Every piece of architectural creation on the earth constitutes a building for an unknown ceremony. Only a few insiders have been given the ability to stand aside the brick, the wood, the iron and the synthetic material that hide the secret rituals.
In reality, beyond the functional use of the architecture, the symbolic use is also noteworthy. Namely, architecture is an iceberg, the biggest part of which is hidden. As a result, in the way that the innumerable technical means, that make architecture function, are invisible, in the same way rituals and symbols, that make architecture desirable and indispensable, are invisible, too. In this project, an attempt has been made to explore this dimension of architecture through the nature of the ephemeral structures and the passage from the historical background of world expositions to concepts that not only confirm this symbolic character but also associate it with modern reality.

In the frame, thus, of the above exploration, there is a report at the beginning that has to do with the listing of the basic definitions and an overall conception of the ephemeral architecture, which aims for a gentle crossing to the second chapter, that includes a retrospect of the history of expositions, from the epoch of their creation up to the 21st century. At this point, there is a reference to the roots of the exposition, the appearance of this event, its gradual differentiation in each time span and all important attributes of contemporary Expos, that are to be traced in "Great Exhibition of the Works of Industry of all Nations" of 1851 in London. Namely, the field of the research begins from the epoch of the first trade fairs and goes on to the period, where promoting progress through industrialization by bringing together the state of the art in science and technology from around the world was the main idea (1851 - WWII). The research goes on to the world fairs that proceeded from the 1930s on to cultural exchange by focusing on a theme and addressing issues of humankind, a future oriented and even "utopian" twist, and ends up to the contemporary Expos, that in  the late 1980s, became a vehicle for "nation branding". Of course, it is particularly remarkable to mention that in the frame of this historical background, great importance has been attached to the ideological constitution of each exhibition, while in parallel the typology of the first buildings and the most interesting and today's innovative pavilions are investigated, too.
Today's world expositions embody elements of all three eras, that in the wider frame of globalization and competition change, so as to offer new ways to inspire and impress. This reality is analyzed in the last chapter, where through the connection of the internationalism of architecture and messianism of technology, it is made clear among others that the overabundance of exhibits arranged like trophies has conceded its place to their expulsion, so as the buildings - pavilions themselves to take the position of the object subjecting the visitor, honoring the ephemeral and making this event of organizing a spectacle of consumption with features of pandemic adoration.