Expo 58

An English public employee becomes embroiled in a Soviet plot while he oversees the construction of an authentic British pub being showcased at the 1958 World's Fair in Brussels. By the author of The Winshaw Legacy. 10,000 first printing.

The Atomium in Brussels is one of the tourist highlights of Belgium and was built specifically for the World Expo in 1958. Nearly 15,000 workers spent three years building the 2 km2 site, found on the Heysel plateau, seven kilometres northwest of Brussels. The site is best known for a giant model of a unit cell of an iron crystal (each sphere representing an atom), called the Atomium, which decades later remains one of the best known landmarks of Brussels. The 1958 Expo could be said to be a reflection of a changing society and of the economical, technical and social advances towards modernity that paved the way for the age of prosperity the Western World experienced in the sixties. The Expo ran for 6 months and was visited by over 42 million people. The exhibition features archived documents, such as the plans of the 1958 Expo, typical fifties objects, films of the time showing what was going on in the aisles of the Expo, several scale models including the Civil Engineering Arrow and the Place de Brouckère information centre, which transport the visitor back to the world of 58 and the spectacle of this unique event. As a symbol of these years of optimism, Expo 58 left an idyllic picture to the Belgians of a period of hope and utopia that can be discovered or rediscovered through the exhibition. SELLING POINTS: *Celebrating its 50th anniversary this year, Expo 58 is due to be featured in an exhibition taking place in the Atomium in Brussels. This lavishly illustrated book is the official catalogue that accompanies it *A fascinating look at a period of revolution in many areas of society, this book is perfect for those who wish to be transported to an age of excitement and fresh ideas, as well as those who can remember the fair itself and the anticipation that preceded it 100 b/w + 90 colour illustrations

Thomas Foley e un mărunt funcționar britanic, plictisit de munca lui la Biroul Central de Informații. Însă un eveniment neașteptat îi schimbă radical destinul: în anul 1958 este trimis la Bruxelles, ca să supravegheze activitatea pubului tradițional construit în pavilionul britanic cu ocazia Expoziției Internaționale din Belgia. Thomas descoperă la Bruxelles o lume diversă și dezinhibată. Flirtează cu o frumoasă însoțitoare de la Expo, se împrietenește cu un pretins jurnalist rus, iar la un moment dat e implicat într-o afacere de spionaj internațional. Vor trece decenii până când va ajunge să înțeleagă ce a făcut el de fapt în Bruxelles, dar e deja prea târziu ca să mai schimbe ceva.

Londres, 1958. Thomas Foley dispose d'une certaine ancienneté au ministère de l'Information quand on vient lui proposer de participer à un événement historique, l'Exposition universelle, qui doit se tenir cette année-là à Bruxelles. Il devra y superviser la construction du Pavillon britannique et veiller à la bonne tenue d'un pub, Le Britannia, censé incarner la culture de son pays. Le jeune Foley, alors qu'il vient de devenir père, est séduit par cette proposition exotique, et Sylvia, son épouse, ne voit pas son départ d'un très bon oeil. Elle fera toutefois bonne figure, et la correspondance qu'ils échangeront viendra entrecouper le récit des nombreuses péripéties qui attendent notre héros au pays du roi Baudouin, où il est très vite rejoint par de savoureux personnages : Chersky, un journaliste russe qui pose des questions à la manière du KGB, Tony, le scientifique anglais responsable d'une machine, la ZETA, qui pourrait faire avancer la technologie du nucléaire, Anneke, enfin, l'hôtesse belge qui va devenir sa garde rapprochée... Coe embarque le lecteur dans une histoire pleine de rebondissements, sans que jamais la tension ne retombe ou que le ridicule ne l'emporte. Sous la forme d'une parodie de roman d'espionnage, il médite sur le sens de nos existences et dresse le portrait d'un monde disparu, l'Angleterre des années 1950, une société tiraillée entre une certaine attirance pour la liberté que semble offrir la modernité et un attachement viscéral aux convenances et aux traditions en place.

This book investigates architecture as a form of diplomacy in the context of the Second World War at six major European international and national expositions that took place between 1937 and 1959. The volume gives a fascinating account of architecture assuming the role of the carrier of war-related messages, some of them camouflaged while others quite frank. The famous standoffs between the Stalinist Russia and the Nazi Germany in Paris 1937, or the juxtaposition of the USSR and USA pavilions in Brussels 1958, are examples of very explicit shows of force. The book also discusses some less known - and more subtle - messages, revealed through an examination of several additional pavilions in both Paris and Brussels; of a series of expositions in Moscow; of the Universal Exhibition in Rome that was planned to open in 1942; and of London’s South Bank Exposition of 1951: all of them related, in one way or another, to either an anticipation of the global war or to its horrific aftermaths. A brief discussion of three pre-World War II American expositions that are reviewed in the Epilogue supports this point. It indicates a significant difference in the attitude of American exposition commissioners, who were less attuned to the looming war than their European counterparts. The book provides a novel assessment of modern architecture’s involvement with national representation. Whether in the service of Fascist Italy or of Imperial Japan, of Republican Spain or of the post-war Franquista regime, of the French Popular Front or of socialist Yugoslavia, of the arising FRG or of capitalist USA, of Stalinist Russia or of post-colonial Britain, exposition architecture during the period in question was driven by a deep faith in its ability to represent ideology. The book argues that this widespread confidence in architecture’s ability to act as a propaganda tool was one of the reasons why Modernist architecture lent itself to the service of such different masters.

A revelatory history of how postcolonial African Independence movements were systematically undermined by one nation above all: the US. In 1958 in Accra, Ghana, the Hands Off Africa conference brought together the leading figures of African independence in a public show of political strength and purpose. Led by the charismatic Kwame Nkrumah, who had just won Ghana’s independence, his determined call for Pan-Africanism was heeded by young, idealistic leaders across the continent and by African Americans seeking civil rights at home. Yet, a moment that signified a new era of African freedom simultaneously marked a new era of foreign intervention and control. In White Malice, Susan Williams unearths the covert operations pursued by the CIA from Ghana to the Congo to the UN in an effort to frustrate and deny Africa’s new generation of nationalist leaders. This dramatically upends the conventional belief that the African nations failed to establish effective, democratic states on their own accord. As the old European powers moved out, the US moved in. Drawing on original research, recently declassified documents, and told through an engaging narrative, Williams introduces readers to idealistic African leaders and to the secret agents, ambassadors, and even presidents who deliberately worked against them, forever altering the future of a continent.

Throughout the twentieth century housing displays have proven to be a singular genre of architectural and design exhibitions. By crossing geographies and adopting multiple scales of observation – from domestic space to urban visions – this volume investigates a set of unexplored events devoted to housing and dwelling, organised by technical, professional, cultural or governmental institutions from the interwar years to the Cold War. The book offers a first critical assessment of twentieth-century housing exhibits and explores the role of exhibitions in the codification of notions of domesticity, social models, policies, and architectural and urban discourse. At the intersection of housing studies and the history of exhibitions, The Housing Project not only offers a novel angle on architectural history but also enriches scholarly perspectives in urban studies, cultural and media history, design, and consumption studies. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). Contributors: Tamara Bjažić Klarin, Gaia Caramellino, John Crosse, Stéphanie Dadour, Rika Devos, Fredie Floré, Johanna Hartmann, Erin McKellar, Laetitia Overney, José Parra-Martínez, Mathilde Simonsen Dahl, Eva Storgaard, Ludovica Vacirca

Instant New York Times bestseller: #1 in Hardcover Fiction #1 in E-book Fiction #1 in Combined Print and E-book Fiction "Deep and grand and altogether extraordinary....Miraculous." —The Washington Post "Artful...Powerful...Magical." - The New York Times Book Review "Superb" - People “A Great Reckoning succeeds on every level." —St. Louis Post-Dispatch #1 New York Times bestselling author Louise Penny pulls back the layers to reveal a brilliant and emotionally powerful truth in her latest spellbinding novel. When an intricate old map is found stuffed into the walls of the bistro in Three Pines, it at first seems no more than a curiosity. But the closer the villagers look, the stranger it becomes. Given to Armand Gamache as a gift the first day of his new job, the map eventually leads him to shattering secrets. To an old friend and older adversary. It leads the former Chief of Homicide for the Sûreté du Québec to places even he is afraid to go. But must. And there he finds four young cadets in the Sûreté academy, and a dead professor. And, with the body, a copy of the old, odd map. Everywhere Gamache turns, he sees Amelia Choquet, one of the cadets. Tattooed and pierced. Guarded and angry. Amelia is more likely to be found on the other side of a police line-up. And yet she is in the academy. A protégée of the murdered professor. The focus of the investigation soon turns to Gamache himself and his mysterious relationship with Amelia, and his possible involvement in the crime. The frantic search for answers takes the investigators back to Three Pines and a stained glass window with its own horrific secrets. For both Amelia Choquet and Armand Gamache, the time has come for a great reckoning.