Académique Documents
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Culture Documents
Adriana Mogosanu
260327734
ARCH 355: Architectural History 4
March 27th, 2015
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Montreals 1967 Expo made explicit the crossing into the future of
Figure 3: The Netherlands Pavilion (Pays Bas), located on Ile Ste. Helene
Source : Compagnie canadienne de l'Exposition internationale de 1967
http://documents.recitus.qc.ca/content/document-14-les-pavillons-nationaux-de-llesainte-hlne
Paul. "Nederland klaar voor Wereld Expo 67." May 14, 1966.
4 Klare,
Klare, 1966
5
Klare, 1966
7
To the unassuming fairgoer, this incongruity, worthy of satire, remains
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Francis Interview, 2015
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aspirations of technological development in a
modern way (Figure 5). In line with the prevailing
mega structure trend of the decade, a predominant
theme at Expo 67,7 architect Eijkelenboom hangs
the space of the Dutch pavilion, roof and walls, from
an immense space frame structure (Figure 6). An
impressive 35 miles of aluminum tubes, in the form
of prefabricated pieces, are directly assembled on
site. 8 The result is a triumph of engineering9, an
intriguing and futuristic structure, with a light, airy
feel. The Dutch Pavilion is frequently mentioned as
a prelude to the groundbreaking work of
Buckminster Fuller and the American Pavilion. The
7
Dupuy, 1972
8
Canadian Corporation for the 1967 World Exhibition. Expo 67.
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Lownsbrough, John. The Best Place to Be: Expo 67 and Its Time. Toronto:
Penguin Group, 2012.
qualities of modularity and flexibility of space are not evident from the volumes
or interior spaces. The final product seems like a fixed space, hanging from an
enclosed delicate structure. The structures capacity to rule over land, covering a
large space flexibly, is still an impressive feat, analogous to the Dutch
exploitation of water through technological prowess. Architecture becomes a
symbol of high technology, supporting Hollands aspiring position as a leader in
the field, a country artificially built on water. In contrast, the interior of the
pavilion contains a variety of disparate expositions merging into a potpourri of
Dutch culture. Fake historicism, displaced content inhabit high technology,
much in the same way the classical column is decorated in Oplands cartoon
mural. The satirical potential of the visual comparison, achievable through
juxtaposition of modern and vernacular remains unrevealed. Emergent
technology is used to create the architecture of the pavilion, while its
antagonistic old world relics, survive in the content of the building.
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offers a stylized
http://www.fotoleren.nl/component/bronnenbank/?view=b
ronnen&start=84640
representation of art,
11
the discrepancy between the miniaturized vernacular interior and the futuristic
exterior becomes apparent.
The cartoon, traditionally of small scale, is blown out of proportion, taking the
extent of a mural, enveloping and creating space. This unexpected exaggeration
as a means of delivering a more poignant punch line successfully contributes
to the comic character of the work. Used in the content of the pavilion, it fails to
portray the theme, Netherlands relationship to water, in an engaging manner, all
the while making apparent the poorly sustained account of technological
advancement,
unassisted by an
immersive, equally
advanced exhibit.
Adjusting scale to
integrate elements
Figure 8: The Netherlands Pavilion
Source: Dixon Expo 67 Slide Collection Web site
http://digital.library.mcgill.ca/expo67/slides/LARGE/(3D)_34_Netherlands_AmsterdamHarbour.jpg
of Hollands
landscape, from
views of landscape
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presented in the form of miniature models (Figure 8). The vibrant exterior
architecture of the pavilion hides a very flat representation of Holland interiorly.
The cork model of the traditional Amsterdam street (Figure 9) offers more a
kitsch, two-dimensional representation as the opportunity to infuse engagement
in the exhibition is lost in the creation of flat and dull content.
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structures thin tubular elements (Figures 5 & 12). The US pavilion offers a clear
view of its surroundings, positioning its visitors centrally, at a place of
importance. The Dutch pavilion misses the opportunity to achieve a more
engaging space, through the visual connection between inside and outside
(Figure 10). The envelope segregates the interior of the exhibition from its
surroundings, with the exception of small openings towards the river.
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A cantilevered volume feigns interaction with the exterior monorail (Figure 11).
The monorail passes underneath the Netherlands pavilion, but fails to interact
with it as successfully as it does with the American pavilion. Francis remembers
riding the blue monorail as one of the highlights of his experience at Expo,
particularly enjoying waving to the crowds around the pavilions10. The
camaraderie achieved through visual connection in a shared experience is less
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Francis Interview, 2015
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likely to occur under a deeply shaded metal canopy, as is the case in the
Netherlands Pavilion.The architecture masks and supplements for the content,
which is contained in a safe space, where any discrepancies with the exterior
image projected by the pavilion are successfully concealed (Figure 12).
Figure12: The Netherlands Pavilion remains impenetrable to the gaze, even when lit up.
Source: Westland Expo 67 Website
http://www.westland.net/expo67/map-docs/swanlake.htm
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inconsistencies. Despite the potential for visibility allowed for by the thin
elements of the triodetic structure, the would-be ironic juxtaposition of
contrasting elements is avoided through a masking envelope. In sum, the
exhibits take on the qualities of the cartoon, to create a miniaturized and flat
depiction of Holland. The Pavilion successfully occludes this contrasting content
by acting as a mask, and limiting interaction with the exterior.
Narrative, Circulation and the Fourth Wall
The overarching narrative of the Netherlands pavilion aims to be a tale of
technological advancement, one that allowed man to conquer water. While this
narrative was sustained by the pavilions architecture, it gradually faded in the
transition from interior to exterior. This failure to produce an intended image is
most directly addressed in the title of Oplands cartoon: The Netherlands are
(sorry) is a country full of culture. The obvious satirical tone of this statement is
a rare Brechtian moment within the exhibit. The climax is the confession of
discrepancy, the recognition of failed attempts at national representation
through techniques worthy of satire, rather than, in the case of the current
exhibition, the advanced technological society Holland claims to be.
The message of the cartoon comes in the form of a confession the revealing of
the intended message, stated ironically. The failure to authentically represent
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Hollands aspirations within the content of the exhibit is never made apparent. It
is instead successfully mediated by the pavilions architecture, which enforces a
distinct narrative and lends credibility to the exhibits discordant content. The
circulation and interior arrangement of the pavilion simulate a condition of
continuity reinforcing the narrative of Dutch technological supremacy over
water even when this story is not supported by its content or its quality. The
pavilion creates an environment that mediates the fractured narrative between
disparate exhibits, ultimately reinforcing an image of Holland that is true of
national aspirations, but poorly materialized within the exhibits. The running
concept of the countrys relationship to water was developed only superficially in
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the content of the exhibits. The architectures regrettable lack of interaction with
the water is limited to a large opening of the envelope at the end of the
trajectory, facing the river, as well as a wave basin, with the sound of sloshing
water, placed outside the pavilion. This latter, more technologically advanced
element of the exhibit was actually recycled from the 1958 Brussels Expo11. In
contrast to other less architecturally imposing pavilions, such as the Czech one,
the content of the Netherlands pavilion falls short of producing an engagement
between exhibit and viewer, or a compelling narrative aligned with Hollands
aspirations (Figure14). In many ways the opposite of the Netherlands Pavilion,
the Czech pavilion uses glass and film in innovative ways, creating immersive
audio-visual environments, simulating spaces from images (Figure 15). Culture
and technology are not presented separately, nor are they merely catalogued in
a bland exhibition. The Czech exhibition tells a compelling story, synthesizing an
image of Czech national identity in a creative manner. The popular pavilion was
criticized, however, for its lack of clear circulation, or nonexistant route,
where spectators became jammed along the way 12.
11
Klare 1966
12
Baker, J. (1967) Expo and the future City
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In contrast, the Netherlands relies on informative films, and physical
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content.
Conclusion
Expo 67 brought the world to a spot, creating a rupture in time and space
through imposed propinquity and juxtaposition of traditional, modern and
futuristic elements. Expo was expected to place Montreal on the map of the
world. Instead, the map of the world was placed over Montreal14. An illusory
version of the globe, a microcosm of conflated national representations, Expo
was a place of contrast and a rich source of satirical content. While Oplands
cartoon was produced independently of the architecture of the Dutch pavilion, it
inadvertently predicts the shortcomings in the content and effort to produce a
compelling national image at an international fair. The exhibit has an inherent
satirical potential, as it amalgamates, exaggerates and catalogues elements of
Dutch culture deemed significant at an international level. The effect is further
amplified by the contrast between the content of the interior and the futuristic
space-frame architecture. The split-ended job of the pavilion became to address
its own dissociation from traditional Dutch culture. It housed the vernacular,
while creating an image for the modern. It reconciled historical past with
futuristic aspirations. The architecture thus mitigates discrepancies in national
representation by fashioning a visual identity for the country through its
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Francis Interview, 2015
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structure, by moderating the conflict between old and new through occlusion of
the interior space, and finally, by creating the transitional narrative between
vernacular and modern through its circulation. Perhaps this process aimed to
resolve deeper issues, or contemporary anxieties, resulting from the cultural and
spatial rift that Expo undoubtedly caused. As any era of change, people were as
excited about the temporary Expo, as they were apprehensive of that which they
did not understand. Nevertheless, Francis recalls feeling a sense of optimism,
the future looked bright15. The old is not forgotten, as it is presented as a vital
part, a building block for the new. Ironically, the daring triodetic structure of the
Netherlands Pavilion, prefabricated and assembled on the fairs site, rested on a
base of Dutch-made brick. The foundation for the future is thus its vernacular
past, and the epitome of the sustained illusion that two realities, modern and
vernacular, cannot only coexist, but that they are absolutely necessary and
integral parts of Dutch society.
15
Francis Interview, 2015
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Bibliography
Baker, J. (1967) Expo and the future City Architectural review. 142, 151-4
Canadian Corporation for the 1967 World Exhibition. Expo 67. Montreal: The
Corporation, 1969.
Dixon, Meredith. Expo '67 Slide Collection. http://digital.library.mcgill.ca/expo67/slides/LARGE/(3D)_35_Netherlands_CartoonMural.jpg.
Dupuy, Pierre. Expo 67 ou la dcouverte de la fiert. Montreal: Les ditions la
presse, 1972.
Francis (last name undisclosed), Interview by Adriana Mogosanu. (March 10,
2015).
Expo 67 NCF Website, http://expo67.ncf.ca. (accessed February 02, 2015)
http://expo67.ncf.ca/floor_plan_netherlands_expo67.html.
Klare, Paul. "Nederland klaar voor Wereld Expo 67." May 14, 1966.
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Life Magazine. Tomorrow soars at the fair. April 27, 1967.
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2015)
Lownsbrough, John. The Best Place to Be: Expo 67 and Its Time. Toronto:
Penguin Group, 2012.
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