounding movement of the clock. The Millennium Dome 2000 began construction under Richard Rogers, who was commissioned by the political party of Tony Blair, specifically because there was a movement outside of the conservative government and into one which was based on new labor achievements for the UK. The endeavor was followed by adding in 14 zones of exhibitions, including journeys which were important to the UK at the time. The cost of the exhibition was 789 million pounds, only with 189 million paid in tickets and 628 million which was covered by the lottery. There was also another surplus of 89 million with the building, specifically which was never recovered or retrieved with the building of the dome. The anticipation of the dome not leading to the necessary results led to a change in the dome becoming a temporary football stadium and is now used for a variety of activities to recover the costs that were associated with the building of the dome (Wilhide, 1999:11). The architecture and design which was used with the Millennium Dome was able to create the basis of the theme, which was “time to make a difference.” This was done by looking at innovations and new structures which could be combined with the structure. The symbolism and metaphor of time was an essential component with the building structure and the expectations which were associated with the dome. The towers which were used as well as the internal structure followed this particular component of being a clock with the changing times. The dome structure was based on developing an open space, specifically with the wide span enclosures and the feeling of being open to the new and to the changes which were associated with this as seen in Figure 3. Figure 3: Millennium Dome 2000 (Millennium Dome, 2011: 1). The division of the fourteen zones which were in the internal structure was used to compliment the wide span enclosure while becoming recognized as a new achievement in terms of developing a new format and identification of instruction where the internal and external features matched each other in terms of alignment, zones and content which was used (Dickson, Happold, 2000: 312). Another part which was important with the architecture and design of the Millennium Dome was based on the use of the natural which was associated with this. The dome structure also created a different need for insulation and use of the natural elements which were outside of the structure. The wind and rain which was associated with the dome created a different level of insulation from the external elements. More important, there was the ability to have new innovations in terms of weather and uses with the water that was a part of the exhibit. This created a different set of usages that allowed the natural to combine with the widespan structure that was a part of the building. The affiliation with the natural and the way in which this combined with the changes of the dome then became an important feature as the feel inside of the dome and the different elements were directly affected by the way that the dome worked in terms of the architecture and design (Mcguigan, Gilmore, 2002: 5). Comparison of Millennium Dome to Great Exhibition The concept of the Millennium Dome and the Great Exhibition of 1851 had several similarities in the construction and overall building as well as the main elements used. Both were formed at a time in history when innovation, technology and culture were transforming, specifically with the development and progression as the basis. The main philosophy and commissions by the political leaders were associated with the building of the domes and the associations which were created in terms of developing new ways to exhibit various components. Specifically, the agenda of both was based on constructing a form that would invite in different cultures, social working classes and elements that were often disregarded as a part of the culture. This was combined with the development of the mega event which the different buildings were created from. The idea of displaying the different parts of society and ways in which each were moving forward was the same agenda of both times. While the timeline was different, both were associated with recognizing the UK as a leader and one which was moving toward innovation and change. The philosophies and approach to both buildings then held similar attributes in terms of creation and exposure to those in society (Gold, 2005:3). Not only are there similarities with the approach which was taken philosophically. The building and construction remained similar in both with the concept of building something which was open. The Millennium Dome was based on the widespan structure that was created. The Crystal Palace carried some elements of this, specifically with the archway in the middle of the structure which created an open and expanding feel. Figure 3 shows the exhibition of the Millennium Dome and the relationship which this had to the feeling of openness from the Crystal Palace. Figure 3: Millennium Dome vs. Crystal Palace (Millennium Dome, 2011, 1) (Victorian House, 2011: 1). When looking at the central and internal area, it can be seen that the main structure is similar. Both have open and wide structures with reflective glass. The Crystal Palace identifies this with the central tree while the Millennium Dome furthers this with the central tower. The development of the sides, specifically with the staircases or the rooms going up also has a similar design and effect. This is based on the movement toward the different classrooms and areas, all which carry the various components of remaining open and toward different areas of the innovation which are associated with both buildings. This particular form follows both structures with the concept of being open toward innovation and the times of change (McGuigan, 2000: 37). The similarities which were a part of the building and construction furthered with the other philosophies which were a part of the internal and external structure. The approach taken was based specifically with the ideology of politics, nationhood and the industry of the time. The symbolic approach which was taken by both was specific to representing the political agenda of the time as well as how this was created to build a better future for those involved. The Victorian style of the Great Exhibition showed this through the specific Victorian style structure as well as the use of glass that was based on the innovations of industry at the time. The Millennium Dome represented this with the widespan structure as well as the elements of time. These were specifically based on the representation of Blair and the campaign which he associated with in terms of changing politics. Both were then able to create a different relationship to the building and construction as well as how this linked to the specific political lineage of the time. In both, the representation of the political agenda becomes a main symbol of the structure and building as well as the approaches taken that demonstrates the ideas of politics. The approach to the structures then develops an understanding that the political agendas and construction was understood as unchanging and based on continuous innovations and developments which could be used with architecture as well as other structures within society (Philips, 2004:82). Shanghai World Expo 2010 Another instance in which the old combines with the new structures is with the noticed approach of the Shanghai World Expo 2010. This new development is one which was established with the initiative of creating a “Better City, Better Life.” The approach included various structures which combined together in one vast area to show the idea of building a better city and what this meant in terms of technology, innovation and culture. The different layout of the buildings and structures used innovative approaches which were not associated with other buildings and which were developed specifically with the understanding that this would represent the ideologies of building a better life in Shanghai. The Shanghai world fair had operations since 1992, with this becoming an unparalleled event, specifically because of the decision to incorporate international trade and development of cultural affiliations. The emblem further was developed in the creation of the next great world city that became a part of the initiative (Sebastian, 2010: 81). The building of the expo in Shanghai is one which holds a history that began in 1851, specifically with the coined term recognized by many that Shanghai would become a leading world country. The world expo came through a selection process in which the world fair was best held in this center because of the amount of progression which had occurred in Shanghai since this time. The expo covered 5.28 miles with an investment of more than $48 billion Australian dollars. To further this, the preparation included clearing over 2.6 square kilometers of land, such as moving 180,000 families and 270 factories. There were also six new subway lines which were opened. The pavilions included national centers, sculpture gardens, structures for shops and additional sports centers and performing arts. The result was 2.79 million tourists that visited the site with 2.1 billion RMB in revenue. The event, lasting 184 days, included over 73 million individuals which visited the expo, making it one of the largest world expos. The world expo went a step further than others by including opening and closing ceremonies, all which used designated political officials as well as entertainment aspects. The event included over 20,000 performances by famous bands from around the globe ( Guillin, 2010: 19). There were two types of pavilions that were associated with the architecture and design, all which were developed with the understanding of different themes that led to the overall exposition. This began with five central pavilions based on urban development. This included Urban footprints, Urban Planet, Urbanian, City Being and Urban Future. There were also separate national and corporate pavilions used, including over 50 national countries which were represented in the pavilion. When one entered the area, they were introduced to an axis area, as seen in Figure 5. Figure 5: Expo Axis Area (Shanghai World Expo, 2011: 1) The images which were presented with the axis area were important, specifically because they changed with the light structure and the different representations at the top. At times, this was based on showing the world while others would highlight the different nations and statements which were a part of the pavilions and main structure. The structure furthered this with the creation that was artistic but remained a representation of the globe. At the same time, a sense of symbolism is seen with the asymmetrical format, specifically which shows the ideas of expansion. Similar to the other two expositions, the axis area used the concepts of glass and open space as the main feature to invite others in. This is an important representation that combines the innovation, technology and other main features into the world expo (Fengmin, 2010: 13). The importance that was associated with the different areas also included the pavilions. Similar to the Millennium Dome and the Crystal Palace, separate areas were created for different themes and innovations. The difference with the Shanghai World Expo was based on having different pavilions for each area. Instead of creating these by specific innovations or trademarks, all were based on the theme of the Better City Better Life as well as the ideology of the urban planet. The first is noted with the Urban Footprints, as seen in Figure 6. Figure 6: Urban Footprints (Shanghai World Expo: 2011: 1) The main concept with this particular pavilion was to show the idea of innovation and technology as a part of the city life. The concept is one which is noted to transform the future, specifically because of the innovations. This is seen through the high technology used for the pavilion and the way in which the design and aesthetics represents this. Similar to the other expos, there is a representation of innovation with the design of the architecture, combined with the development of the building being transparent and reflecting the current initiatives that are a part of the culture (Branjan, 2010: 59). The other representations that are a part of the pavilions hold the same concepts with the intertwining of the pavilions with other world expos as well as the expectation to move forward in the futuristic planning and development. The second pavilion, of Urban Planet, as seen in Figure 7, shows this same ideology. Figure 7: Urban Planet (Shanghai World Expo: 2011: 1). Similar to the other ideologies of world expos, there is a combination of the different elements of nationalities and the celebration of culture. The pavilion combines the idea of the widespan structure that symbolizes the planet. When walking through these different areas, one is able to see the structures of the urban life reflected in the right areas. This is combined with bridges that create links to different affiliations around the world. Rather than a symbolic representation, there is a direct affiliation with how the cultures are bridging into a world culture while leading into new terms and approaches for the urban planet. The influence which this particular aspect has is one which not only combines the other world expos but is expected to have an influence on the economic and cultural structure in the region with the symbolism of building bridges throughout the world becoming a main component with the idea of building an urban planet (China Financial Daily, 2010: 37). The theme of Urbanian, as seen in figure 8, shows the same approach as the others in terms of building bridges with technology and culture. Figure 8: Urbanian (Shanghai World Expo, 2011: 1) When looking at this particular aspect of the Shanghai World Expo, one is able to see the transfer of other pavilions, specifically with the geometry of the Millennium Dome that is noted in the details and geometry used. This is combined with the overall structure which links into an open structure that is able to hold technological, artistic and other developments. The importance of this particular area was to create architectural structures that were based on changing perspectives. One can see that the openness of the pavilion, the ladders going down and the geometry moving into asymmetrical forms became the most important affiliation with the pavilion. The changing perspective changed everything into a new innovation that was upside down of what was expected. This was based on creating a change in perception with the culture and the other nations which were participating in the different regions (Xu, Chai, 2007: 519). The last two pavilions which structured the main expo included the City Being and Urban Future, seen in figures 9 and 10. Figure 9: City Being (Shanghai World Expo, 2011: 1). Figure 10: Urban Future (Shanghai World Expo, 2011: 1). These were only some of the features that were included in the expo and the developments created. With each of these, were themes such as technology, developing an eco – future and working toward progressions that could help with the planet. The materials which were used as well as the effects which were established with each of the preparation of the pavilions then developed into a deeper understanding of looking at the possibilities of the future with the different innovations. A combination of the past, such as seeing the “Urban Future” pavilion through the traditional architecture combined with the various aspects of the materials as well as the internal area. This allowed a new spin to be taken on the idea of the futuristic architecture and representations which were associated with the Shanghai Exhibition (Higgins, 2010: 93). The concepts which were approached with the Shanghai World Expo of 2010 were comparable to the Great Exposition of 1851. The concept of showing this as the next leader in world cities as well as the concepts of innovation and culture led the main theme. The different concepts were combined with the past expositions, specifically with the widespan structures and the concept of combining glass, archways and other approaches to the traditional architecture. The use of the pavilions was also a part of the designs of the past as well as this component. The only difference was based on having separate representations and innovative pieces of architecture for each of the different areas. This was able to create individual showcases that combined together in the overall landscape to develop a futuristic ideology of how the urban landscape could work. These particular aspects combined even further with the understanding of building a showcase of what the possibilities for the future are. This combined the technology, cultural affiliations and the understanding of current trends, such as ecology, into the mixture with the pavilions and architecture. The ability to do this then led into larger statements about the futuristic ideologies of the urban landscape and the potential innovations and features which were associated with this (Hogg, 2010: 210). Conclusion The concepts used within architecture to build a different statement to the world are one which is seen with the affiliations to world expos. When looking at the Great Exhibition of 1851, the Millennium Dome of 2000 and the Shanghai World Expo of 2010, there is a direct relationship to the philosophies, ideas and the architecture used. All three of the structures have the basic philosophy based on the political agenda of showing the futuristic goals of each region. This is combined with the technical and cultural themes which are present in all three of the regions, specifically dependent on the current knowledge and the changing innovations which are leading the basis of the architecture. These developments are combined with the understanding of the political pressures to create the city as a world entity that is able to lead the next millennium while creating a different approach toward the expectations used. Making this something which is seen in the physical sense to those which are a part of the architectural statements then builds and develops a deeper understanding of what is expected within each of the cultures. The components that are a part of the world expositions also create an understanding of the idea of evolution, specifically in terms of the architecture which is used. The design in each is based first on the traditional elements which are recognized among the pavilions and structures. However, this is combined with formats of innovation and technology, such as the glass used for the Crystal Palace and the towers and dome structure used for the Millennium Dome. The components that are associated with each of these are furthered with the decisions to combine new technical elements into each of the structures, such as the lights used in the Shanghai World Expo. Each of these builds and develops a different understanding of the ideas of tradition that moves into innovation. The pavilions that are able to combine this with the elements of the changing landscape of culture and structure are then able to develop a deeper understanding of what it means to create the right approach to the innovations and technologies. This results in a showcase of culture, innovation and the philosophies which are able to drive forward the cultural affiliations with each city. The architectural representations then become a driving component that reflects the political, cultural and technological components that are within a culture. References Branigan, Tania Branigan. 2010. Shanghai 2010 Expo is set to be the world's most expensive party. 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