DOCSLIB.ORG

1 a Chanson Des Vieux Amants? Belgium and the World's Fairs Dr. Rika Devos Department of Architecture & Urban Planning, Gh

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 a Chanson Des Vieux Amants? Belgium and the World's Fairs Dr. Rika Devos Department of Architecture & Urban Planning, Gh A chanson des vieux amants? Belgium and the world’s fairs dr. Rika Devos Department of Architecture & Urban Planning, Ghent University St.-Lucas, Department of Architecture, Wenk World’s fair architecture: a setting for discussion World’s fairs would have lost their meaning in today’s mediatised global village: in 2010, this is old news, as world’s fairs, by their very existence, continue to deliver proof of the will to show, to (re)consider, nothing less than the world. Printed press, live satellite television, Internet, YouTube and Skype, multinational corporations, free travel, changed concepts of the nation and international relations, Europe without borders: all these eye and mind openers have not, as was suggested by many in the 1990ies, drained the sense and purpose from world’s fairs. Ever since the first post-war world’s fair – Expo 58, held in Brussels – organisers have publically questioned the use of their events, as from the 1950s onwards, evolutions in science, (tele)communications and transportation theoretically made the world accessible to all. But world’s fairs offer a specific view of the world, bound by place, time and the exhibition’s theme, which give order and sense to the gathering. Indeed, one of the criteria used by the BIE1 to grant a city the right to organise a world’s fair is the choice and elaboration of a relevant theme. Such a theme – in case of Shanghai 2010 ‘Better City, Better Life’ – has to set the goals for the fair, give sense to the efforts of the participants, provide an opportunity to differentiate from others and unite all in a conceptual way. Organizing or participating in world’s fairs is about making choices, taking stances, speaking publically about the theme and, in doing so, shaping a specific voice or authentic identity: hence today’s potential significance of world’s fairs. At world’s fairs, the choices made and stances taken are expressed essentially in architecture. These positions are steered by the representation of progress. It was Italian writer and semiotician Umberto Eco, who, after his visit to the Montreal 1967 fair, pointed at this binding concept of progress – projecting the future – as essential to the history of world’s fairs.2 Moreover, this history reflects the constancies and radical changes in our concepts of progress and its representations. Another aspect Eco forwarded in his lucid analyses, albeit implicitly, is that projecting the future – with utopian or realistic aims – is an essentially architectural occupation at world’s fairs. The general language at a world’s fair is a language of images: images determined by 1 BIE: the Bureau International des Expositions, founded in 1928, is the intergovernmental organization in charge of overseeing the calendar, the bidding, the selection, and the organization of international exhibitions and world’s fairs. 2 Umberto Eco, “A theory of exhibitions,” Faith in Fakes. Travels in Hyperreality (London: Vintage, 1998), 293. 1 the architectural settings of the site, by a single pavilion or by a specific exhibition feature. World’s fairs are fabrications, motivated by a specific theme, shaped by designers, commissioners and organisers who all attach specific meanings and messages to these images of architecture. (image: Shanghai 2010) The Belgian presence at world’s fair has a long, rich and challenging history. The sequence of pavilions and universal exhibitions erected for the representation of Belgium from 1851 onwards displays recurrent questions and reflexes, but also changing ways to link the Belgian voice with architectural commissions. The challenge to represent the Belgian nation has been met over and over again, shaped according to the formats of the era. Belgium, although among the smallest of nations, has always been an important player in the evolution of world’s fairs and the way the nation was and is represented at world’s fairs is telling for the shifts and constancies in the functioning of great exhibitions and for the appreciation of the changing role of architecture in this process. The early world’s fairs: Belgium as an important part of a rational, harmonic world As a young nation, Belgium was an eager and noted participant at every major world’s fair in the nineteenth century, and this since the very first world’s fair: the 1851 Great Exhibition of the Works of Industry of All Nations in Hyde Park, London. The Belgian representation is documented as an important one in the 1851 Crystal Palace, but few details are known. By participating in this universal exhibition, Belgium not only placed itself among the important European nations, but also inscribed, spatially and conceptually, in the general order that was designed to demonstrate the world to the fairgoers in an intelligible manner. Architecture was an important tool to shape and represent this rational order. The fair assembled its participants in the Crystal Palace, designed by Joseph Paxton and built for the occasion. The palace delivered the prototype for the architectural setting of most early fairs. The Crystal Palace, a technically vanguard glass and steel structure based on a technology for the construction of greenhouses, covered 7,6 hectares and housed the majority of the exhibits stemming from 27 nations and their colonies. The typology of the Crystal Palace physically united and (re)organised the world in one comprehensive building and enabled direct comparison between the artefacts and tools of the participating nations. These exhibits, chosen by the participants as representative of their latest accomplishments and knowledge, displayed the state of affairs for each nation, but also, in sum, for the world. This world was structured encyclopaedically, arranged following distinct sections and classes. Hence what is really at stake in the organisation of a world’s fair, apart from the diplomatic, political, social and economic steps to be undertaken, is the representation of the 2 world in spatial, architectural terms. The Crystal Palace also demonstrates the potential of universal exhibitions to raise discussion on the formal and spatial appearance of the architecture deemed appropriate to house and represent progress. John Ruskin and Augustus W.N. Pugin, for instance, strongly opposed the ‘unfit algebra’ of Paxton’s Palace.3 It was deemed too bold and unsuitable for its noble task. In the nineteenth century, Belgium organised four great exhibitions on its own territory: in Antwerp (1885 and 1894) and in Brussels (1888 and 1897). These international exhibitions were preceded by a monumental national fair, held in Brussels 1880 to celebrate Belgium’s fiftieth anniversary, for which the Cinquantenaire or Jubelpark was equipped with an eclectic, monumental complex designed by the city architect of Brussels, Gédéon Bordiau (1832-1904). For the Antwerp fair of 1885, located in the new city district in the southern part of town, again Bordiau designed the Hall of Machinery and the Hall of Decorative Arts. The latter had a stupendous triumphal arch as entrance gate, designed by Jean-Laurent Hasse (1849-1919). (image Antwerp 1885) Next to the palaces, the site was equipped with a jardin à l’anglaise where the freestanding follies and ‘exotic’ pavilions of the European colonies were located.4 While few traces of the 1885 fair remain today, parts were recuperated for the Antwerp 1894 exhibition, designed mainly by Hasse. Once more, a scenic park and a monumental hall dominated the plan of the fair. In addition, 120 pavilions were erected in the garden and grouped into specific quarters, planned by Joseph Maton. Yet the most popular area of the site was Old Antwerp, a homogenised wood and plaster, precise reconstruction of an historic Antwerp urban quarter. In between the two Antwerp world’s fairs, Brussels had organised its first international exhibition in 1888, once more with Bordiau as architect-in-chief. The location of the Cinquantenaire was reused and enlarged. The Cinquantenaire served as a venue once more for the 1897 Exposition internationale de Bruxelles. This exhibition additionally covered 96 hectares in the Tervueren Park, where the colonial exhibition, including an inhabited native village, was installed. The panoramic Tervueren Avenue connected the Cinquantenaire with the Palace of Colonies, built in a Louis XVI-style by the architect Ernest Acker (1852-1912). In the interior of the palace, renowned architects like Paul Hankar, Henry van de Velde or Gustave Serrurier-Bovy designed the colonial exhibition stands. Through their designs, the 1897 exhibition not only introduced the colony to the public, but also established the emerging art nouveau. 3 Wolfgang Friebe, Buildings of the World Exhibitions (Leipzig: Edition Leipzig, 1985), 21. 4 Piet Lombaerde, “Architecture of exhibitions and urban development in Antwerp,” in De panoramische droom. Antwerpen en de wereldtentoonstellingen. The panoramic dream. Antwerp and the World Exhibition. 1885. 1894. 1930, ed. Mandy Nauwelaerts and others (Antwerp, 1993), 95-97. 3 The Belgian fairs demonstrate the evolution in the settings of the fairs, which became more and more complex and fragmented. From a single hall with some ephemeral structures for entertainment in its margins, world’s fair sites developed into complex locations, with several thematic international palaces for the arts or for machinery, completed with follies and other, small freestanding structures and pavilions. This splintering or spatial chaos appears to be inherent to the attempts to rationalise the world and to control the fair and its public. World’s fairs demonstrate the impossibility to render the world fully intelligible and organised, on the physical, but also on the organisational, economic or political level. The diversity and size of the display appeal to the imagination of fairgoers. As philosopher Lieven De Cauter has explained in his seminal text, the experiences of large quantities – of exhibits, of nations, of identities, of fairgoers – eventually led to “the collapse of a whole system of representation”, which gave rise to an entire new series of frightening and exciting experiences.5 De Cauter speaks of the “panoramic ecstasy,” the thrill triggered by the experience of unintelligible vastness.
Load more

Recommended publications
  • Une «Flamandisation» De Bruxelles?
    Une «flamandisation» de Bruxelles? Alice Romainville Université Libre de Bruxelles RÉSUMÉ Les médias francophones, en couvrant l'actualité politique bruxelloise et à la faveur des (très médiatisés) «conflits» communautaires, évoquent régulièrement les volontés du pouvoir flamand de (re)conquérir Bruxelles, voire une véritable «flamandisation» de la ville. Cet article tente d'éclairer cette question de manière empirique à l'aide de diffé- rents «indicateurs» de la présence flamande à Bruxelles. L'analyse des migrations entre la Flandre, la Wallonie et Bruxelles ces vingt dernières années montre que la population néerlandophone de Bruxelles n'est pas en augmentation. D'autres éléments doivent donc être trouvés pour expliquer ce sentiment d'une présence flamande accrue. Une étude plus poussée des migrations montre une concentration vers le centre de Bruxelles des migrations depuis la Flandre, et les investissements de la Communauté flamande sont également, dans beaucoup de domaines, concentrés dans le centre-ville. On observe en réalité, à défaut d'une véritable «flamandisation», une augmentation de la visibilité de la communauté flamande, à la fois en tant que groupe de population et en tant qu'institution politique. Le «mythe de la flamandisation» prend essence dans cette visibilité accrue, mais aussi dans les réactions francophones à cette visibilité. L'article analyse, au passage, les différentes formes que prend la présence institutionnelle fla- mande dans l'espace urbain, et en particulier dans le domaine culturel, lequel présente à Bruxelles des enjeux particuliers. MOTS-CLÉS: Bruxelles, Communautés, flamandisation, migrations, visibilité, culture ABSTRACT DOES «FLEMISHISATION» THREATEN BRUSSELS? French-speaking media, when covering Brussels' political events, especially on the occasion of (much mediatised) inter-community conflicts, regularly mention the Flemish authorities' will to (re)conquer Brussels, if not a true «flemishisation» of the city.
    [Show full text]
  • Bauhaus Networking Ideas and Practice NETWORKING IDEAS and PRACTICE Impressum
    Museum of Contemporary Art Zagreb Zagreb, 2015 Bauhaus networking ideas and practice NETWORKING IDEAS AND PRACTICE Impressum Proofreading Vesna Meštrić Jadranka Vinterhalter Catalogue Bauhaus – Photographs Ј Archives of Yugoslavia, Belgrade networking Ј Bauhaus-Archiv Berlin Ј Bauhaus-Universitat Weimar, Archiv der Moderne ideas Ј Croatian Architects Association Archive, Graphic design Zagreb Aleksandra Mudrovčić and practice Ј Croatian Museum of Architecture of the Croatian Academy of Sciences and Arts, Zagreb Ј Dragan Živadinov’s personal archive, Ljubljana Printing Ј Graz University of Technology Archives Print Grupa, Zagreb Ј Gustav Bohutinsky’s personal archive, Faculty of Architecture, Zagreb Ј Ivan Picelj’s Archives and Library, Contributors Museum of Contemporary Art, Zagreb Aida Abadžić Hodžić, Éva Bajkay, Ј Jernej Kraigher’s personal archive, Print run Dubravko Bačić, Ruth Betlheim, Ljubljana 300 Regina Bittner, Iva Ceraj, Ј Katarina Bebler’s personal archive, Publisher Zrinka Ivković,Tvrtko Jakovina, Ljubljana Muzej suvremene umjetnosti Zagreb Jasna Jakšić, Nataša Jakšić, Ј Klassik Stiftung Weimar © 2015 Muzej suvremene umjetnosti / Avenija Dubrovnik 17, Andrea Klobučar, Peter Krečič, Ј Marie-Luise Betlheim Collection, Zagreb Museum of Contemporary Art, Zagreb 10010 Zagreb, Hrvatska Lovorka Magaš Bilandžić, Vesna Ј Marija Vovk’s personal archive, Ljubljana ISBN: 978-953-7615-84-0 tel. +385 1 60 52 700 Meštrić, Antonija Mlikota, Maroje Ј Modern Gallery Ljubljanja fax. +385 1 60 52 798 Mrduljaš, Ana Ofak, Peter Peer, Ј Monica Stadler’s personal archive A CIP catalogue record for this book e-mail: [email protected] Bojana Pejić, Michael Siebenbrodt, Ј Museum of Architecture and Design, is available from the National and www.msu.hr Barbara Sterle Vurnik, Karin Šerman, Ljubljana University Library in Zagreb under no.
    [Show full text]
  • Hwang, Yin (2014) Victory Pictures in a Time of Defeat: Depicting War in the Print and Visual Culture of Late Qing China 1884 ‐ 1901
    Hwang, Yin (2014) Victory pictures in a time of defeat: depicting war in the print and visual culture of late Qing China 1884 ‐ 1901. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/18449 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. VICTORY PICTURES IN A TIME OF DEFEAT Depicting War in the Print and Visual Culture of Late Qing China 1884-1901 Yin Hwang Thesis submitted for the degree of Doctor of Philosophy in the History of Art 2014 Department of the History of Art and Archaeology School of Oriental and African Studies, University of London 2 Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person.
    [Show full text]
  • Phase 2 : Analyse De L'offre Et De La Demande
    BRUXELLES ENVIRONNEMENT Développement d’une stratégie globale de redéploiement du sport dans les espaces verts en Région de Bruxelles-Capitale Phase 2 : Analyse de l’offre et la demande Octobre 2017 1 Bruxelles Environnement – Développement d’une stratégie globale de redéploiement du sport dans les espaces verts en Région de Bruxelles-Capitale Document de travail - Phase 2 – Analyse de l’offre et la demande – Octobre 2017 Table des matières Introduction........................................................................................................................................4 A. Analyse par sport ........................................................................................................................5 1. Méthodologie de l’analyse quantitative ...................................................................................5 1.1. Carte de couverture spatiale par sport .............................................................................9 1.2. Carte de priorisation des quartiers d’intervention par sport .............................................9 2. Méthodologie de l’analyse qualitative ................................................................................... 15 3. Principales infrastructures présentes ..................................................................................... 18 3.1. Pétanque ....................................................................................................................... 18 3.2. Football ........................................................................................................................
    [Show full text]
  • Brussels Art Nouveau Datasheet
    Image not found or type unknown Image not found or type unknown TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us Published 25th Jun 2018 Image not found or type unknown Brussels Art Nouveau Walks in the Center Brussels Art Nouveau ISBN 9782390250456 Publisher Lannoo Publishers Binding Paperback / softback Territory USA & Canada Size 6.3 in x 9.06 in Pages 176 Pages Illustrations 140 color, 50 b&w Price $34.95 Nine walks to discover the multiple aspects of architectural Art Nouveau in Brussels Including maps, places to visit, information about guided tours and notes From Victor Horta, in an organic style to Paul Hankar, in a more geometrical tendency (Re)discover Art Nouveau at the heart of Brussels. At the end of the 19th century, the anti-academic movement pushed Brussels' architects towards Art Nouveau. Both Victor Horta, in an organic style, and Paul Hankar, in a more geometrical tendency, created an architecture that quickly gained an international reputation. In a little more than a decade, from 1893 on, hundreds of Art Nouveau- fashioned buildings appeared in Brussels, elaborated first by the great pioneers and later by their students and imitators who are also influenced by the Vienna Secession and other trends of European Art Nouveau. At first, this style fulfilled industrial bourgeoisie's dreams, yearning to assert itself in the city's structure through this new, and sometimes exuberant, architecture. This book offers nine walks to discover - in different districts - the multiple aspects of architectural Art Nouveau in Brussels.
    [Show full text]
  • Shanghai, China's Capital of Modernity
    SHANGHAI, CHINA’S CAPITAL OF MODERNITY: THE PRODUCTION OF SPACE AND URBAN EXPERIENCE OF WORLD EXPO 2010 by GARY PUI FUNG WONG A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOHPY School of Government and Society Department of Political Science and International Studies The University of Birmingham February 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines Shanghai’s urbanisation by applying Henri Lefebvre’s theories of the production of space and everyday life. A review of Lefebvre’s theories indicates that each mode of production produces its own space. Capitalism is perpetuated by producing new space and commodifying everyday life. Applying Lefebvre’s regressive-progressive method as a methodological framework, this thesis periodises Shanghai’s history to the ‘semi-feudal, semi-colonial era’, ‘socialist reform era’ and ‘post-socialist reform era’. The Shanghai World Exposition 2010 was chosen as a case study to exemplify how urbanisation shaped urban experience. Empirical data was collected through semi-structured interviews. This thesis argues that Shanghai developed a ‘state-led/-participation mode of production’.
    [Show full text]
  • A La Découverte De L'histoire D'ixelles
    Yves de JONGHE d’ARDOYE, Bourgmestre, Marinette DE CLOEDT, Échevin de la Culture, Paul VAN GOSSUM, Échevin de l’Information et des Relations avec le Citoyen et les membres du Collège échevinal vous proposent une promenade: À LA DÉCOUVERTE DE L’HISTOIRE D’IXELLES (3) Recherches et rédaction: Michel HAINAUT et Philippe BOVY Documents d’archives et photographies: Jean DE MOYE, Michel HAINAUT, Jean-Louis HOTZ, Emile DELABY et les Collections du Musée communal d’Ixelles. ONTENS D OSTERWYCK Réalisation: Laurence M ’O Entre les deux étangs, Alphonse Renard pose devant la maison de Blérot (1914). Ce fascicule a été élaboré en collaboration avec: LE CERCLE D’HISTOIRE LOCALE D’IXELLES asbl (02/515.64.11) Si vous souhaitez recevoir les autres promenades de notre série IXELLES-VILLAGE ET LE QUARTIER DES ÉTANGS Tél.: 02/515.61.90 - Fax: 02/515.61.92 du lundi au vendredi de 9h à 12h et de 14h à 16h Éditeur responsable: Paul VAN GOSSUM, Échevin de l’Information - avril 1998 Cette troisième promenade est centrée sur les abords de la place Danco, le pianiste de jazz Léo Souris et le chef d’orchestre André Flagey et des Étangs. En cours de route apparaîtront quelques belles Vandernoot. Son fils Marc Sevenants, écrivain et animateur, mieux réalisations architecturales représentatives de l’Art nouveau. Elle connu sous le nom de Marc Danval, est sans conteste le spécialiste ès permettra de replonger au cœur de l’Ixelles des premiers temps et jazz et musique légère de notre radio nationale. Comédien de forma- mettra en lumière l’une des activités économiques majeures de son tion, il avait débuté au Théâtre du Parc dans les années ‘50 et profes- histoire, la brasserie.
    [Show full text]
  • If You Decide to Join Us, Send Your Reservation Form and Deposit Right Away
    Wallonia, Brussels, and Champagne April 27 to May 12, 2017 We encourage you to look over the description below; if you decide to join us, send your reservation form and deposit right away. Interest in this tour is exceptionally strong, with 75% of the space tentatively reserved, even before the announcement of specific dates and prices. The overall size of the group will not exceed 25 participants, with certain elements limited to only 20. Wallonia, the French-speaking southern half of Belgium, is a land of charming old cities, picturesque castles, peaceful abbeys, gently rolling hills, breathtaking river valleys, and lush forests. Join us in May 2017 to discover the artistic, historical, cultural, and culinary heritage of Wallonia, plus Belgium's capital, Brussels. We will also visit the Champagne region of Northern France including the city of Reims before ending up in Paris; you can either spend a few days on your own there or return directly to the States. Musically speaking, the main attraction is four days at the International Chamber Music Festival Resonances, which takes places in the peaceful environment of Halloy Castle and involves a whole roster of major international musicians. Following one of our three concerts, we will enjoy dinner with the artists. From our base in another chateau, our spare time will be dedicated to visiting the charming chateaux, villages, and gardens nearby. Opera and concert seasons for 2017 have yet to be announced, but we hope to attend a performance at the Royal Opera House of Wallonia or the Philharmonic Orchestra of Liège, and at the famed opera house, La Monnaie in Brussels.
    [Show full text]
  • Coversheet for Thesis in Sussex Research Online
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details The Everyday Practice and Performance of European Politics: An Ethnography of the European Parliament. Amy Busby Candidate Number: 58390 Registration Number: 20913681 Supervisors: Prof Paul Taggart & Dr Jon Mitchell Thesis Submitted for the Degree of Doctor of Philosophy in Contemporary European Studies University of Sussex August 2013 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature: 2 Acknowledgements: In this thesis, an understanding of ethnographers as bricoleurs is presented. The researcher is understood as a jack-of-all-trades and research as an interactive process shaped by the setting and participants at that moment. Much of this can also be said of the doctoral process and experience. This thesis has been shaped by the people and places I have encountered during my journey which could not have been completed without the support, faith, and goodwill of those I would like to thank here.
    [Show full text]
  • Prodways Group
    2018 ANNUAL REPORT Summary 2018 ANNUAL REPORT 1 OUR VALUES, OURdEMPLOYEES AND OUR CSR COMMITMENTS 131 5 5.1General approach and methodology 132 OVERVIEW OF THE GROUP AND ITS BUSINESSES 7 5.2 3D printing: a production method that meets the challenges of sustainable 1 1.1Key figures 8 development 135 1.2Overview of the Group and its businesses 10 5.3 Building a major player in technological 1.3 Strategy and outlook, investment and R&D innovation 135 policy 18 5.4 Medical: an area of strategic development 1.4 Analysis of consolidated performance and for PRODWAYSdGROUP 137 business sectors 20 5.5Commitments to its employees 138 1.5 Activities and results of PRODWAYS GROUP 5.6 Activities with limited impact on climate SA 23 change and the environment 142 1.6Risk factors 25 5.7 Report by the independent third-party entity on the consolidated statement of non-financial performance in the CORPORATE GOVERNANCE 35 management report 144 2.1Governance 36 2 2.2Corporate officer remuneration policy 45 INFORMATION ON THE SHAREHOLDERS’ 2.3 Company reference to a Corporate MEETING OF 7dJUNE 2019 147 Governance Code and its application by the 6 6.1 Report of the Board of Directors presenting Company 54 the resolutions submitted to the combined 2.4 Special arrangements, if any, regarding shareholders’ meeting of 7dJune 2019 148 shareholder participation in shareholders’ 6.2 Draft resolutions for the ordinary and meetings 55 extraordinary shareholders’ meeting of 2.5 Regulated agreements, related-party 7dJune 2019 152 agreements and current agreements 56
    [Show full text]
  • Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata
    Gabriel P. Weisberg book review of Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Citation: Gabriel P. Weisberg, book review of “Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata,” Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002), http://www.19thc-artworldwide.org/autumn02/254-art- nouveau-and-the-social-vision-of-modern-living-belgian-artists-in-a-european-context-by- amy-fumiko-ogata. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2002 Nineteenth-Century Art Worldwide Weisberg: Art Nouveau and the Social Vision of Modern Living Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Amy Fumiko Ogata Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context Cambridge: Cambridge University Press, 2001 239 pp.; 72 b/w photos, 8 color ills.; $75.00 (hardcover) ISBN 0521643287 At the turn of the twentieth century Belgian designers and architects were emerging as the dominant influence in innovative decorative design and new architectural forms that in turn became models for other countries. Painters such as Henry van de Velde eloquently expressed the importance of design reform as they moved from a consideration of only one medium toward embracing all of the arts simultaneously. Through exhibitions of Les Vingt and later La Libre Esthétique, many of Van de Velde's colleagues also embraced the concept of design reform as the means to create a universal style—an art nouveau—that would help them achieve a heightened creativity while theoretically assist in improving society at large.
    [Show full text]
  • Internship Programme GUIDE for NEWCOMERS
    Internship Programme GUIDE FOR NEWCOMERS Internship Programme GUIDE FOR NEWCOMERS 2017 Internship Programme GUIDE FOR NEWCOMERS 4 Internship Programme GUIDE FOR NEWCOMERS TABLE OF CONTENTS Welcome Note from the Secretary General ............................................................................................................................................................................... 6 Introduction ................................................................................................................................................................................................................................................................. 8 1. ABOUT THE INTERNSHIP PROGRAMME ..................................................................................................................................................................... 10 A. Background ............................................................................................................................................................................................................................................ 11 B. General Conditions ........................................................................................................................................................................................................................ 12 C. Proceduress ............................................................................................................................................................................................................................................
    [Show full text]