Tlrrerllagl0]Lals ENTRE () JARDIM E a PAISAGEM URBANA
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Ê, EXP0SIç0ES tlrrERllAGl0]lAls ENTRE () JARDIM E A PAISAGEM URBANA D0 pluicn DE cRtsTAt D0 P0RT0 (1065) Àrxposçno DE PARts (tell) I ]ITERTATIO]IAL EXPOSITIO]IS BEMEEN GARDEN AND TOrttlNSCAPE rR0M THE P0RI0 GRYSIAT PALIGE (lSS5) T0IllE PARIS EXHlBlIl0ll (1937) SERR,AIYEIS ABERTI'RA OPE1{I]lG ANA PINHO Presidente do Conselho de Administração da Fundação de Serralves President of the Board ofDirectors ofthe Serralves Foundation r3 FILIPE ARAÚJO Vereador do pelouro da Inovação e Ambiente da Cãmara Municipal do Porto Porto City Councillor for Innovation and the Environment l7 T]|TRODI,çAO I1lTRODUCTTOX TERESA PORTELA. MARqUES Comissária da Conferência Conference Curator 23 DA rDErA E C0lrCErr0 DE EXP0SIçA0 Dos JÄRllllls Aos PAUiGl0s llE vllln0 da Natureza AO PAUiCIO DE CRISTAT DO PORTO E SEIÍS JARDIIIS Joseph Paxton e a lnspiraçäo rR0M THE t0il A]{D C0I|GEPT 0t Ðposrilo]t FRllM GARIIEI{S Tll GTASS PATACES Joseph Paxton and the lnspiration of Nature TO IIIE CRYSTAT PATACT OF PORTO AilD ITS TARDEIIS KATE COLQUHOUN 33 87 pnocum pnoûRr$$o p0RT0 À [0 rtTnr 0 r I Ellnopl O PORTO ET il|EIDOS DO SÉGULO XIX Fotografia, Exposições lnternacionais, e caminho-de-ferro (1850-1900) Progresso e tradição entre rutura e continuidade Tllr 0llr$T ron PR0tRr$$ Btn|lrtl' p0RT0 ilr0 rlln0pr PORTO IlI THE TID.I9TH GEJIÎURY Photography, International Exhibitions, and Railways (1850-1900) Progress and tradition am0ng rupture and continuity FILIPA LOWNDES VICENTE JORGE RICARDO PINTO 35 r05 A JARIIIIIS IIfl PAUíGIÍ| IIE GRISTAT IIfl PfIRTfl 1{AL lnovaçä0, experimentaçäo e influência Plano, Pavilhã0, Corolário PflRTfl GRYSTAT PATAGE'S GAR¡IE}IS THEWORLD'I5FAIR lnnovation, experimentation and influence Plan, Pavilion, and Aftermath TERESA PORTELA MARqUES MARC TREIB 127 65 puilrlililill EXP0S|ç0ES, PtAilEAMEilTo URBAil0 0Jtlilill il0 rj[81il0 il0 c0ilrilTt [[$ ilP0$l00t$ lllTtnlllcl0llll$ E fl PRflJETfl IIE JARIIIIIS. IIE IIIEAIIÍ|S 0 trabalho de J,C.N. Forestier em Paris, Sevilha e Barcelona pÄRts D0 sÉGUr0 xtx À ¡xpostçA0 ltE DE t937 üRlilt ilt üMil Pull ll lllt lll ill t c0llrufi 0 I lllT[RlllÏl0llil üf P0$lTl0lls The work of J,C.N, Forestier in Paris, Seville and Barcelona EXP0SIT|0ilS, URBAil ptÄilltIilG AltD sÉNÉDrcrp LEcLERc GARIT E lt D ES I G il. tRo it trt I It - lt I lt ETE E t{TIt GEIITURY Tfl TIIE 1937 PARIS EXPflSITIflII 177 t53 0 flil Dt tlir t$lt0-TlP0 ilffi tTP0slç0E$ lllTtnlllcl0llil$ Jacques Gréber, arquiteto-chefe da Exposição Internacional de Paris de 1937 A.EXPOSçÃODE 18G,7 TllE HtD ü A lr0nL0 ttP0$lTl0ll'$ c0llTnoLilllû $YtE Um marco para as cidades e os jardins franceses Jacques Gréber, Planner of the 1937 Paris lnternational Exposition THE 1867 EXPOSITIOX DANILO UDOVICKI.SELB A milestone for French cities and gardens t97 STEPHANIE DE COURTOIS r55 OS JANDilS IIA ilP0srç40 DE r9gr Da Horticultura e Urbanismo à Arquitetura Paisagista? GINDEilS AT THE 1937 EXPOSIT¡OII Between Horticulture and Urbanism, Towards Landscape Architecture? BERNADETTE BLANCHON 2t9 ElIGERRAMEIITO GroslllG JOÃO PEDRO MATOS FERNANDES Ministro do Ambiente Minister of the Environment 245 NOTAS BIOGRAFICAS BIOGRAPHIGAL NOTES 255 TISTA DE FIGURÄS E GREIIITOS IIST OF FIGURES AIIII GREDITS 26t -l Tllt 0lJI$t t0R Pn0tRI$$ ffll|lilll P0RT0 illl tlJn0Pt Photography, lnternational Exhibitions, and Railways (1850-1900) FILIPA LO\Ir'NDES VICENTE LOCAL-GLOBAL: PORTO, EUROPE AND BEYOND Seeing exhibitions and travelling could be related experiences: the predominance of the visual, the hegemony of the eye. Reading could be present before, during or after the experience of seeing an exhibition or a country but vision dominat- ed the experience. Both were temporary experiences. To travel meant the passage through space and time. To see an exhibition was also a passage through time and space. In both travel and exhibitions, the traveller and visitor could be confront- ed by multiple layers of spaces and times - seeing the pyramids in Egypt, or its fragments exhibited at a European Museum, or seeing steam machines in an ex- hibition - the observer was challenged to move through the past to the future, from the future to the past. Intrinsic to both experiences - that ofgoing to an exhibition or that of travelling was the intimate relationship between knowledge and instruction. He or she should return home from a trip or an exhibition a rich- er, more informed, cultivated and empowered person. Of course, this is travelling as a leisurely experience, and not as other kinds of travelling that were akeady very common during the second half of the t9'h century. Those migratory itineraries that displaced thousands of people for economic and work-related reasons. As it happened globall¡ this was a period when many nations invested in developmental projects. \Mithin Portuguese historiograph¡ this period tends to be named Fontismo. The word Fontísmo, transformed into a noun, comes from the name ofthe minister Fontes Fereira de Melo, the engineer who instigated the de- velopment of railways as a way of improving industry commerce and agriculture. The dependence on foreign funds, mainly British, had negative consequences on THE OUEST F()R PROGRESS BETWEEN P()RTO AND TUROPE 35 ¿ L- I I l.a i I No. 499,-Vor.. rtx,l saT{tßDAY' JtLy 5, 1851. Two oø, i úù bbù.û.F d Nlt'ffi, TEN GA,EÀÎ EKtrIBITION. Elbù.'lMd{U@t toüt oBtftBÁt¡ ÁlrD MOEiltrMM xoDlÍ,g hla rd¡hh¡ l¡ 1¡(o ú¡¡!ð- .pFp@ llt*t ¡ drb!. d lhd¡6 d ¡e¡. tu údGuldsl@. tu&d$rtr.Ðt. Fig. I Cover of The lllustrated London News'special ed¡t¡on on the Great Exhibilion of London, Sarurday, July 5, 1851. national finances, with a resulting government instability that was voiced as the main characteristic of national politics during this period. The different threads of public works and policies were seen as the two sides of the same coin. One depended on the other, as could be seen in the most developed European nations that served as inspiration and goal. The develop- ¡ "\.-. .L::*:s¡.- ment of commerce and industry needed the development of transport. The Rail- way project was already anderway but Fontes, the minister-engineer made it a flagship of his reformist ideology. As a child, in 1853, accompanying his parents, the l(ing and Queen of Portugal, D. Pedro V was present at the laying of the first stone for the construction of the first railway line in Portuguese territor¡ while in 186r, as a young king, due to the early death of his mother, he inaugurated the line itself.' From the capital, Lisbon, to Carregado, further north, it was the first step for the construction of a national train network. The link with the rest of Europe could only be with Spain, something that happened in 186¡. It was not untilr9zz that Lisbon and Porto hadarailway line to unite them. Figl.2 Three photographic stereoscopies of the Cryslal Palace in Sydenham, exterior and inlerior, London, after 1860' 36 FILIPA LOWNDTS VICTNIT lI The involvement ofthe Portuguese royal familywith developmental, indus- of difference and contrast to the most developed trial and modernization projects should be placed in a wider context in which the nations, those thatwere also the main coloÑsers. British Royal family was a determining reference. Prince Albert, the German hus- Other differences, determinant to understand band of Queen Victoria had been grearly involved in the making of the first Great Portuguese history during this period were the Exhibition ofAll Nations that took place in London in r8Sr. While the Queen wrote ones between different European countries. On ofher enthusiasm at the sight ofthousands ofher subjects moving under the glass the one side, there were those European nations, and iron roof of the Crystal Palace. "Crystal', because being made of glass, as the such as Great Britain or France, which were able actual daguerreotype which a decade before inaugurated the photographic tech- to organise the first universal exhibitions and nique that would be the most common one in the first decade of photography. dominate the most industrialised and manufac- "Palace", because it was a special and distinguished building. However, unlike the tured displays (as the ones that had the capac- F¡g,3 Cover of the book Crystal Palace Viewg London, Sydenham, undated. Photographed and published by J. Russell & Sons. palaces as closed elitist spaces, destined for only a few privileged, these palaces iry to invest in a railway nenvork). on the other, were democratic spaces, destined to the masses, and open to all. Exhibitions were those countries, such as Pornrgal, which were, incorporated within the rites of the monarchy. And the enthusiasm of D. Pedro V as it was often repeated, at the further end ofthe with these events and what they meant was certainly related to his close relation- Iine. Those that could mainþ display agricultural ship with his uncle Prince Albert , afrgure of reference and an object of admiration and handmade products, and where industrial- for the young Portuguese prince who was an assumed enthusiast of all that could isation was still an effort. Portugal was here. In be placed under "Tgth century Modernity''. the "suburbs ofEurope". Conscious ofthe model London's Crystal Palace was not only an architectural prototype, a mate- that should be sought after and making much rial model of a building, but an idea, an idea of sharing world knowledge with all effort to participate in the discourses and prac- and including these in the values proposed by exhibitions. The great quantity of tice of contemporary þrogress". \Mhile being written publications that surrounded the opening ofeach ofthese events are rich permanently confronted with the difficulties of in words of progress, modernity, industry, openness, improvement, and amelio- engaging with this paradigm.