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World expo 2020 dubai11/29/2023 ![]() Quand l’événement inspire la mémoire collective. ![]() ![]() Dont un passage sur Barcelone avec une citation de Patrice Ballester et de ses travaux. ![]() Mobilités, exposition universelle, héritage des méga-événements, ville du futur, design urbain, les effets durables de l'éphèmère, sont au programme de ce numéro de ce Qualité de villes #5 - Automne 2021 - Groupe RATP. World's fairs, between eco-fictions and landscapes of progress? Dubai 2020 and Osaka 2025. Nevertheless, they carry in themselves the seeds of their own end or of a principle of hope, one that is utopian and very often imperfect. The landscape of world’s fairs is in a way a sort of median, a trajectory, a trajective chain in mesology according to Augustin Berque, seeking to make an urban–nature environment an identity of its own, but with a universal and humanistic character. Through an upcoming world’s fair, Dubai 2020, offering a portrait of a city that is difficult to sustain, and Osaka 2025, a world’s fair in the making, we approach the very foundations of an eco-fiction for world tourism plagued by the sacrosanct dialectic concerning the lasting effects of the ephemeral. To become a landscape, the environment is decomposed and then recomposed by politicians, architects, urban planners, and landscapers, who deform and translate a civilization according to their own aesthetic criteria through words, languages, plastics, and especially a sensitive conjunction between perceived and lived, imagined and diverted, by the system of representations. The landscapes of a world’s fair never provide a neutral and objective vision of the natural environment. English translation of the article published in French, Patrice Ballester, « Les expositions universelles, une utopie touristique toujours d’actualité ? », Études caribéennes, 37-38 | Août-Décembre 2017, mis en ligne le 15 novembre 2017, consulté le 19 février 2018. Our analysis focuses on the most recent of the World expos and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities. These giant events – mega-events - are based on a staging and narrative universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. Through the recent and past World expo and more particularly the World expo of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries (branding). World Expo and Tourism - a new Utopia? From London 1851 to Dubai 2020. « La mémoire des méga-événements comme instrument de la planification urbaine ? » Téoros, numéro 33. The city and the country keep the memory of these major events alive, through regular publications from the municipal archives, press articles and cultural events. A perfect illustration of this is Eduardo Mendoza’s novel, The City of Marvels, depicting Barcelona between the two World Fairs. While the Ciutadella Park was created in 1888 and became an emblem of the city, the creation of a common identity also came through several means, notably popular literature, according to Ballester. When the event is inspired by the collective memory The 18 World Fairs transformed Barcelona, marking the collective memory and giving the Catalan capital its cultural identity, as researcher Patrice Ballester(1) has shown. Including a passage on Barcelona with a quote from Patrice Ballester and his works. Mobility, world's fair, world expo, legacy of mega-events, city of the future, urban design, the lasting effects of the ephemeral, are on the program for this issue of this Qualité de Villes # 5 - Fall 2021 - RATP Group.
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