In this article I interrogate the complex relationship between nature and culture by examining how tropical nature and raw materials were conceptualized and displayed in the nineteenth century. I do so by discussing a display of tropical wood mounted by the Empire of Brazil for the Exposition Universelle in Paris in 1867. The reception of this display in Europe is analysed through Karl Max’s ideas on the gendering of nature and commodity exchange, through the concept of tropicality, and through Claude Levi-Strauss’s binaries of the raw and the cooked, which help reveal how natural materials were commodified into things themselves. Broadly, I am interested in putting ‘nature in our official past’ and bringing key concerns from environmental history studies to the fore, to bear on studies in design history.

中文翻译：

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制造原始设计盛宴：1867 年世界博览会上巴西热带自然的商品化和性别化

在这篇文章中，我通过研究 19 世纪热带自然和原材料是如何概念化和展示的，来探究自然与文化之间的复杂关系。我通过讨论由巴西帝国为 1867 年巴黎世界博览会展示的热带木材展示。通过卡尔马克斯关于自然和商品交换的性别化的想法，通过概念分析了这个展示在欧洲的接受程度热带性，并通过克劳德·列维-斯特劳斯的生食和熟食的二进制文件，这有助于揭示天然材料如何被商品化为事物本身。从广义上讲，我有兴趣将“自然置于我们官方的过去”，并将环境历史研究中的关键问题放在首位，以对设计史研究产生影响。