The 1908 National Exhibition

Inspired by the Universal Exposition in Paris (1889), the Monumental Gate marked the entrance to the exhibition with 8,000 incandescent lamps and 30 mercury vapor arc lamps, installed by the Rio de Janeiro Tramway, Light and Power Company.

The Palácio dos Estados was installed in the building designed for Universidade do Brasil (University of Brazil) (1881) and adapted by Francisco Isidoro Monteiro. The venue brought together representatives from various states of the Federation.

Organized into stands, showcases and exhibition areas, the Palácio dos Estados displayed a portrait of the country. More than an exhibition space, it symbolized the union of the regions in the republican project, highlighting the country's cultural diversity, natural wealth and productive potential.

At the far end of the avenue was the Palácio das Indústrias. Housed in the old Military School building and completely renovated by René Barba, it became the hub for exhibiting Brazilian production and technology. It brought together manufactures, technical innovations and industrial goods.

The Bahia Pavilion was designed by Rafael Rebecchi in the Italian Renaissance style, with a height of 38 meters and a dome crowned by the goddess Victoria. Located right at the entrance to Avenida dos Estados, it symbolized Bahia's economic and cultural strength at the time.

With 650 m², the Minas Gerais Pavilion was also designed by Rafael Rebecchi, where it broke with defined styles and impressed with its refined ornamentation. Located at the entrance, it conveyed haughtiness and sobriety, symbolizing Minas Gerais' political weight and economic importance.

 
The Federal District Pavilion was designed by Francisco Oliveira Passos, with a 1,100 m², sober façade and central dome. On the first floor, it displayed recent municipal works and services; on the upper floor, it held balls and receptions.

The Pavilhão dos Correios e Telégrafos (Post and Telegraph Pavilion) presented the modernization of postal and telegraph services, symbols of national integration and Brazil's insertion into international communication networks.

The Pavilhão do Corpo de Bombeiros (Fire Brigade Pavilion) displayed equipment, vehicles and firefighting techniques, highlighting the professionalization and efficiency of the service.

The Pavilhão da Sociedade Nacional de Agricultura (Pavilion of the National Society of Agriculture) highlighted practices and advances in the agricultural sector, with displays of products, technologies and innovations.

The Pavilhão da Fábrica de Tecidos Bangu (Bangu Textile Factory Pavilion) was designed in the Moorish style, a showcase for the national textile industry and Eastern-inspired architectural design.

The exhibition areas reinforced the aesthetic dimension of the Exhibition. Among them, the Fine Arts Annex brought together works by artists such as Visconti, Bernardelli and others, demonstrating the prestige of the artistic production presented to the public.

At 870 m², the João Caetano Theater was one of the most elegant spaces at the 1908 National Exhibition. Its green and gold décor, created by Raul Pederneiras, combined boldness and refinement.

The only foreign country invited, Portugal erected a pavilion inspired by Manueline architecture, evoking its maritime past and historical ties with Brazil. With ornamentation and references to the great navigations, it projected tradition and modernity.

In addition to the palaces and pavilions, the Exhibition also offered kiosks and services that extended the public's experience. These spaces functioned as meeting and resting points, where visitors could enjoy meals and drinks, making the visit more enjoyable.

Built in reinforced concrete, the Château d'Eau included a reservoir, reflecting pools and illuminated fountains, which offered a spectacle of color and movement at night. Located at the end of the route, it represented the technical mastery and modernity extolled by the Exhibition.

The images of the 1908 National Exhibition, preserved by Memória da Eletricidade, were produced from stereoscopic photographs by Augusto Malta. They record ephemeral architecture, technical innovations and represent a rare visual testimony of the early 20^th century.

"And the vibration of the light is so strong, so intense, so unprecedented, that it seems to everyone like a bit of their own being, transfused into the luminous soul of space."  
Gazeta de Notícias, August 16^th, 1908.