The work gallery communicates, by means of two lateral passages on the left, with both the Newspaper Palace and the England Pavilion.
The Newspaper in action, completed by the 1400 printing works that we will visit later in the Middle Ages, forms, with Fashion and Electricity in action, the trinity of wonders, of the truly new things of the Exhibition.
The very seat that the newspaper created for itself deserves a special description. Clearly detached from the arabesque style of the eighteenth century, without too many ornaments, of a sober decoration, it stands out, like a solitary, in the great choir of the buildings of the Exhibition. Its lines, though harmonious and pleasing to the eye, are reminiscent of both a workshop and a railway station; seeing it from the outside, there is no doubt that serious work is being done inside.
Its robust form would lead one to believe that the newspaper palace, like the work gallery, is built of iron; but we know that its soul is even more modern; it is made of reinforced concrete and this will allow it to survive, alone among so many white domes, at the 1911 Exhibition. A symbol of the daily paper that alone survives the stormy waves of the events that give rise to it, we will still see it, in our walks in Le Valentin, long after the echo of the International Exhibition has been muffled.
Faced with the newspaper that is written, composed and printed in his presence, the public experiences the same feeling of surprise as when visiting the great hall of electricity in action.
Few people who receive their daily newspaper on a regular basis each morning will have imagined the amount of work that goes into that frail sheet of paper every day. The work of precision machines and the work of men, whose minutes are counted, as they are for those on death row. Work that is done in the middle of the night, when everyone is resting and Morpheus is spreading the net of dreams, deceptive and charming. Work of continuous tension, with the ear ready for the calls of the telephone, of the telegraph, with the sheet of paper in front of us that the linotype worker grasps, barely filled with confused lines.
And so it goes on, every night, until the last available minute, when the characters are cast and melted in the cylinders that the rotary machine desperately embraces and tortures, leaving the long strip of numbers unravelled, which a galloping van will take to the neighbouring station, to spread them over the province at the first light of the day
The scrupulousness of the reproduction of the newspaper's print run has been pushed to the point of making the paper on the spot, as was done for the 15th century printing press in the Middle Ages.
The two-storey newspaper palace, with an area of 6,000 square metres and a frontage of 105 metres, consists of a central hall measuring 22 by 80 metres, 23 metres high, painted with yellow and green garlands, and surrounded by an outer portico with spacious galleries.
The newspaper in action is accompanied by various special exhibitions of great novelty and interest, such as the iconography of famous journalists, exhibitions of the calendar and the illustrated postcard. Naturally, the related industries of graphic machinery, inks, engraving, phototypesetting, lithography and bookbinding are also represented.
The upper gallery of the Newspaper Palace, with an area of 2850 square metres, is occupied by the jewellery and goldsmiths' exhibitions.
©Guide Officiel de l'Exposition Internationale de Turin 1911