Expo 58

Expo 58
Street scene at the 1958 Expo
motto	“Technology in the service of people. Human progress through technological progress. "
General
Exhibition space	200 ha
Number of visitors	41,454,412
BIE recognition	Yes
participation
countries	48 countries
Exhibitors	4,645 exhibitors
Place of issue
place	Brussels
terrain	Heysel plateau coordinates: 50 ° 53 '48 "  N , 4 ° 20' 38"  E
calendar
opening	April 17, 1958
closure	October 19, 1958
Chronological order
predecessor	Port-au-Prince 1949
successor	Expo 62

The Expo 58 was the World's Fair that from 17 April to 19 October 1958 in the Belgian capital Brussels took place. The official motto was “Work of the world - for a human world”. In keeping with this, the two new future technologies space travel and nuclear power were presented to a broad public for the first time. It was the first world exhibition after the end of the Second World War . The exhibition was primarily a showcase for Belgian industry. The exhibition was shaped by the rivalry between the Western powers at the time and the Eastern Bloc . Both sides tried to portray their own states as more progressive at different levels.

prehistory

The entrance building from 1935

By the Second World War, Belgium had already organized eight major international exhibitions, three of which were world exhibitions in Brussels. Since the last exhibition in Brussels in 1935 was a great financial success, it made sense to continue with it. Discussions about a new world exhibition in Belgium began in 1947. On May 7, 1948, the Belgian government decided to organize another world exhibition, which should take place again in Brussels. The target date at that time was 1955.

In 1951 the government appointed a general commissioner, Baron Georg Moens de Fernig , and entrusted the Ministry of Economic Affairs with the planning. The outbreak of the Korean War , which resulted in a critical escalation of the East-West conflict, led to a postponement of planning . In 1952 the government decided not to allow the world exhibition to take place until 1958. At the same time, she pinned the financial framework and launched a colonial lottery to support funding. The Bureau International des Expositions (BIE) in Paris officially registered the project after the end of the Korean War in November 1953 and thus granted the necessary approval. In March 1954 the company was founded, which was responsible for organizing the world exhibition. Half a year later, in September 1954, the foundation stone was laid for the first buildings.

In choosing Brussels as the exhibition venue, the government of Paul-Henri Spaak pursued the goal of building infrastructure in order to give the city a good starting position when deciding on the future seat of European committees and authorities. To improve the infrastructure in and around the exhibition grounds, around 25 km of roads and 90 hectares of parking spaces for cars and buses were built by 1958. The Belgian state invested eight billion Belgian Francs (Bfr) alone in transport infrastructure projects related to the planned exhibition.

Another important intention of the show was to justify Belgium's colonial position in the Congo and Rwanda-Urundi .

terrain

The Belgian state designated the park-like and slightly hilly Heysel Plateau in the Laken district , located about 7 km northwest of the city center, as the exhibition site. The world exhibition of 1935 had already taken place there, the large exhibition halls of which were still there. The area used at that time with an area of ​​125 hectares was expanded to an area of ​​200 hectares at the expense of the royal parks of Laken Castle to the south and some forest areas.

Marcel van Goethem designed the general plan for the site, including the division into sections . The international section was located in the southern area, in the former royal park. The pavilions of the individual invited states were located there. The focus of this international department was on the pavilions of France , the Soviet Union and the USA , which each with 25,000 m² of allocated area could use the largest representative space. An approximately 500 m long concrete bridge spanned large parts of this section, which was mainly located in a valley. The Belvédère of Laken Castle, as the seat of the Commissioner General, with its gardens was also part of the international section. It was bordered by the section for the Belgian colonial exhibition in the west and the Belgian section in the north. To the west of the Belgian section there was an amusement area with various funfair businesses and a planetarium . There was also a folklore area that was supposed to represent Brussels around 1900 and required additional entrance fees. The section of the supranational organizations in the west joined the area of ​​the Belgian colonial exhibition. There were the pavilions of the UN , the Council of Europe , the European Coal and Steel Community and the Benelux cooperation as well as a pavilion for international cooperation.

French pavilion

In the Belgian section were the large halls from 1935, which mostly housed Belgian departments. One of these halls was reserved for the international art exhibitions. In another, the International Hall of Sciences, the latest state of knowledge in basic research was shown across borders. The scientific community presented the four subject areas atom (nuclear physics), crystal (solid state physics), molecule ( chemistry ) and cell ( biology ).

The Belgian exhibitions were divided into nine sections, which were also intended as a model for the exhibitions of the participating countries: 1. Science, culture, education, 2. Energy, 3. General use of land and raw materials, 4. Industry, 5. Construction, 6 Communication and transport, 7. Economics, 8. Leisure and health care, 9. Civilization of the people (with areas of religion and colonization).

Bottling in the Coca-Cola pavilion

With René Pechère and Jules Janlet the two leading Belgian were landscape architects of their time in charge of the planning of green areas for the exhibition grounds. Between the large halls and the international section in the south, in the eastern area of ​​the Belgian section, next to a garden of the four seasons designed and awarded by Pechère , the pavilions of some large companies such as IBM , Coca-Cola , Solvay , Côte d'Or or Kodak were located . The exhibition grounds also contained facilities for general supplies, the fire brigade, childcare, a helicopter landing pad and a total of 112 pavilions. Expressed in areas: 2,000,000 m² total area, 1,000,000 m² for buildings, 600,000 m² for gardens, the rest for traffic structures.

Since the exhibition area was too large for pedestrians - an estimated 25 km of roads ran through the area - special transport systems were set up. There was a cable car and various motorized vehicles and bus trains that carried people around the site.

course

At the exhibition opened by King Baudouin , 48 nations, seven supranational organizations, various Belgian institutions and organizations and around 30 companies with their own pavilion, a total of 4,645 exhibitors, presented themselves to an audience of 41,454,412 visitors. There was also an extensive program during the exhibition: 426 congresses, many temporary exhibitions, concerts and performances with top-class international participation. The idea of ​​the competition was taken up. 65 juries in different categories awarded a total of 3,961 prizes.

Entry tickets 1958

The Belgian state financed the world exhibition, which was part of the state budget . According to the World Exhibition Society's balance sheet of August 31, 1960, the world exhibition achieved a profit of approx. Bfr 41 million. Income of Bfr 2,571,890,000 and expenditure of Bfr 2,530,500,000 were reported. The income consisted of operating income, colonial lottery, income from import duties , a public loan (Bfr 1,200 million) and grants from the state budget. The operating income was generated from entrance fees, the sale of souvenir items and income from the catering establishments. The entrance fee was 30 Bfr per person and day, the equivalent of around 2.50 German marks . Entrance to the entertainment area cost 25 Bfr. On the other hand, the BIE assumes a deficit of Bfr 980 million.

architecture

British Kingdom Pavilion 1958

Canada Pavilion 1958

Architecture dominated the overall picture of the exhibition. Le Monde summed up the prevailing opinion in the sentence “that this exhibition, at least as far as its serious part is concerned, is a matter for the architects”. The 1958 World's Fair was also referred to as the fair of roofs , because roofs dominated thanks to smug engineering designs. “The architects of the Brussels show banished the wall from its function as a room closure and hung the roofs of their exhibition buildings on supporting structures. Many of the buildings at the Brussels World Exhibition are products of 'architecture suspendue' - the so-called floating architecture. ”One example of this is the Austria pavilion . He was awarded the Grand Prix.

Since the exhibition organizers had not given any specifications regarding the architecture and the allocation of space followed the garden city concept , the individual pavilions stood next to one another without any relation. Critics rated the overall impression differently. Overall, the negative votes predominated. “In view of such revolutionary precursors as in London in 1851 and in Paris in 1889 , the overall assessment of the Brussels exhibition must be negative. Most of the buildings did not come out on the level of the last exhibitions before the Second World War in Paris and New York. ”Nevertheless, the world exhibition was, as far as the pavilions in detail, a performance show of contemporary architecture.

Selected buildings

Atomium

→ Main article : Atomium

To demonstrate the level of performance of the Belgian steel industry , André Waterkeyn designed the Atomium as a tribute to the age of heavy industry . It is one of the few remaining buildings in the exhibition, now a sight of Brussels, and represents the 165 billion-fold enlargement of a unit cell of an iron crystal . Since the construction of the Atomium in 1957 was twice as expensive as originally planned, at 15 million DM the visit of the building is charged an extra entrance fee of 30 Bfr. Inside the spheres were exhibitions on the subject of nuclear power, and in the top sphere a restaurant with a view of the exhibition grounds.

Electronic poeme

The Electronic Poem 1958

The most controversial building at the world exhibition was Le Corbusier's Philips pavilion , also known as the “electronic poem”. The “high point of extravagance in Brussels”, a spectacular provocation, which, thanks to a completely asymmetrical structure, violates all viewing habits of the time, according to the modern description. “At the forefront of architectural curiosities” a building in which a multimedia show could be experienced that was far ahead of its time. "One of the few [contributions] at the world exhibition that point to the essential possibilities of the future," said a Swiss critic, who at the same time criticized the "overly negligent execution". In collaboration with Edgar Varèse (music) and Iannis Xenakis (design), Le Corbusier had created a building inside which thousands could attend an eight-minute demonstration of a composition of light, color, sound and space every day. The tent-like construction held 500 visitors and was only used or created for this demonstration. The building itself consisted of several concrete struts anchored in the ground, between which, according to precise mathematical calculations, cross-shaped round bars were stretched, which then formed spherically curved nets. Matching precast concrete elements were placed on top of these nets and held in place by a second wire netting. The building was then plastered and given a silver coat of paint.

From 2004 to 2005 the project Virtual Electronic Poem - The Audio Reconstruction successfully tried to reconstruct the sound experience of the Poème électronique.

Dutch pavilion

The Dutch pavilion 1958

The Dutch state had 25,000 m² of exhibition space available. The area, which was criss-crossed by symbolic dykes and drainage ditches , “... impressed with its multi-section pavilion, which, in combination with a factual character and sensitive material differentiation, demonstrated the high standard of Dutch architecture without any great gestures.” This pavilion was designed by the architect Johannes Hendrik van designed by Broek and Jacob Bakema and its motto was “Man and the Sea”. Parts of a ship, a model stable with live cattle and a show pumping station were integrated into the pavilion. “The halls were steel frame buildings, closed on the gable ends and glazed on the sides. The individual building appeared like a purely functional building. An architectural masterpiece was created in the relationships between the halls, their different heights, the overall concept with stairs, paths made of different paving materials, with the water and the greenery. "

Czechoslovak pavilion

The (slightly changed and renovated) restaurant building in 2008 in Prague

The most awarded building was the Czechoslovakian pavilion by František Cubr , Josef Hrubý and Zdeněk Pokorný , an L-shaped complex with an extra restaurant extension .

"Three windowless structures [...] that were completely clad with single-colored glass mosaic panels and were connected by two inserted, double-sided glazed corridors." The buildings were rebuilt at different locations in Prague after the end of the exhibition . Today only the former restaurant building remains on the exhibition grounds . Part of the Czechoslovak contribution was also the newly developed avant-garde theater Laterna Magika , which was performed in the pavilion.

Soviet pavilion

Soviet pavilion 1958

The interior of the Soviet Pavilion in 1958

The Soviet Union presented itself for the first time at a world exhibition without colossal statues of workers in front of its pavilion. Thanks to the size of the pavilion, with a height of 21 m and a dimension of 150 m by 72 m, the largest in the international section, the statues could be found inside. The rectangular hall, placed on a monumental plinth, had a complicated roof structure, was made of aluminum, steel and glass and was planned by the architects' collective Abramov, Boretski, Doubov and Polanski . The pavilion received great praise for its clear construction that is visible from the outside. On the other hand, the pavilion was criticized as an “enormous block” or “boring huge box”, which also aroused associations with a refrigerator .

Inside its pavilion, the Soviet Union held exhibitions on two levels that were intended to demonstrate the high level of development of Soviet society. The Soviet Union represented its 40-year success story with exhibits on science and technology, for example the civil Tupolev Tu-104 jet and models of space technology, which proved to be an absolute crowd puller. Numerous objects on heavy industry and agriculture rounded off the show. In particular, with its diverse cultural activities, concerts, ballet performances and art exhibitions, the Soviet Union achieved a high degree of international recognition.

USA Pavilion

American pavilion 1958

The interior of the American Pavilion in 1958

The United States built a pavilion in the form of a monumental drum with a height of 22 m and an outer diameter of 104 m for the World's Fair. Edward Durell Stone was responsible as the architect . The roof was formed by a stretched steel mesh that was covered with plastic. Small plastic latticework, a so-called curtain wall , formed the exterior cladding of the pavilion. Many critics found this, an essential stylistic element of the 1950s, to be very successful.

The ideological aim of the US contribution can be outlined as an advertisement for US capitalism with its mass consumption. The main focus was on culture and entertainment. A large Circarama (round cinema) with the extra from the Disney Company produced film about the USA, America the Beautiful , was an important part of this concept. The American pavilion was also the Symphony Orchestra of the Seventh Army used to give concerts. Unfortunately, not even the hamburgers , the most outstanding representatives of the American way of life and important cultural mediators, should taste good at first . Technical innovations were also shown to a lesser extent than originally planned, because the planning of the contribution was heavily influenced by internal political disputes. Originally, an exhibition on the so far unsolved social problems of the southern states was to be shown. The United States Congress , which disapproved of this orientation, therefore pushed through a considerable reduction in funding while it was still in the planning phase. As a result, many projects, including participation in the international exhibitions, had to be abandoned or reduced. The Americans found it offensive that the exhibition space that became free was then mostly taken over by the Soviet Union. Through the collage The Americans of Saul Steinberg , whose total length was 70 meters, fashion, capitalism and the American people were questioned ironically what was act the US pavilion much less ideological than the Soviet.

The basement and an extension of the American pavilion have been preserved at their location and are now used by Belgian Radio 2 of the Vlaamse Radio- en Televisieomroep .

Rivalry of superpowers

Sputnik 2 in the Soviet pavilion

A dominant moment in the rivalry between the two superpowers - not only at the world exhibition - was space technology and the space race . Space technology was considered one of the most important technologies of the future, so mastering it was associated with particular prestige . Six months before the World Exhibition began, the Soviet Union successfully launched a satellite into space for the first time , which went down in history as a Sputnik shock . The Americans only managed to catch up with the Soviet Union after several false starts in February 1958 with the Explorer 1 . The Soviet Union exploited this success with true-to-original models of the Sputnik satellites and the playback of the Sputnik signal in their pavilion. Thanks to this attraction, the Soviet pavilion was the most visited at the World's Fair, and the public had to wait up to two hours to visit.

Brussels and nuclear power

The Atoms for Peace speech given in 1953 can be seen as the initial spark of a policy change in the USA towards the peaceful use of nuclear power. The newly launched civil programs, the Geneva nuclear conference in 1955 and the associated optimism and euphoria already had a very strong influence on the planning for the world exhibition. In general, the development potential of nuclear power was rated extremely positively. It was believed that nuclear power would be an inexhaustible and cheap source of energy for the future that could even drive cars and locomotives . These views and even more unrealistic hopes were spread across all political camps. Atomic technology symbolized the technical progress to overcome all energy problems of mankind. The new atomic technology with all its expected possibilities was exhibited publicly for the first time in Brussels. It fitted in perfectly with the exhibition concept “Human progress through technological progress.” After the Obninsk nuclear power plant in the Soviet Union was put into service in 1954, the plan matured to replace part of the world's electricity needs from a newly built one supply Belgian nuclear power plant. This plan, which would have been the best demonstration of the civilian utility of nuclear power, had to be abandoned due to serious safety concerns.

At that time, mastering nuclear power was considered the decisive benchmark for the technical level of an industrialized country. Therefore, many nations presented their programs and visions with regard to the future use of nuclear power in their contributions. Belgium, for example, had a very ambitious nuclear program because of the uranium deposits in its colony, the Congo. With a working experimental reactor and "artificial hands", equipment for working with radiating material over a distance, the USA provided the world exhibition with an attraction. Great Britain exhibited models of its Calder Hall nuclear power plant, which went into operation in 1956, and other projects in a specially built hall. The Soviet Union showed models of nuclear-powered icebreakers and their nuclear power plants. The world exhibition therefore had the character of a promotional event for the peaceful use of nuclear energy.

Colonial exhibition

The Belgian colonial exhibition on the Congo and Rwanda-Urundi made up a large and much-visited part of the exhibition. One reason for the particularly splendid design of the colonial exhibition was the 50th anniversary of the takeover of the government of Belgium in the Congo. The colonial exhibition followed the tradition of the Belgian world exhibitions of 1910, 1913, 1930 and 1935, each of which had areas with its own pavilion for the Congo. The building, which today is the Royal Museum for Central Africa in Tervuren , was also erected by Leopold II for the 1897 World's Fair to promote his Congo Free State.

The colonial exhibition at Expo 1958 included seven modern pavilions: the pavilion for Congo and Rwanda-Urundi, the pavilion for agriculture, the pavilion for the Catholic Mission , the pavilion for Congolese fauna, the pavilion for insurance, banking and trade, the pavilion for Mines and Metals and the Energy, Construction and Transportation Pavilion. A garden with tropical plants also housed an as indigène village called Völkerschau .

An extensive program was offered during the exhibition. The Congolese dance group Changwe Yetu , which had been set up especially for the Expo 1958, presented highly acclaimed performances. The Congolese choir, known as Les troubadours du Roi Baudouinaus , traveled to Europe for the Expo 1958. He performed regularly at the exhibition with his Missa Luba and also made guest appearances in several neighboring cities and countries. 312 soldiers of the Force Publique , the Belgian colonial army with African teams and exclusively Belgian officers, were brought to Belgium for parades and other appearances, especially at the exhibition . In the pavilion for the Congo and Rwanda-Urundi, 20 Congolese military members of the Force Publique, specially commanded to Brussels, were tasked with oversight services. A total of almost 700 Africans from the Belgian colonies, with or without tasks, were present at the Expo 1958 in Brussels.

Village indigenous

The area conceived as a Village indigène, an area demarcated by a fence with a few houses, was intended to depict “real life” in a typical village in the Congo. For this purpose, around 15 Congolese artisans were selected as performers, whom visitors to the exhibition could watch performing their craft activities and performing things of "everyday life". The performers apparently wore traditional costumes and were flanked by a few women and children to suggest a more realistic image. After spectators tried to "feed" the actors, they began to rebel against their performance as exotic . As a result, this out-of-date performance was canceled, the Africans who were required to perform had to return to the Congo and the village indigène remained empty from this point on (end of July 1958).

The German contribution

German House 1937 World Exhibition Paris

View of the German pavilion in 1958

The Expo bridge now passes under the federal highway 3 in Duisburg

The Federal Republic of Germany was invited on 8 July 1954 the Belgian Ambassador to participate in the World Expo in Brussels. The decision to participate in the world exhibition was a generous gesture for the Belgian side, but a tightrope walk for the German side. Nine years after the end of the Second World War, for which the German Reich was responsible, and its consequences, a German participation in a world exhibition seemed politically sensitive. In particular, the appearance of the Third Reich at the World Exhibition in Paris in 1937 with Speer's pavilion, known as the Deutsches Haus, and its claim to political power was not yet forgotten internationally. These points alone made the first German contribution to a world exhibition after the Second World War a political issue.

Theodor Oberländer's demand, which was widespread in domestic politics , that "[t] he trisection of Germany ... should be at the center of the German statements" was also extremely explosive in foreign policy . This position claimed to represent the whole of Germany alone and thus implied the “non-recognition” of the GDR . This also resulted in the demand for the reunification of the two German states and the return of the so-called German eastern territories, which at the time would have meant an extraordinary foreign affront to the Allies.

The question of how an international self-portrayal of the young Federal Republic should look was also hotly debated. The question of whether a German exhibition should be shown in Brussels, in which the economic miracle and other top achievements of German industry should be shown, was therefore very controversial. The Federal Cabinet held long and controversial discussions until, on March 18, 1955, Federal Chancellor Konrad Adenauer gave the approval. When the Federal Cabinet approved participation, it had no idea what the German contribution should look like. Since it was "the first opportunity ... to present the cultural, economic and political parameters of a new German republic in an international context", that is, the chance to regain international reputation, to present oneself as an "equal" nation and to gain new confidence in They promised to create the Federal Republic. It was the first large, representative international appearance of the Federal Republic, which had only just regained its full state sovereignty by joining NATO in 1955.

Following the approval of the Federal Chancellor, on July 20, 1955, the most important tasks were assigned by cabinet resolution. The former Bremen Senator Hermann Wenhold was appointed General Commissioner. The cabinet entrusted Nordwestdeutsche Ausstellunggesellschaft mbH (NOWEA), Düsseldorf, with the implementation of all organizational tasks. The buildings were built by the Federal Building Department . At the beginning of 1956 the Advisory Board of the General Commissioner was constituted, in which the content of the Federal German contribution was to be discussed and prepared. The German contribution cost about 18 million DM.

In January 1956 the decision for the building site was made. Marie Marcks was appointed for the design . In summer 1956 the architects Sep Ruf and Egon Eiermann were entrusted with the planning, Walter Rossow was responsible for the gardens. By December 1956, feasible drafts for a pavilion were created, which were revised into finished construction plans. The earthworks in Brussels began in February 1957, the interior work was carried out from the end of 1957. The 18,000 m² Federal German site was located on the southern edge of the World Exhibition Grounds, on a slope with old trees. There the architects created a complex with eight rectangular pavilions of different sizes, which were connected by walkways around a courtyard.

The pavilions each had one to two storeys and, like the connecting walkways, were glazed all around, making them very transparent. They were a completely symbolic alternative to Speer's pavilion of 1937. The West German pavilions were accessed from the slope in the northeast through a bridge, which was itself an exhibit. This bridge, a 57 m long steel suspension structure held by a pylon , was donated by the iron and steel industry and was rebuilt after the exhibition in Duisburg . There, the federal motorway 3 crosses at the level of the Duisburg city forest as part of the Forsthausweg . The Expo bridge has been a listed building since 1987 . A total of 6,000 m² of space was used for the building; the rest of the area was redesigned into a garden. The garden was provided with an artificial pond in the middle between the pavilions and some sculptures were placed.

Others

Thai pavilion

• The Yugoslav pavilion is, along with the Austrian pavilion , which was rebuilt in Vienna , one of the few buildings in the exhibition that has been completely preserved. It was dismantled in 1958, rebuilt in Wevelgem and has served as the Sint-Pauluscollege school there ever since .
• The Thai Pavilion was a copy of the Phra Tinang Aporn Phimok Prasat Pavilion in the Grand Palace in Bangkok .
• In the Duisburg Liebfrauenkirche , glass windows, canopies and numerous other furnishings from the Vatican pavilion, known as the Vatican Church , were reused.
• The exhibition logo, an irregular five-pointed star with a stylized representation of Brussels City Hall and flanked by a ball and the number 58, was designed by Belgian designer Lucien De Roeck .
• The National Bank of Belgium issued a Bfr 50 coin with the exhibition logo for the 1958 world exhibition.
• The United Nations Postal Administration and the Belgian Post issued an extra series of stamps on the occasion of the exhibition, which could be purchased in the UN pavilion and were only valid at the counters there.
• The last public appearance of jazz musician Sidney Bechet took place in August 1958 at the exhibition. The performance was recorded and released as the album Brussels Fair '58 (live) in 1958.
• The young Congolese journalist Patrice É. Lumumba , Évariste Kimba , Joseph Iléo and Joseph-Désiré Mobutu , who took part in the colonial press conference held as part of the World's Fair in July 1958, later played an important role in the independence movement of the Congo.
• The Czechoslovak film adaptation of the novel The Invention of Verderbens (Czech Vynález zkázy, 1957) by Jules Verne , directed by Karel Zeman , was awarded as the best film at the Expo.
• The Leopold III. Les Seigneurs de la forêt / Ruler of the Primeval Forest over Nature in the Belgian Congo, which was initiated, produced by Henri Storck , written by Ernst Schäfer and filmed by Heinz Sielmann , was not finished in time for Expo 1958. The film, shot using the cinemascope method, became an international success in the following years.

literature

German speaking

• Wilfried Kretschmer: History of the world exhibitions . Campus publishing house , Frankfurt a. M. / New York 1999, ISBN 3-593-36273-2 .
• Thomas Schriefers: Built for demolition? - Notes on the history of the world exhibitions . Ardenku-Verlag, Hagen 1999, ISBN 3-932070-21-6 , pp. 122-133.
• Paul Sigel: Exposed, German pavilions at world exhibitions . Bauwesen-Verlag, Berlin 2000, ISBN 978-3-345-00734-7 .

English speaking

• Matthew Stanard: Bilan du monde pour un monde plus déshumanisé : The 1958 Brussels World's Fair and Belgian Perceptions of the Congo. In: European History Quarterly , Vol. 35 (2005), No. 2, ISSN  0265-6914 , pp. 267-298.

French speaking

• A. Cockx, J. Lemmens: Les Expositions universelles et internationales en Belgique de 1885 à 1958 . Bruxelles 1958.

Web links

Commons : Expo 58  - collection of images, videos and audio files

• Expo 58th Bureau International des Expositions (English). Retrieved March 23, 2017 . 
• expo2000.de EXPOSEEUM e. V. Hanover to Brussels 1958
• cedesign.biz architectural examples for Expo 1958
• expo58.tk extensive private site with some good photos
• /wirtschaftswundermuseum.de Text and images for Expo 1958

Individual evidence

1. ^ Profit of Bfr 45,000,000 (or $ 6,300,000) according to Kretschmer: History of the World Exhibitions , p. 299
2. ↑ A. Cockx, J. Lemmens: Les Expositions universal international et en Belgique de 1885 à 1958 , Bruxelles 1958, p 135
3. ^ Paul Sigel: Exposed , p. 174 ff.
4. ↑ Christine Kalb: World exhibitions in the course of time and their infrastructural effects on the city and region , Frankfurt am Main 1994, p. 111. Der Spiegel No. 15/12, p. 51 alone speaks of expenditures amounting to 19 billion Belgian francs in 1956 .
5. ↑ ^{a b} Christopher Oestereich: Controversial Self-Presentation, The German Contribution to the World Exhibition in Brussels 1958 . In: Vierteljahrshefte für Zeitgeschichte , Volume 48, Issue January 1, 2000 ISSN  0042-5702 , p. 131 ( PDF )
6. ↑ ^{a b} Monika Meyer-Künzel: Urban development of the world exhibitions and the Olympic Games . Urban development of the host cities , dissertation: Braunschweig, Technische Universität Braunschweig 1999, p. 307 Source: deposit.d-nb.de , accessed on March 9, 2010.
7. ↑ ^{a b} Spiegel 15/12, p. 46.
8. ↑ The folklore area has now become the Bruparck further developed
9. ↑ On the art exhibition see: Virginie Devillez, Brigitte de Patoul: Expo 58: l'art contemporain à l'Exposition universelle . Gent 2008, ISBN 978-90-5349-690-9
10. ↑ A. Cockx, J. Lemmens: Les Expositions universal international et en Belgique de 1885 à 1958 , Bruxelles 1958: 160th
11. ^ Paul Sigel: Exposed , p. 329, note 616
12. ↑ ^{a b} Gaspard Jedwab, Annie van Marcke de Lummen: René Pechère (1908–2002), notes on a garden composer who has not yet been researched. In: Stadt + Grün , December 2004, No. 12, ISSN  0948-9770 , pp. 25–30, see stadtundgruen.de , accessed on March 9, 2010
13. ^ According to the architect , Volume 7, Issue 6 and 7, 1958, p. 158
14. ↑ The official dates are u. a. published on this website of EXPOSEEUM e. V. expo2000.de ( Memento of the original from October 11, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed March 5, 2010 
15. ↑ ^{a b} Christine Kalb: World exhibitions in the course of time and their infrastructural effects on the city and region . Frankfurt am Main 1994, p. 111
16. ↑ Source: Guide Officel, Exposition Universelle Bruxelles 1958 . Tournai 1958, p. 311
17. ↑ Kretschmer: History of the world exhibitions , p. 227
18. ^ Robert W. Rydell: Brussel 1958 . In: John Findling (ed.): Historical Dictionary of World's Fairs and Expositions, 1851–1988 . New York / London 1990, p. 312
19. ↑ Spiegel 15/12, p. 43
20. ↑ DerStandard Das Jahrhunderthaus , accessed on May 30, 2014.
21. ↑ Günther Kühne: Oh, that could be so nice. Notes on the World Exhibition in Brussels 1958 ; In: Bauwelt 49th year, 1958, issue 20, pp. 467–469
22. ^ Udo Kultermann: Exhibition architecture Brussels 1958 . In: Baukunst und Werkform , Nuremberg, 11th year, 1958, issue 6, pp. 350–352.
23. ^ Paul Sigel: Exposed , p. 177
24. ^ Benedikt Huber: Architecture in the mirror of the Brussels World Exhibition . In: Werk (Switzerland) , Volume 45, 1958, Issue 10, pp. 337–344, p. 343.
25. ↑ Hans-Werner Bobran: Le Corbusier's "Electronic Poem" . In: Bauwelt , 49th year, issue 36, pp. 880–882.
26. ↑ TU Berlin, Department of Audiocommunication ak.tu-berlin.de ( Memento of the original from January 8, 2010 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed January 18, 2010 
27. ↑ ^{a b} Paul Sigel: Exposed , p. 178
28. ^ Wolfgang Friebe: Architecture of the world exhibitions, 1851 to 1970 . Leipzig / Stuttgart 1983, p. 168
29. ↑ Christine Kalb: World exhibitions in the course of time and their infrastructural effects on the city and region , Frankfurt am Main 1994, p. 110
30. ↑ See the website of the 2008 exhibition “A Brussels Dream: Memories of Success” czech.cz ( Memento of the original from September 16, 2008 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved January 10, 2010 
31. ^ Wolfgang Friebe: Architecture of the world exhibitions, 1851 to 1970 . Leipzig / Stuttgart 1983, p. 166ff
32. ↑ The Architect , Volume 7, Issue 6 and 7, 1958, p. 155
33. ↑ ^{a b} Kretschmer: History of the world exhibitions , p. 226
34. ↑ filmmuseum-hamburg.de ( Memento of the original from June 19, 2008 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed January 2, 2010  
35. ↑ 7th Army Symphony Choronology Historical timeline of the orchestra on 7as0.org (English)
36. ↑ Pan Pipes of Sigma Alpha Iota Vol. 2 p. 47 "Seventh Army Symphony Orchestra and Brussels World Fair 1958 on books.google.com (English)
37. ^ Robert W. Rydell: Brussel 1958 . In: John Findling (ed.): Historical Dictionary of World's Fairs and Expositions, 1851–1988 . New York / London 1990, p. 315
38. ^ Robert W. Rydell: Brussel 1958 . In: John Findling (ed.): Historical Dictionary of World's Fairs and Expositions, 1851–1988 . New York / London 1990, p. 316
39. ↑ Wolf Häfele : The historical development of the peaceful use of nuclear energy . In: Karl Kaiser, Beate Lindemann (ed.): Nuclear energy and international politics . Munich / Vienna 1975.
40. ↑ ^{a b} Wilfried Kretschmer: History of the world exhibitions . Frankfurt a. M. / New York 1999, p. 223
41. ^ Ingo Hensing, Wolfgang Pfaffenberger, Wolfgang Ströbele: Energy industry, introduction to theory and politics . Oldenbourg, Munich 1998, ISBN 3-486-24315-2 , p. 91
42. ↑ On Belgian colonial exhibitions, see Sabine Cornélis: Colonial and Postcolonial Exhibitions in Belgium (1885–2005) . In: Prem Poddar, Rajeev S. Patke, Lars Jensen: A Historical Companion to Postcolonial Literatures: Continental Europe and Its Empires . Edinburgh University Press, 2008, ISBN 978-0-7486-2394-5
43. ^ ^{A b} Matthew Stanard: Bilan ... , p. 270
44. ^ Matthew Stanard: Bilan ... , p. 283
45. ↑ On the general question of dances at the Expo, see the anthology 'Dance at the Brussels World Fair 1958' sarma.be ( memento of the original from October 12, 2009 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved February 21, 2010 
46. ^ ^{A b} Matthew Stanard: Bilan ... , p. 275
47. ^ Matthew Stanard: Bilan ... , p. 276
48. ^ Matthew Stanard: Bilan ... , p. 273
49. ^ Matthew Stanard: Bilan ... , p. 281
50. ↑ ^{a b} Paul Sigel: Exposed , p. 178ff
51. ↑ From the report on a departmental meeting at the Federal Minister of Economics on October 22, 1957, quoted in Oestereich, p. 142. 3 parts meant: West Germany (FRG), Central Germany (GDR), East Germany (formerly German areas east of the Oder)
52. ↑ See cabinet minutes of July 20, 1955, source Federal Archives: bundesarchiv.de
53. ^ Paul Sigel: Exposed , p. 180
54. ↑ FAZ: On the death of Marie Marcks - Emancipation as a way of life , December 7, 2014
55. ↑ see cabinet minutes of the 56th meeting on August 6, 1956 bundesarchiv.de
56. ^ Paul Sigel: Exposed ; P. 181
57. ↑ ^{a b} Paul Sigel: Exposed ; P. 188ff
58. ↑ Alain de Botton : Happiness and Architecture. On the art of being at home , ISBN 3-10-046321-8 (paperback edition) p. 92. “Speer's building for the 1937 Paris World's Fair used the central visual metaphors of power: mass, height, shadow. ... later Egon Eiermann sought refuge in three completely different metaphors for the German pavilion at the 1958 World Exhibition in Brussels: horizontality suggests calm, lightness implies gentleness and transparency is a reminder of democracy. "
59. ↑ see the corresponding website Duisburg nonstop duisburgnonstop.de , accessed on March 5, 2010
60. ↑ Further information on the website of the Lucien De Roeck Foundation lucienderoeck.be , accessed on February 2, 2010.
61. ↑ according to the website of the Museum of the National Bank of Belgium, nbbmuseum.be , accessed on January 18, 2010.
62. ↑ according to the website of this private collector unostamps.nl , accessed on January 27, 2010.
63. ↑ see Sabine Cornélis: Le colonisateur satisfait, ou le Congo représenté en Belgique (1897–1958) In: Science Connection No. 22, 2008, French-language edition, ISSN  1780-8456 , p. 32; Retrieved February 28, 2010 at belspo.be
64. ↑ Devilish invention . In: Die Zeit , No. 30/1958
65. ↑ The note that the work should appear for the Expo can be found in the following press release from the Green Screen Festival in Eckernförde from 2007: greenscreen-festival.de ( Memento of the original from October 30, 2013 in the Internet Archive ) Info: Der Archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF) accessed on March 5, 2010