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Which clippings match 'Pavilion' keyword pg.1 of 1

The 1907 Exposition Coloniale de Vincennes

"Souvent oubliée, l'exposition coloniale de 1907 dont l'ambition se limitait aux colonies françaises a été organisé au bois de Vincennes, en lisière de la commune de Nogent–sur–Marne. Le lieu même de cette petite exposition organisée par la Société Française de Colonisation, est resté intact, et l'on peut encore se promener à travers quelques pavillons de 1907, même si certain ont subi les outrages irrémédiables du temps et de la tempête de 1998.

Cinq villages sont reconstitués (Indochine, Madagascar, Congo, Soudan, Tunisie, Maroc) selon les grandes possession de l'empire français. Les indigénes de ces colonies avaient été amené pour parfaire l'animation. Il s'agissait de locaux, à qui on avait proposé un contrat et un salaire pour venir en France habiter ces villages sensés montrer comment l'on vit là–bas. Une fois sur place il est indéniables que ces personnes faisaient le spectacle à l'encontre de ce qu'aujourd'hui on appellerait la dignité humaine. Le visiteur pouvait voir de ses propres yeux, ses indigénes dont on parlait aux actualités cinématographiques. Rites religieux, danses, artisanat, la limite de l'exibition était sans aucun doute dépassée."

(Sylvain Ageorges)




190719th centuryAboriginalalien and strange • bois de Vincennes • Cambodia • Colonial Exhibition (1907) • colonial historycolonial mentalitycolonial powercultural differencecultural hegemonycultural imperialismcultural narrativesculture and customs • degrading • Democratic Republic of Congodignity • ethnographic zoos • ethnological expositions • European imperialism • exotic populations • fictional settingFranceFrench empire • French Indochina • human dignity • human zoos • Jardin dAgronomie Tropicale • Laosliving history museumMadagascar • Morocco • native peoplenatives • negro villages • Nogent-sur-Marne • non-European peoples • patronisingpavilion • primitive state • racismreconstruction • scientific racism • social Darwinism • Societe Francaise de Colonisation • Sudan • Sylvain Ageorges • theme parkTunisia • unilinealism • Vietnam


Simon Perkins
12 JUNE 2012

The Florida Project: Disneyland's fore-project

"During the planning and construction of Disneyland, Walt had been introduced to the basic concepts of urban design and slowly became a self–taught expert in the field. Such seemingly dry concepts as city planning and urban decay fired his imagination. When Disney's Chief Archivist Dave Smith catalogued Walt's office in 1970, one of the books on a shelf behind Walt's desk was architect Victor Gruen's The Heart of Our Cities: The Urban Crisis, Diagnosis and Cure.

'Walt was serious about that city,' Marty [Sklar] explains. 'And he had a lot of work being done at the time' to explore its viability. Walt asked for Marty's help to coalesce his thoughts so he could produce a film to explain the project, and, over the next several months, Marty wrote a script for a 24–minute film that detailed the 'Florida Project.' In the film, an ebullient Walt explains the concept of Epcot – a full–scale city of the future where people would live, work, and play in comfort. An international shopping district would re–create scenes from around the world, and American industry would have a showcase for the latest technologies.

Walt shot the short film in October 1966. Eight weeks later, he was gone.

The brief–but–potent film, however, lived on. It was shown a handful of times in early 1967 to key constituencies: the Florida Legislature, invited guests (for a packed presentation in a Winter Park theater), and once on statewide television. The film proved vital in convincing both the Legislature and voters that Disney's Florida Project should be approved, which it was. From the moment the project was given the go–ahead, Marty says, the Company's resources were dedicated to getting Walt Disney World up and running and to regaining confidence in the absence of its founder and leader."

(John Singh and Steven Vagnini, 07 June 2012)



1964 • 1964 New York Worlds Fair • 1966amusement parkanniversaryarchitectural conjecture • astuter computer • city • city planning • concept artwork • Disney World ProjectDisneylandEPCOTEPCOT Center • Epcot music • Epcot on Film • Epcot tunes • evolving city • Experimental Prototype Community of TomorrowFloridafuturistfuturisticfuturistic designgeodesic • geodesic sphere • idealismimagineering • Marty Sklar • never made it off the drawing board • noveltypavilionRay Bradbury • smellitzer • technological innovationtechnological utopianism • technology showcase • theme parkurban designurban planning • Victor Gruen • Walt DisneyWalt Disney CompanyWalt Disney WorldWalt Disney World Resort


Simon Perkins
03 JUNE 2011

The hospital, contains the complete arsenal of modern healing, but is devoted to a radical deescalation of the medical process

"The hospital is a sequence of pavilions, each devoted to a particular disease. They are connected by a medical boulevard –a slow–moving belt that displays the sick in a continuous procession, with a group of dancing nurses in transparent uniforms, medical equipment disguised as totem poles, and rich perfumes that suppress the familiar stench of healing, in an almost festive atmosphere of operatic melodies.

Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality, and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyer; perhaps another doctor tries the patient, but it soon becomes apparent that the belt leads beyond the pavilions, through the cruciform building, and straight into the cemetery."

(Koolhaas, R., M. Vreisendorp, et al.)

Fig.1 – 9 Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972). 'Exodus, or the voluntary prisoners of architecture'











1972appropriation • architectural sequence • arsenal • boulevardcemeterycollage • continuous procession • conveyer belt • cruciform • cut-outcut-out illustrationdancingdiseasedoctor • Elia Zenghelis • exodus • festive atmosphere • graphic style • healing • hospitalillustrationimaginary landscapes • Madelon Vreisendorp • medical boulevard • medical equipment • medical knowledge • medical process • melody • modern healing • nurseoperationpatientpavilionperfumephotocollagephotomontageplayful • prisoners of architecture • radical deescalation • Rem Koolhaassequencespace-framespatial narrativesspeculative design • totem poles • uniform • urban speculation • vitality • Zoe Zenghelis


Simon Perkins
30 DECEMBER 2003

Virtual Reality: Pre-digital Immersion Experiments

Oliver Grau (2003 Virtual Art)
Millstones – an incomplete history:

  • cir. 365BC Allegory of Plato's Cave: image projections of people, projected on a cave wall 'fools' spectators into believing that the images are actual people (
  • 1894 – stereopticon: 16 slide projectors working in rapid succession, projecting circular pictures.
  • 1895 – Lumiere brothers – Arrivée d'un train en gare le Ciotat: the film causes viewers to rush for the door, believing that they were about to be run–down by the travelling train.
  • 1900 – Cinéorama (World Exhibition, Paris): 10 70mm film projects simultaneously, forming a connected 360 degree image.
  • 1900 – Cinéorama/mareorama (Le Tour du Monde, dioramas of colonies, panaramas of Madagascar and the Congo).
  • 1921 – Teleview: first 3–D film. The technique used red and green coloured projections that were separated–out by two–colour glasses worn by patrons.
  • 1939 – New York World Exhibition: Building the world of tomorrow (plans for new urban development). Futurama: Norman Bel Geddes – a scale–model of an American city in the 1960's.
  • Late 1930's – early 1960's – US. Vitarama/Cinerama: Fred Waller – used by the US air force to improve flight simulators but also screened commercially. The films were shot using three cameras and presented with stereoscopic sound.
  • 1947 – O Stereokino: Sergei M. Eisenstein – an essay stressing the synthesis of all art genres. Despite failing to offer any suggestions as to how to produce such an instrument, he believed that such a device would allow images to 'pour' from the screen into the film auditorium – stereo sound would be essential. The experience would immerse, capture, involve, and engulf the viewer.
  • 1960 – Stereoscopic television apparatus for individual use: Morton L. Heilig – patented 3–D TV using miniature TV screens a users glasses. Commercial application built
  • 1962 – called: Sensorama Simulator.
  • 1964 – Marshall McLuhan: appropriated the term symbiosis to describe the relations between humans and machines.
  • 1970 – Osaka World Exhibition: Pepsi–Cola pavilion presented a near synaesthetic experience using dry ice, interactive laser effects, stroboscopes, and music.
  • 1970's – 1980's – Omnimax: small immersive circular cinemas with spherical projection, extending the viewer's ambient viewing array to 160 degrees.
  • 1974 – film: Earthquake: Robson – included haptic sensations that shock cinema seats.
  • 1981 – Polyester: John Waters – including smells. The entrance ticket came with a card which cinemagoers rubbed during appropriate film sequences, releasing corresponding smells.
  • 1990's – 3–D IMAX (modern–day panorama): The movies take spectators to inaccessible, far–off foreign places.
  • 2000 – Hanover World Exhibition EXPO Planet m: Bertelsmann.



3-D TV • allegory of the caveambient • Auguste Lumiere • cave • cineorama • Eisenstein • futurama • Heilig • historyIMAXimmersionimmersive experiencelaser • Louis Lumiere • Lumiere Brothers • mareorama • new media art timeline • O stereokino • omnimax • pavilionPlato • Polyester • projection • stereopticon • stereoscopic • stroboscope • synaesthesia • teleview • timelinevirtual reality • vitarama • Waller • Waters • World Exhibition

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