Çelik examines the reveal of Islamic cultures at nineteenth-century world's festivals, targeting the exposition structure. She asserts that definite sociopolitical and cultural traits now an important to our realizing of historic differences in either the West and the realm of Islam have been reflected within the fair's structure. moreover, dominant attitudes towards cross-cultural exchanges have been printed time and again in Westerners' responses to those pavilions, in Western architects' interpretations of Islamic stylistic traditions, and within the pavilions' effect in such city centers.
Although the world's gala's claimed to be structures for peaceable cultural communique, they displayed the area in line with a hierarchy in keeping with energy relatives. Çelik's delineation of this hierarchy within the exposition structures permits us to appreciate either the hostile relatives among the West and the center East, and the difficulty of cultural self-definition for Muslim societies of the 19th century.
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