The Bulletin of The Museum of Modern Art MoMAExh_0049_MasterChecklist

A view of the Stockholm Exposition, 1930, designed by Gunnar Asplund.

Exposition Arehiteetnre

January 1936 Aeknowledg.nents

The DepartIllent of Architecture wishes to make grateful acknowledgment to: :l\1:rs.John Sloane for assistance in the selection of plant material Mr. Richard Carver Wood and Mr. Philip Johnson for assistance in planning the installation Mi', 'Villiam E. Lescaze, Mr. Julian Clarence Levi, Mi', George Nelson of the Architec- tural Forum, Mr. Carl Maas of the American Architect, Mr. Nahum Hiden of the Swedish- American News Exchange, the Italian Tourist BUl'eau, and the Texas Centennial Expo, sition for assistance in assembling the material. Special thanks are due Pl'OfeSSol' Henry-Russell Hitchcock, 11'., for the preparation of the analyses of exposition architecture; the Hawthorne Flower Shops, Inc. for the plant material; the Mississippi Plate Glass' Company for the sheets of ribbed glass and R. H. Macy & Company for the garden bench.

ERNESTINE M. FANU, Curator ~lo"ern Exposition Arehitecture

This exhibition of Modem Expos.ition Architecture is intended briefly to show the Successwith which the modern idiom has been expressed in Fair architecture and theMoMAExh_0049_MasterChecklist flexibility with which it lends itself to various uses. Emphasis has been placed on unity of design and coherence of planning rather than on social implication. The Stockholm Exposition makes explicit what becomes apparent in a study of these expositions: that a Fair planned with a strong central theme, one related to man's needs in modern civilization, will probably result in a Fair logically planned, homo. geneous in style and of contemporary value. It is necessary to add that the theme should he carried out. Most expositions have been dignified with impressive theses but have actually produced a confusion of heterogeneous architecture and haphazard planning.

1. Stockholm Exposition, Sweden, 1930. E. Gunnar Asplund, chief 3. Exposition of DecorativeArts, , architect France, 1925 Musical Instrument Pavilion PavilIon de L'Eeprtr Nouveau. Le Cor- Panoramic view busier, architect Decorative Ar-ts Pavilion 4. Pressa (World Press Exposition), Main entrance and exhibition offices , , 1928 Glass and Linoleum Pavilions. Swell :Markelins, architect Municipalities Pavilion Night view ADGB Pavilion. Hans Schumacher, Plan of Exposition architect

2. Werkbund Exhibition, Cologne, 5. Brno Exposition, Czechoslovakia, Germany, 1914 1928 Factory and Office of Deutzer Gasoline Pavilion of the City of Brno. Bohuelav Engi.ne Works. Walter Gropius and Fuchs, architect Adolf .i\feyer, architects (continued on other side) II. Fifth Triennial Exposition of Mod- 6. Barcelona Exposition, Spain, 1929 ern Decorative and Indu8lr'ia] Arts German Pavilion. Mies van cler Rohe, and Architecture, Milan, Italy, 1933 architect Plaza of Honor. Mario Sironi,designer Plan of Exposition Press Pavilion. Luciano Baldes ati , 7. Antwerp Exposition, Belgium, 1930 al"chitect an Finnish Pavilion. El'.ik Bryggm , ar- Air view and plan chitect 12. Brnssels Exposition, Belgium, 1935 8. Arts and Crafts Exposition, Vienna, Swedish Pavilion Austria, 1930 Czechoslovakian Pavilion Tourist Pavilion. Oswald Baerdtl, ar- chitect 13. Texas Centennial Exposition, Dal- 9. Building Exposition, , Ger~ las, June, 1936 mauy,1931 Pavilion for the Magnolia Petroleum View of Exposition. Mies van dec Company. William E. Lccazc, ar- Rohe, architect chitect Installation. Mies van der Rohe and Air view of layout Lilly Reich, designers 10. A Century of Progress, Chicago, 14. Paris Exposition, 1937 Trocadero .remodelled. Carlu, Boileau, MoMAExh_0049_MasterChecklist 1933. Panoramic View Azema, architects Plan Press Pavilion. Viret & Marmorel, ar- Entrance Gateway. Staff architects chitects Chrysler Building. Holabird and Root, General plan. Letrosne, Greber, M.atz- designers loff, architects; Creve!, director Avenue of Flags. Joseph Urban, de- signer