Dublin 1853 Main Hall
This image is a beautiful color lithograph, measuring 25 by 35 inches, which features the main hall of the Great Exhibition Building in Dublin in great detail. The hall was 425 feet in length by 100 in width, and 105 in height. In the back there is a large organ. Displayed high on the walls are flags from different countries.
The building is best described by The Illustrated Dublin Exhibition Catalogue, which says:
Presenting a front to Merrion-square of 300 feet, the main or centre feature of elevation consists of a semicircular projection, which forms the Eastern termination of the Central Hall. This in a noble apartment of 425 feet in length, and 100 feet in height, covered by a semicircular roof trellis robs, in one span of 100 feet. On each side of the Centre upon trellis ribs, in one span of 100 feet. On each side of the Centre Hall, and running parallel to it for the same length, are two halls 50 feet wide, with domed roofs, similar to that which covers the main nave or hall of the building. The Height from the floor to the roof of each of these halls is 65 feet. They are approached through passages from the Centre Hall. In addition to these three halls are four compartments of 25 feet wide, running the whole length of the building; two are placed between the Centre Hall and the side halls, and two on each side of the latter; divided into sections of 25 feet square, forming convenient divisions for the purposes of classification. Over these compartments are spacious galleries, also running the length of the building, which not only afford increased space for exhibition, but form an agreeable promenade from whence the effect of the three halls may be seen to greater advantage. To the south ...
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...or, which made its splendid halls themselves, examples of an incentives to something higher and grander in design than had before been attained (Sproule). "The Building itself was perhaps the most successful novelty exhibited, both in Art and Manufacture (Sproule)."
No information on the fate of the Great Exhibition Building, other than it no longer stands and no attempt was made to rebuild the structure with more permanent materials.
Works Cited:
Findling, John E., editor, Historical Dictionary of World's Fairs and Expositions, 1851-1988. New York: Greenwood Press, 1990. p. 10-11
Ingram, J.S., The Centennial Exposition; Described and Illustrated. St. Louis: Hubbard Bros., 1876. p. 31-33
The Illustrated Dublin Exhibition Catalogue. London: Virtue, 1853. p. v Sproule, John. Irish Industrial Exhibition 1853. London: William S. Orr & Co., 1854. p. 27-41.
One story describes the planning of the 1893 Chicago World’s Fair that had been proposed to celebrate the four hundred years since Columbus landed in America. The idea didn’t get much attention until a year earlier, when Paris held a world fair and unveiled the Eiffel Tower. Not to be outdone, America decided now it was a matter of who would hold a fair that would put France’s fair to shame. There was a dilemma of where the fair would be built New York or Chicago, but votes were tallied up and the majority of the vote was Chicago. Among the many architects in Chicago, the main job of the designing the fair was given to Daniel H. Burnham. He needed a companion to help him with the design and other features of the fair, so he chose John Root, a very close friend of his and former associate. Because of the amount of time it took to decide where to build the fair, The White City was believed to be impossible to construct because of time con...
New York: Greenwood Press, 1990. Arnold, C.D. The Pan-American Exposition. Buffalo, New York: 1901. Eck, Susan. "
"Historical Events for Year 1904." Today in History, Birthdays & History Articles. N.p., n.d. Web. 25 Oct. 2013.
Philadelphia: J.B. Lippincott, 1876. Print. The. Moody, John. The.
Carden, Robert W. "The Franco-British Exhibition." Architectural Review 1908 July, v. 24, p. [32]-37 ; 1908 Sept., p. [108]-111
The Exhibition Hall built by Stephen Kemp, is the oldest and most unique hall on the fairgrounds; it was the first hall to be built (Wynn). Only used “from (1850-1860), the innovation octagon style was used for hou...
Findling, John E. Historical Dictionary of Worlds Fairs and Expositions 1851-1988 Greenwood Press, Westport Connecticut. 1990.
Brinkley, Alan American History A Survey, Volume I: To 1877, New York, NY: McGraw-Hill, 2003. pg. 101-122, 209-213.
Richards, C.B. Reports of the United States Commissioners to the Universal Exposition. Google eBook: U.S. Government Printing Office: 1891.
Built in the 16th arrondissment in Paris, the L-shaped plan lies along the south end and east side of a private cul-de-sac. The shape of the structure was influenced by the site. The larger portion follows the road, the main axis running through the site, whilst the smaller section sits perpendicular, crossing the axis. The two pieces are contrasting in design; the larger a more dominant and robust living block built to house a family in the Jeanneret house and La Roche’s private areas on the other side. The smaller feels more delicate as it has no ground floor and is raised on pilotis, housing only the light and airy gallery space. Both exteriors mimic the intended use of the interior.
On a positive note, there are designers who have accomplished what seems like the impossible and created spaces that stand timeless in their place. The Eiffel Tower, Grand Central Station, Sydney Opera House are just a few examples of spaces that provide a unique experience for the people and contribute to the identity of the city.
Spence, H. D. M. Daniels. London; New York: Funk & Wagnalls Company, 1909. Print. The.
... But because it was demolished, the work of art is lost forever. We can see pictures like these, look at Le Corbusier's images, even listen to Varèse's score, but the complete ensemble integrated into a single space surrounding and moving around the visitor is something that can never be recreated. Therefore, the Philips Pavilion and its Poème Electronique remain an artistic achievement that have left their mark on precisely eight minutes of history.
A smaller pool lays adjacent to the building on the opposite side enclosed by a wall of marble. Mies designed the pavilion to blur the lines between inside and outside space. There are parts of the walls that seem to be missing which creates a flow between the two main spaces. The pavilion’s thin sweeping roof is supported by eight cruciform columns clad in chrome. This created an open and free space where he lined the outside of the building with glass. He then carefully placed a thin slab of onyx in the middle of the open volume.
... that unity to mass produce products and beautiful art has earned it the right to be known as the House of Construction.