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Hassan Youssef, visited the exposition grounds to inspect building progress and was greeted by Julius Holmes, administrative assistant and Grover Whalen, president of the New York International Exposition. The cornerstone was composed of glass bricks set in brass mullions and containing a copper chest visible through the bricks. The three stars were set in a crescent-shaped water feature made of silver.

The entry court was flanked by two grand stairs, which led to the entrance on the second level. The structure consisted of a rectangular hall with two levels of gallery space with the ceiling soaring above creating a monumental space reminiscent of Ancient Egyptian monuments. The link between architectural modernism and industrialization, economic and technological modernization has haunted the historiography of modernism.

How to reconcile the arrival of aesthetic modernism before the indigenization of processes of modernization in the realms of economy and technology? The display included mechanized models, photographs, oil paintings, statues and various models depicting Egyptian life. Upon entering the building visitors had a view of the entire exhibition from above. The exhibition included two mechanized focal points: The second mechanized model represented the Nile valley with key temples and sites built in miniature and the modes of transport cars, trains, planes to each site were depicted.

The walls of the main hall were covered with flowing gray-green Egyptian silk curtains. By contrast, the Egyptian pavilion in New York translated Ancient Egyptian architecture into modern form and the content of the exhibition grounded in the decade-old national exhibitions taking place in Cairo. It occupied an area of 60 acres and 1. Images of prosperous peasants and strong workers pervaded the popular media. Rather than focus on the peasant, agricultural Egypt is dwarfed in the foreground and overlooked by an almost mythical representation of labor above.

A muscular worker hammers iron while engulfed in a cloud of smoke emerging from factory chimneys rising in the background of the scene. Such images of masculine industrial labor already seen in this cover in formed the basis for images of industry and progress for the following decade during the Nasser regime. By the exhibition, the relationship between agriculture and industry had shifted drastically.

While earlier exhibitions were still predominantly focused on agricultural economy, post-WWII exhibitions mark a clear shift towards industry. The feminine representation of agricultural Egypt was overtaken by the muscle bound dreams of an industrial economy.

In the context of the exhibit the mutual relationship between industry and agriculture, town and country, was enforced. A pavilion modeled as a miniature petroleum refinery represented the province of Suez. The Sudan was represented in its entirety by a single pavilion. However, it was also the largest pavilion on Nile Valley Street.

At the same time two beggars wonder and question why they are not included in the commerce of the exhibition.

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An Egyptian middle class family at the fair right ; 2. The urban poor left out center ; 3. The Egyptian businessmen who profited from the war economy and whose companies were exhibited as part of national modernity left. The statue of nationalist figure Saad Zaghloul erected in is at the bottom right of the image, from there to the left is Nile Valley Street with its pavilions representing Egyptian provinces. The house was designed to regulate peasant domestic space in a standardized form.

The design allowed for separate spaces for living and sleeping, and raising animals.

The design also included a walled garden for raising poultry, and a separate bathroom as well as a source of clean drinking water. This explains the emphasis on qawmiyya , or national, in reference to the organizers and the industries presented. The exhibition sheds light on the question of representation: The exhibition was a microcosm of the Egypt as imagined by the business elite for the consumption of the local bourgeoisie.

The exhibition took place during a time of increased economic nationalism. Other classes such as the urban and rural poor and the workers were largely unaccounted for in the representational spaces of the exhibit. After the exhibitions were paired with the annual celebrations marking the so-called Revolution, taking place in , , and The exhibition was delayed and canceled due to the Tripartite Aggression. However, the exhibition returned in and was attended by half a million visitors.

The exhibition, discussed below, was the largest and most visited to date. While the ideological driving force behind the exhibitions was nearly the same after as it was before it, Nasser-era exhibitions were presented as if they were uniquely revolutionary spaces of modernity unlinked from pre displays and exhibitions. It is difficult to understand post exhibition culture without studying the exhibition, above. Rather than represent the provinces in the capital with caricatured pavilions, the provinces became sites for representing the nation.

Furthermore, the Industrial and Agricultural exhibitions continued through to the s and utilized similar techniques of representing the relationship between the national center, and the nationalized economy, to the provinces. An exhibition hall and market for the products of Gharbiyya province built along the Cairo-Alexandria road. However, many of the self-proclaiming revolutionary regime approaches to governance and industrialization continued monarchical era approaches.

For example, similar to the display of the model peasant house, a similar concept was publicized in by the new regime as part of Egyptian-American cooperation for rural development. Stylistically the modern peasant village and the published images of its inhabitants share an uncanny resemblance with the Zionist kibbutzim, perhaps a result of the socialist inspiration to both nationalist projects of creating agricultural collective communities.

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Instead, a village manager, a government trained employee specialized in agriculture and social development, ran the village. A doctor, a teacher and a farming consultant assisted the manager of the village.

However, in addition to developing agriculture and related industries, such as textiles, new industries were sponsored by the state that ranged from heavy industries such as steel and cement to other forms of production such as household items. Commerce, given a nationalist framework, was key to the production of national modernity after Nasser-era exhibitions were accessible to a larger segment of the population aiming to make middle class culture and consumption accessible to a greater number of urban dwellers.

State-owned companies making household items for the modern Egyptian dwelling such as radios, television sets and refrigerators displayed their goods. Demonstrations were held at the exhibitions to showcase the products and to convince Egyptians to purchase them to support the national economy but also to become members of modern society.

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Nine foreign exhibitions were held in Gezira between and Industrial trade exhibitions were a global phenomenon central to building political alliances. The GDR exhibition, inaugurated by President Mohamed Naguib, drew thousands of visitors in its three-week duration: The Federal Republic of Germany FRG displays were set up in the exhibition grounds on Gezira Island just months after the Soviet Union completed its own industrial exhibition at the same location.

The architecture was relatively modest with the focus less on architectural symbolism and more on the content of exhibitions and displays. In this case architecture occupied a secondary position within the wider visual and spatial structure of these East and West German exhibitions. The main attractions were displays of industry, technology and the cultural programing provided by the two competing states, each aiming to convince the Egyptian public that life is better in the GDR or the FRG, respectively.

It included museum displays and models celebrating grand projects undertaken by the regime, such as the High Dam. Bank Misr built a grand hall fronted by a monumental gate composed of nine meter tall arches. The national radio also put on a show with an entire recording studio reconstructed on the site for visitors to watch live recordings as they happened.

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While the exhibition was the largest of its kind, it can only be understood as a larger than life version combining elements of all the previous displays since the inception of the first national exhibition in Let us visit the larger exhibition to take place on Gezira in 70 years, it only cost a quarter million pounds to build, but do not think of the old exhibitions, remove their images from your mind. Many new buildings were erected and many old ones removed, everything in the exhibition has changed.

That is, during thirty years of exhibition making, aesthetics and formal expressions changed but the basic mission of the exhibition as a national event creating an image of progress and prosperity, remained unchanged. A thin horizontal plane supported by pilotis intersected the lower part of the gate. Inside the grounds, two main buildings housed the exhibitions; a bridge supported by a series of arches connected the two halls named the Palace of Peace and the Palace of Arab Unity.

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Advertising by the construction company that implemented the gate of the National Exhibition. The writer of the article, identified only with the initials N. In order to confirm the similarity, the author cites a published image of the Brussels building in the 29 May issue of the British publication Architects Journal. The difference between the Egyptian and the Belgian gates is merely the angle of the arch: Do national and international exhibitions serve as venues for not only the trade and exchange of goods and industries but also architectural designs and ideas?

Journal of Child Language Primer for the field investigation of spatial description and conception. Annual Review of Anthropology The versatile nature of the Southern Sotho demonstrative. South African Journal of African Languages A critical chronotopic approach to lyrics of top-ranking popular songs in the UK. Critical Discourse Studies Library of Congress Control Number: A contrastive study of Hausa and English Clifford Hill.

Da and the system of spatial deixis in German Veronika Ehrich. Some systems of spatial deixis in Papuan Languages Volker Heeschen. Local Deixis in Tolai Ulrike Mosel. Black and white photography bears the stamp of history, a ratification of the long-ago. One might wish that photos from, say, the s were in color.

I sent it by email and then hand-delivered another copy tucked inside my book Lost Providence, where I inscribed the title page in his honor. Architecture Here and There. About David Brussat This blog was begun in as a feature of the Providence Journal, where I was on the editorial board and wrote a weekly column of architecture criticism for three decades. Architecture Here and There fights the style wars for classical architecture and against modern architecture, no holds barred.

My freelance writing and editing on that topic and others addresses issues of design and culture locally and globally. I work from Providence, R.