Pavilion Choices

I've just assigned the remaining people their pavilions. If one of you wants to trade for Iran, let me know. I'll keep the choices posted here.
Asterisked pavilions are ones that I will use for additional research about experimentation with cinematic spaces of projection at Expo '67. Those with asterisks will be contacted about this in a few days. We'll all talk about this in a few weeks.

19 Place d’Accueil : Matt Slingerland
23 Labyrinth* : Justin Brown
24 & 25 Habitat : Jack Mussett
36 Polar Regions* : Will Denman
46 Netherlands : Scott Stewart
46 Scandinavia : Lauren Rentschler
47 Telephone* : Stuart Allison
47 Iran
47 Japan : Will Butler
48 Korea : Forrest "Damon" Faulkner
48 Maine : Mark Stanley
50 Western Provinces ; Adrian Larriva
54 Czechoslovakia* : Sean O'Brien
55 Cuba : Lauren Segapeli
55 Chatelaine Magazine : Jonathan Creel
57 & 58 Ethiopia : Akilas Abera
58 Kaleidoscope* : Brielle Rouse
59 CP/Cominco* : Craig Dixon

Assignment #2 : Archival Research

Once you select a pavilion and I verify your selection then you are ready to start research.

You will need to go to the Archives de Montreal.
Those of you whose pavilions are on the same reel (bobine) should go together to do this task.
There are two machines that read the reels and print them onto 11 by 17 paper. You will want to get the best copies you can possibly get. You will copy every image associated with your pavilion on the reel(s). The photocopies will cost you money.

Archives de Ville de Montréal
Hôtel de ville de Montréal
Salle de consultation Conrad-Archambault
275, rue Notre-Dame Est, R-108
Montréal (Québec) H2Y 1C6
(Métro Champ-de-Mars)
Heures d’ouverture : Lundi au vendredi (sauf les jours fériés) de 8 h 30 à 12 h 00 et de 13 h 00 à 16 h 30

LINK TO THE ARCHIVES

Everything about this archives is en francais. You research what you want, fill out a request slip, wait, receive your documents, and peruse.
I am emailing the archivists about you, what you will be doing there, and what you will need. I am friends with them and I work with them on my research. I am opening up this close contact to you all and trust that you'll impress positively on these people. You should just go in, be incredibly respectful, and engaged. Dress in better than your worst. Don't go in after working out. It is an archives- a clean space. NO FOOD.

The material in the archives is divided into "Fonds" (or Folios in English) which are collections of documents based on either who donated or the organization by which they were produced. The Fonds we're interested in are:
P67 : Collection de la compagnie de l'Exposition universelle de 1967 - 1964 à 1967.
Index 33 (23-5-1) There are 72 reels (bobines).

Find out these things:
Know these things:
Architect
Landscape Architect
Exhibition Designer
Engineer(s)

Site Location
Neighbouring Pavilions and Features
Construction Type
Cost
Duration of Construction
Date of Demolition (when demolished?)
Formal Definition
Programmatic Features
Dominant Method(s) of Construction
Dominant Method(s) of Exhibition

Once you're done at the archives go over to the Architecture Library (across the green from the building) and find the pavilion in images in print and on the internet.
Do an Avery Index search on it and it's architect in that time period. Get magazine articles that relate to your pavilion and the architect.

Assignment #1 : Selecting a Pavilion

I've published a syllabus to the right. In it is a list of possible pavilions that you can work with this summer. The list will be a first come, first served venture based on who emails me first at b.rex@ttu.edu with what choices. No other pavilions are available for consideration.

The number preceding the pavilion name is a reference to the reel # that holds the images. You can look it up on the link "Expo Construction Drawings" provided to the right. The first two numbers in the file name there is the microfilm reel number. (i.e. file name 40-1092 means the image came from reel 40 at counter number 1092)
19 Place d’Accueil
23 Labyrinth
24 & 25 Habitat
36 Polar Regions*
46 Netherlands
46 Scandinavia
47 Telephone*
47 Iran
47 Japan
48 Korea
48 Maine
50 Western Provinces
54 Czechoslovakia*
55 Cuba
55 Chatelaine Magazine
58 Kaleidoscope*
59 CP/Cominco*

Paper Prospectus: Drafting Grounds

Poster Presentation: Drafting Grounds


This board represents the first public representation of some of the 35,000 drafted drawings and images used to design and build Expo ‘67- the 1967 World’s Fair held in Montréal, Quebec. With the considerate support of the Texas Tech library’s interlibrary loan staff we’ve been able to borrow the 72 microfilm reels from the National Archives of Canada and we’ve scanned almost 2000 of the 35,000 images on them.1
The optimism and futuristic vision that Expo ‘67 presented is well documented in books and television documentaries. The space race was at full throttle. Technology was to pave a path to prosperity. Yet, behind this positive exhibition of progress there were some tough questions being asked about what seemed an almost blind optimism and instrumental roadmap for the future. Critical and passionate answers came in the form, content, and success2 of Expo ‘67. The architecture of Expo was a primary expression of this rare moment of criticality, optimism, and passionate energy. Its expression was a macho fest3 of beautiful construction geometries, systems thinking, and exhibition innovations by architects like André Blouin from Montréal, McGill University graduate student Moshe Safdie, the USA’s Buckminster Fuller, West Germany’s Frei Otto, and western Canada’s Ron Thom and Arthur Erickson.
A beautiful thing about World’s Fairs is that they’re as much temporal as they are formal. The constructions for a world’s fair are temporary structures. Only a handful of the 82 pavilions built for Expo ‘67 remain today. For most of these we only have the detritus of the event- postcards and postage stamps- ashtrays and aprons. Much has been written about the event and its structures. What’s fascinating about these drawings is this is where the designer’s intentions and the reality of presentation, delineation, organizing, specifying, and diagramming is now primarily held. The buildings may no longer exist but the architecture is here and clear in this mass of drawings and specifications.