Destruction of the Fair - Revision history

Ccarlsson at 22:47, 14 June 2020

2020-06-14T22:47:34Z

← Older revision		Revision as of 15:47, 14 June 2020
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	It was altogether appropriate that the Panama Pacific International Exposition fell when it did, for it had opened beyond its rightful era, the last of the great beaux-arts fairs. The guns of August in Europe proclaimed a new age and throughout the summer and fall of 1915 news arrived of unprecedented carnage and destruction. Frank Morton Todd lamented:		It was altogether appropriate that the Panama Pacific International Exposition fell when it did, for it had opened beyond its rightful era, the last of the great beaux-arts fairs. The guns of August in Europe proclaimed a new age and throughout the summer and fall of 1915 news arrived of unprecedented carnage and destruction. Frank Morton Todd lamented:

	<blockquote>''The general feeling of helplessness and of endless tragedy was aggravated by the fact that every great teacher that had declared war among civilized nations to be no longer possible was proved to be wrong, and no prophet that promised security to life and prosperity and family and love and culture and other things of peace that make life worth while, was any more to be believed''.(33)<blockquote>		<blockquote>''The general feeling of helplessness and of endless tragedy was aggravated by the fact that every great teacher that had declared war among civilized nations to be no longer possible was proved to be wrong, and no prophet that promised security to life and prosperity and family and love and culture and other things of peace that make life worth while, was any more to be believed''.(33)</blockquote>

	While only a Henry Adams might then have perceived the emblems of aggression and oppression that permeated the fair, the war assured that it would never again be possible to so uncritically celebrate the steady ascension of Progress, Technology and Civilization.		While only a Henry Adams might then have perceived the emblems of aggression and oppression that permeated the fair, the war assured that it would never again be possible to so uncritically celebrate the steady ascension of Progress, Technology and Civilization.

Ccarlsson: added photos and fixed formatting

2020-06-14T22:46:39Z

added photos and fixed formatting

Show changes

Ccarlsson: added link to GGIE

2016-02-04T08:03:14Z

added link to GGIE

← Older revision		Revision as of 01:03, 4 February 2016
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	'''TREASURE ISLAND '''		'''TREASURE ISLAND '''

	The Panama Pacific International Exposition, although it had little immediate effect on the architecture of the Bay Area, was reincarnated twenty-four years later in the form of "Treasure Island," the Golden Gate International Exposition of 1939-40. The design team of that fair was headed by Arthur Brown, Jr., designer of the San Francisco City Hall and the Horticulture Palace at the Panama Pacific International Exposition and, by 1939, the dean of reactionary classicism in American architecture. Working closely with Brown were a number of architects who had designed buildings or courts at the earlier world's fair, or who vividly remembered it. So potent was the memory of the Panama Pacific International Exposition that the architects simply built a stripped, Moderne version of the earlier fair in the middle of the Bay. High walls designed to block the wind sheltered enclosed thematic courts with cosmic names, Jessie Stanton played the role of Jules Guerin as master colorist, and colored, indirect lighting was used once again. Eastern exoticism again prevailed with the use of Cambodian, Malaysian and even Aztec and Incan motifs combined with modernized classicism. Aged wall surfaces were attempted with stucco mixed with vermiculite, and even the Tower of Jewels was reborn as Brown's Tower of the Sun.		The Panama Pacific International Exposition, although it had little immediate effect on the architecture of the Bay Area, was reincarnated twenty-four years later in the form of [[Treasure Island Fair: Golden Gate International Exposition\|"Treasure Island," the Golden Gate International Exposition of 1939-40]]. The design team of that fair was headed by Arthur Brown, Jr., designer of the San Francisco City Hall and the Horticulture Palace at the Panama Pacific International Exposition and, by 1939, the dean of reactionary classicism in American architecture. Working closely with Brown were a number of architects who had designed buildings or courts at the earlier world's fair, or who vividly remembered it. So potent was the memory of the Panama Pacific International Exposition that the architects simply built a stripped, Moderne version of the earlier fair in the middle of the Bay. High walls designed to block the wind sheltered enclosed thematic courts with cosmic names, Jessie Stanton played the role of Jules Guerin as master colorist, and colored, indirect lighting was used once again. Eastern exoticism again prevailed with the use of Cambodian, Malaysian and even Aztec and Incan motifs combined with modernized classicism. Aged wall surfaces were attempted with stucco mixed with vermiculite, and even the Tower of Jewels was reborn as Brown's Tower of the Sun.

	Treasure Island, even more than the Panama Pacific International Exposition, was an exposition out of its time. The Chicago Century of Progress in 1933 had pointed the way toward modernistic architecture and the disintegration of beaux-arts ensemble planning that had been such a marked feature of earlier fairs since the 1893 exposition. The fair at Flushing in 1939 also looked to the future, while the fair in San Francisco was a nostalgic nod to the past. Treasure Island was a poor compromise, for the Panama Pacific International Exposition was in all respects the greater exposition; even the vermiculite plaster, it was noted, looked tawdry when compared with the earlier travertine. Built around its courts, pervaded with art and fountains, oriented to the pedestrian, Treasure Island was anything but a vision of the urban American future, for already, in architectural magazines, visionary sketches of modernist slabs in freeway-encircled plazas hailed the advent of corporate modernism. The future lay not in arcaded dream cities, in artifices of eternity, but in urban redevelopment.		Treasure Island, even more than the Panama Pacific International Exposition, was an exposition out of its time. The Chicago Century of Progress in 1933 had pointed the way toward modernistic architecture and the disintegration of beaux-arts ensemble planning that had been such a marked feature of earlier fairs since the 1893 exposition. The fair at Flushing in 1939 also looked to the future, while the fair in San Francisco was a nostalgic nod to the past. Treasure Island was a poor compromise, for the Panama Pacific International Exposition was in all respects the greater exposition; even the vermiculite plaster, it was noted, looked tawdry when compared with the earlier travertine. Built around its courts, pervaded with art and fountains, oriented to the pedestrian, Treasure Island was anything but a vision of the urban American future, for already, in architectural magazines, visionary sketches of modernist slabs in freeway-encircled plazas hailed the advent of corporate modernism. The future lay not in arcaded dream cities, in artifices of eternity, but in urban redevelopment.

Lisaruth: changed photo caption to indicate it was an Italian Tower coming down, not the Tower of Jewels per R. Christian Anderson

2014-10-24T18:51:14Z

changed photo caption to indicate it was an Italian Tower coming down, not the Tower of Jewels per R. Christian Anderson

← Older revision		Revision as of 11:51, 24 October 2014
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	[[Image:marina$tower-of-jewels-falls.jpg]]		[[Image:marina$tower-of-jewels-falls.jpg]]

	'''~~The Tower~~ of ~~Jewels~~ comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''		'''One of four Italian Towers comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''

	{\| style="color: black; background-color: #F5DA81;"		{\| style="color: black; background-color: #F5DA81;"

Ccarlsson: added color box to abstract

2014-03-18T00:10:10Z

added color box to abstract

← Older revision		Revision as of 17:10, 17 March 2014
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	'''The Tower of Jewels comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''		'''The Tower of Jewels comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''

	'''Gray Brechin discusses the legacies of the Panama Pacific International Exposition (1915-1916) at the time of its destruction. From dreams of preserving the fair’s structures as an architectural unit, to the belief that the Fair would forever change the mechanisms of city planning, he examines the reasons for its popularity and its symbolism as the last of the great Beaux-Arts Fairs, and discusses the work of the few architects and projects that were deeply affected by its legacy.'''		{\| style="color: black; background-color: #F5DA81;"
			\| colspan="2" \| '''Gray Brechin discusses the legacies of the Panama Pacific International Exposition (1915-1916) at the time of its destruction. From dreams of preserving the fair’s structures as an architectural unit, to the belief that the Fair would forever change the mechanisms of city planning, he examines the reasons for its popularity and its symbolism as the last of the great Beaux-Arts Fairs, and discusses the work of the few architects and projects that were deeply affected by its legacy.'''
			\|}

	The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.		The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.

Lisaruth: added abstract

2014-03-11T05:13:47Z

added abstract

← Older revision		Revision as of 22:13, 10 March 2014
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	'''The Tower of Jewels comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''		'''The Tower of Jewels comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''

			'''Gray Brechin discusses the legacies of the Panama Pacific International Exposition (1915-1916) at the time of its destruction. From dreams of preserving the fair’s structures as an architectural unit, to the belief that the Fair would forever change the mechanisms of city planning, he examines the reasons for its popularity and its symbolism as the last of the great Beaux-Arts Fairs, and discusses the work of the few architects and projects that were deeply affected by its legacy.'''

	The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.		The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.

Ccarlsson: Protected "Destruction of the Fair": finished essay [edit=sysop:move=sysop]

2008-12-30T22:27:53Z

Protected "Destruction of the Fair": finished essay [edit=sysop:move=sysop]

← Older revision	Revision as of 15:27, 30 December 2008
(No difference)

Ccarlsson: PC

2008-12-30T22:09:04Z

← Older revision		Revision as of 15:09, 30 December 2008
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			'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''

			''by Gray Brechin''

	[[Image:marina$tower-of-jewels-falls.jpg]]		[[Image:marina$tower-of-jewels-falls.jpg]]

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	Treasure Island, even more than the Panama Pacific International Exposition, was an exposition out of its time. The Chicago Century of Progress in 1933 had pointed the way toward modernistic architecture and the disintegration of beaux-arts ensemble planning that had been such a marked feature of earlier fairs since the 1893 exposition. The fair at Flushing in 1939 also looked to the future, while the fair in San Francisco was a nostalgic nod to the past. Treasure Island was a poor compromise, for the Panama Pacific International Exposition was in all respects the greater exposition; even the vermiculite plaster, it was noted, looked tawdry when compared with the earlier travertine. Built around its courts, pervaded with art and fountains, oriented to the pedestrian, Treasure Island was anything but a vision of the urban American future, for already, in architectural magazines, visionary sketches of modernist slabs in freeway-encircled plazas hailed the advent of corporate modernism. The future lay not in arcaded dream cities, in artifices of eternity, but in urban redevelopment.		Treasure Island, even more than the Panama Pacific International Exposition, was an exposition out of its time. The Chicago Century of Progress in 1933 had pointed the way toward modernistic architecture and the disintegration of beaux-arts ensemble planning that had been such a marked feature of earlier fairs since the 1893 exposition. The fair at Flushing in 1939 also looked to the future, while the fair in San Francisco was a nostalgic nod to the past. Treasure Island was a poor compromise, for the Panama Pacific International Exposition was in all respects the greater exposition; even the vermiculite plaster, it was noted, looked tawdry when compared with the earlier travertine. Built around its courts, pervaded with art and fountains, oriented to the pedestrian, Treasure Island was anything but a vision of the urban American future, for already, in architectural magazines, visionary sketches of modernist slabs in freeway-encircled plazas hailed the advent of corporate modernism. The future lay not in arcaded dream cities, in artifices of eternity, but in urban redevelopment.

	~~''--by Gray Brechin ''~~

	'''NOTES '''		'''NOTES '''

Ccarlsson at 00:39, 2 September 2008

2008-09-02T00:39:00Z

← Older revision		Revision as of 17:39, 1 September 2008
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	[[Image:marina$tower-of-jewels-falls.jpg]]		[[Image:marina$tower-of-jewels-falls.jpg]]

	'''The Tower of Jewels comes crashing down at the [[PFA 1919 end]] of the Panama-Pacific Exposition, 1916.'''		'''The Tower of Jewels comes crashing down at the [[PFA 1919 \|end]] of the Panama-Pacific Exposition, 1916.'''

	The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.		The Panama Pacific International Exposition proved so popular (and profitable) that long before its closing proposals were being made to save all or part of it. Architect Willis Polk, in particular, lobbied heavily for the preservation of the Palace of Fine Arts, Palace of Horticulture, South and North Gardens, and the Avenue of Palms. Louis Christian Mullgardt told the Commonwealth Club that "when the Exposition buildings are torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world."32 The influential club, like many others, passed a resolution pleading for the preservation of as much of the fair as possible.
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	''--by Gray Brechin'', (from "Sailing to Byzantium: The Architecture of the Fair" in ''The Anthroplogy of World's Fairs'', edited by Burton Benedict)		''--by Gray Brechin'', (from "Sailing to Byzantium: The Architecture of the Fair" in ''The Anthroplogy of World's Fairs'', edited by Burton Benedict)

	~~Contributors to this page include:~~

	~~''Scolar Press - Publisher or Photographer ''~~		[[The Architecture Of The Fair: Artifice and Dazzle \|Prev. Document]] [[PFA 1919 \|Next Document]]

	~~Brechin,Gray - Writer~~		[[category:Marina]] [[category:Fairs]] [[category:Amusement Parks]] [[category:1910s]] [[category:architecture]]

	[[~~The Architecture Of The Fair~~: ~~Artifice and Dazzle \|Prev. Document~~]] [[~~PFA 1919 \|Next Document~~]]

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2007-10-07T22:06:46Z

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← Older revision	Revision as of 15:06, 7 October 2007
(No difference)