Ny World’s Fair 1939-1940 Essay Example
Ny World’s Fair 1939-1940 Essay Example

Ny World’s Fair 1939-1940 Essay Example

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  • Published: November 16, 2017
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During the 1930s, social changes were occurring rapidly and American fair culture was transforming into something unfamiliar both physically and ideologically. Although the fairs of this era marked the first instance of large-scale amusement without a specific purpose, they were not like today's sprawling amusement parks.

The traditional beauty of educational dioramas and panoramas showcasing the world's lands was rapidly fading away. Flushing Meadows hosted the 1939-1940 World's Fair, which was the banner fair that combined new spectacles, such as rides and risque nudity, with the remaining ancient customs and traditions. Although incorporating new building techniques and attractions had commenced in the previous decade, this fair outperformed them all by utilizing their combined successes on a grander scale. Chicago had initially considered constructing the first significant World

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's Fair of the 1930s by 1923, and planning formally began in late 1927. While it was referred to as "Chicago's Second World's Fair," this name was not convincing.

In June 1929, the board of directors for the second fair selected a three mile stretch of land that was only a quarter mile wide along Lake Michigan. Instead of adhering to the traditional historical theme, the board decided to concentrate on man’s recent advancements in science and renamed the event “A Century of Progress.” However, in October of the same year, the stock market crashed. Despite this setback, the board continued planning for the fair, which was scheduled to take place in 1933 to celebrate Chicago’s centennial anniversary. The members of this diverse board were all highly influential in their respective fields.

Rufus Dawes, an extremely affluent oil magnate and banker, served as the chairman of th

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board. Aside from his financial assistance, he also wielded considerable political influence through his brother, Charles G. Dawes, who served as vice president during the first two years of the fair's planning under Calvin Coolidge.

The fair planners had access to numerous connections, which proved invaluable in realizing the fair in an economically challenging time. Despite this, no direct government funding was sought for fair expenses, enabling a one million dollar allocation for the United States pavilion. To finance the fair, the board of directors established the "Chicago World’s Fair Legion", undertaking a membership-driven fundraising effort that generated $634,000 and helped raise awareness about the upcoming event.

Aside from private fundraising efforts, the board also collected funds publicly through the issuance of $10 million bonds with interest repayment. However, due to the severity and duration of the economic downturn and only moderate profits, some bonds remained unpaid. Additionally, several smaller fundraising initiatives - such as the sale of concessionary contracts - yielded a total of approximately $6 million. This particular exposition experienced an augmented corporate presence, which was a less typical occurrence in previous fairs but became increasingly commonplace throughout the decade. The end-of-decade New York World's Fair was the epitome of this trend.

After completing the fundraising, the board assigned a group of architects to design the fairgrounds layout. The architects were faced with the challenge of adjusting their plans to accommodate a large body of water on the northern end. In addition, they were tasked with determining the appearance of the buildings. Despite being spearheaded by the son of the Columbian Exposition’s head organizer, the architectural team opted for a more contemporary European style rather

than sticking to neoclassical architecture.

For the Century of Progress Exposition, Daniel H. Burnham Jr. and his architectural team created buildings that symbolized scientific advancement. One outstanding example is the Travel and Transport Building, characterized by art deco architecture with a distinctive roof design.

A roof that eliminated columns and supports, creating extra space in the building, was designed by the architectural commission of the fair. It was supported from above using two and a half inch thick cables that could be raised or lowered by a foot and a half depending on the weather. However, unlike other progressive ideas from the fair planners, this technology was not adopted on a larger scale in the future. The engineers also created a cable car ride called the Sky Ride, which took fairgoers from one end of the narrow fairgrounds to the other while passing over the pond at the northern end. The ride was held up by two 628-foot-tall supports named Amos and Andy after characters from a racially stereotypical radio show. The Sky Ride’s success paved the way for future rides at World’s Fairs, contributing to the fairs’ evolution as transitional elements.

Joseph Urban, an experienced theatrical set designer from New York, was hired by the board to add drama to their architectural creations. However, the Great Depression led to a substantial cut in the original architectural budget, resulting in smaller buildings with less building materials. Urban's expertise was crucial in concealing the reduction in scale of the fair by suggesting a style of building that used proportions and lighting to deceive the viewer's eyes. His background in set design on Broadway and at the New

York Metropolitan Opera influenced the building of Disney World's characteristic castle. Because of site zoning laws, architects had to adopt the same technique as the planners of the Century of Progress and change the natural proportions of the spires to make the castle appear taller when viewed from below.

Urban revolutionized World's Fairs by incorporating innovative techniques from the world of live performance. He played a pivotal role in transforming the fair experience into a spectacle akin to Broadway shows, without stages or seats. The focus shifted from showcasing new inventions to providing visitors with captivating live performances and impressive displays. Urban's contributions were instrumental in redefining the nature of World's Fairs as we know them today.

The board of one of the pioneering fairs used progressive techniques that were later adopted in subsequent fairs and amusement parks. These techniques included flat windowless walls, inexpensive materials, a variety of vibrant colors and dramatic lighting. These elements were repeatedly used, most notably in the 1939 New York World's Fair. The adoption of innovative lighting schemes, particularly those for fountains and buildings, was positively received at the Barcelona and Seville fairs in 1929. General Electric and Westinghouse Corporation collaborated to create the lighting at the fair, using colored and indirect lighting to impress visitors.

The Century of Progress pushed beyond the Spanish fairs by incorporating gas-filled tube lighting - a first for designers. In a clever move to save costs, a planned waterfall was exchanged for a cheaper green and blue tube light version that towered fifty-five feet high. Additionally, the fair phased out the traditional, exclusively amusement-based Midway in favor of a dispersed and plentiful "amusement attractions". The fair

also introduced mechanized dioramas, a new spin on the typical World's Fair scenes. While the Century of Progress marked the first time dioramas were automated, it likely won't be the last time.

According to Chicago fair attendees, Messmore and Damon, a New York animatronics firm, was selected to create robots for the event. In 1939, designers aimed to create a robot capable of talking, moving, and smoking cigarettes. While these inventions may not impress people today, they were revolutionary in the 1930s and generated awe and excitement among fairgoers. Additionally, the fairs' history saw a significant development when a vaudeville act featuring a fully nude performer was included. Sally Rand, the vaudeville dancer, covered herself in white powder and danced sensually with two ostrich fans.

At the fair, she caused a sensation by lifting the fans above her head, revealing her completely white and nude body. This act attracted a great deal of attention from both men and women, while provoking outrage from others; however, this controversy likely only increased publicity for the act and the fair. The show's popularity inspired larger scale nude performances at future fairs, such as the New York World's Fair, where they made a concerted effort to include both full and partial nudity. As a result, world's fairs continued to expand their variety of attractions, eventually moving away from the models of earlier events.

During the decade, two directions were taken by entertainment choices. One was aimed at children and teenagers and the other went towards adult entertainment. A vaudeville show occurred at one end of the fair while a five-acre playground was available for young children at the opposite end. Racism was

still present during this time in history and could be observed at the Century of Progress fair as well as other fairs held during the decade. The belief that white men were superior to black men was common, and although there were some attempts to address this, such as having a "negro day" or speeches given by prominent African Americans, there were no concrete steps taken towards progress. Essentially, blacks were limited to menial jobs such as porters and maids and were not employed in construction roles at the fair.

Blacks were offered various jobs at the Century of Progress, including being the person dunked into a water tank for the game "African Dips" and participating in the display "Darkest Africa," which portrayed Africans as barbaric savages. Despite growing unrest and division in the African American community regarding racism at the event, the state government only passed a resolution frowning upon racial discrimination. Although fair managers began to take complaints more seriously, little changed. Two years later, at the 1936 Texas Centennial Exposition in Dallas, there was further racial controversy. After fighting for a portion of the government's allocation to design and build a "Hall of Negro Life," an unattractive building was constructed with "colored" signs adorning the restroom door.

Following a vigorous objection from the sizeable African American population in Texas, the signs were taken down under the direction of Jesse D. Thomas, who served as the hall's government-appointed manager. Consequently, these restrooms became the only integrated ones at the fair. Moreover, shuttle buses, utilized for conveying attendees throughout the premises, were also integrated. Nonetheless, the hall was the sole structure that was razed before

year-end, later supplanted by the Latin American culture pavilion.

Before 1939, there was only one other American fair, the Cleveland Great Lakes Exposition, which did not have a pavilion dedicated to African American progress. The New York fair of 1939 shared many similarities with previous fairs. Although it did not have exhibits as overtly racist as the “African Dip,” discriminatory hiring practices were still prevalent. This was partly due to the conservative political views of Grover Whalen, head of the world’s fair commission. The acceptance of such attitudes reflects society’s views on racism at the time.

Despite Mayor Fiorello LaGuardia's intervention, the outcome only saw a minor improvement. Instead of following the precedent set by the Century of Progress and having another "Negro Day,” the fair managers opted for the slightly less demeaning "Negro Week," during which W. E. B. DuBois gave a speech.

Aside from a performance by an all-black women’s chorus, there were no significant advancements made in this fair. It was around the same time as the California Pacific International Exhibit of 1935, and due to the success of the Century of Progress fair, New York officials began considering hosting another World Fair. They recognized the potential for economic growth and viewed the fair as a means to combat the depression that had plagued the country for years. The organizers aimed to instill hope for a better future during a time of turmoil, which foreshadowed the current role of mass media as a form of distraction for society.

The trend of avoiding national and international crises by indulging in entertainment has become a notable aspect of American culture. This mindset was prevalent when three prominent

New Yorkers, George McAneny from the Regional Planning Association, former police commissioner Grover Whalen, and Macy's President Percy Straus, came together to plan the fair. These individuals were appointed as the board of directors.

Due to its historical significance, the fair was scheduled to take place in 1939, which marked the 150th anniversary of George Washington's inauguration in New York City. The board of directors, comprised mainly of influential businessmen, was established by 1935 and was heavily influenced by corporate advertising practices. With economic objectives in focus, they launched an extensive public relations campaign.

At an early stage, the board experienced internal disagreement over the fair's theme. The traditionalists favored a historical approach, while the functionalists aimed for a more progressive exposition than ever before. Led by Michael Meredith Hare of the Municipal Art League, Harvey Wiley Corbett of the Century of Progress architectural committee, and cultural critic Lewis Mumford, the functionalists won out with their "Fair of the Future" agenda. They sought to celebrate the technological advancements of the future rather than the past and emphasized how these innovations would benefit fairgoers in the years to come. To visually represent this forward-looking approach, Walter Dorwin Teague and Robert Kohn, two eminent architects of the time, were added to the design team chosen by the board of directors.

The task of creating a motto and organizing the site of the 1939 World's Fair was assigned to a group of individuals who worked together towards this common goal. They successfully created the motto "Building the World of Tomorrow" and divided the site into seven sections, each representing a different aspect of modern life. These sections included government,

production and distribution, transportation, communication, food, community interests, and amusement. In May 1936, a design board consisting of seven conservative members was formed to decide on the architectural style of the fair. The board's leader was Stephen F., who served as the president of the American Institute of Architects and was known for his ultraconservative views.

Notable names on the design board for the fair included Voorhees, Norman Bel Geddes, Raymond Loewy, and Henry Dreyfuss. Their designs were made as modernistic as possible thanks to the influence of Walter Teague. Parks Commissioner Robert Moses also had a significant impact, as it was his vision to turn Flushing Meadows, which was previously an ash and refuse dump, into a site for a prestigious World's Fair that could rival those in Europe.

His goal was to transform the site into a massive park spanning 1,216 acres, rivaling the grandeur of Central Park and standing as the second largest World's Fair venue, second only to Saint Louis. After securing approval, efforts to bring this vision to life began in March of 1937. At the heart of the fair were two unique structures that had become synonymous with such events: the Trylon and Perisphere. These impressive white edifices boasted architectural styles that were not commonly found in urban areas and had not been seen before at any previous fair. The enormous 180-foot diameter Perisphere housed the theme exhibit titled "Democracity."

Henry Dreyfuss designed an exhibit that was a progressive type of diorama, surpassing the mechanized ones at the Century of Progress. The interior represented a Utopian vision of an urban area in 2039. The exhibit was surrounded by a balcony featuring two

moving staircases. From here, viewers could watch a six-minute show full of strong political overtones. The show symbolized the eventual emergence of democracy from the hardships of the Great Slump and World War II. It included the sky changing from day to night and back again, accompanied by the sound of a thousand marching people. Their picture was then projected onto the ceiling. This highlighted the use of entertainment to convey political messages, which was an important trend at the time.

Today, political views are commonly spread through entertaining shows like the Colbert Report and the Daily Show with Jon Stewart, whose popularity continues to increase. During the 1939 World's Fair, the Perisphere attracted around eight thousand visitors every hour, while the Trylon was a towering 610-foot triangular prism connected to it by a 950-foot Helicline walkway. The fair’s architecture had a unique theme, featuring geometric figures and emphasizing art deco lines in a way never seen before.

Various attempts were made to showcase advancements in architecture by blending ancient masterpieces like domes, pylons, and pyramids with modern progress. Walter Dorwin Teague's pioneered a new technique at the California Pacific International Exposition of 1935 for the Ford Pavilion, utilizing plain walls without windows but with pops of bright colors which were illuminated electrically at night to make them more prominent. Despite new lighting technology options like incandescent, fluorescent, indirect, and tube lighting, the fair was still a learning experience on how to use light effectively amidst architecture. The fair saw numerous corporations, who had to comply with the themes of progress and the future in order to exhibit.

Despite the fact that it was a huge promotional

opportunity, they had no objections to it. They merged their product into the alluring portrayal of the extraordinary future world that was being depicted. One of the most extensive and famous exhibits at the 1939 World's Fair, General Motors' Futurama, was a perfect example of this. It was the most elaborate and extensive demonstration at the fair and was designed by Norman Bel Geddes in 1960 as an image of futuristic landscape. The main focus of this exhibit was on advancements in infrastructure development, particularly with respect to highways and innovations in automobile performance and safety. Geddes strongly believed that "a free-flowing movement of people and goods across our nation" was necessary for modern living and prosperity.

On April 30th, 1939, the Futurama was completed and available for viewing at the fair's opening. President Franklin Delano Roosevelt delivered a commencement speech at the event, where he expressed hope for progress and goodwill in the future. He stated that the United States was focused on moving forward towards a star of peace and greater happiness for all. More than 30,000 people waited in line for hours to witness this futuristic display.

After waiting in line, visitors were seated in chairs equipped with speakers that guided them through Geddes' vision of the future, spanning 35,000 feet. The exhibit primarily showcased vast multi-lane highways that sprawled across the country. Its appeal was due to the recent surge of accessible and affordable automobiles, as there were only a handful of urban highways with limited speed capacities at the time. Promising speeds of up to 50, 75, and 100 mph in separated lanes and effortless turns that didn't require any reduction in

speed made it a popular attraction.

City planners in 1960 aimed to eliminate slums and replace them with tall buildings, parks, community recreation centers, and civic centers. The 280-acre "Amusement Zone" at this fair was renamed the "Great White Way" in 1940. While some attractions, such as the "We Humans" freak show, did not return for the second season, erotic exhibits like the Living Magazine Covers were still present.

One of the popular new fair attractions was the "Aquacade," which starred two ex-Olympic swimmers and a synchronized swimming team. It returned for a second season in 1940, along with the tethered parachute jump. Despite a $23.7 million loss and war in Europe, fair managers decided to reopen for a second season. They used a Keynesian strategy by lowering admission from 75 cents to 50 cents to increase attendance.

Due to the war in Europe, several nations closed their pavilions during the “world’s” fair, resulting in the disappearance of its international aspect. The fair instead focused on promoting travel within America. Denmark and Norway withdrew their exhibits, with Iraq, a non-belligerent country, taking Denmark's spot. However, Friends of Norway maintained Norway's exhibit. The fair's theme changed to "For Peace and Freedom" due to these circumstances. This shift reflects the American corporate mindset of utilizing unfortunate occurrences for monetary gain.

Despite attracting nineteen million visitors and generating a profit of five million dollars, the second season of the fair saw a decrease in attendance. Unfortunately, the significant losses incurred during the first season prevented Robert Moses' planned improvements for Flushing Meadows Park from being carried out. After the fair ended, salvaged metal from the buildings and monuments was donated for

use in producing war materials. Though the fair site was eventually torn down, Westinghouse Corp. created a time capsule to preserve American life in 1939, reflecting an awareness of forthcoming major lifestyle changes.

The time capsule, designed to be retrieved in 5000 years, was made of “Cupaloy” - an alloy of copper, chromium, and silver. Its shape resembled that of an elongated bullet with a length of 7 feet and 6 inches and diameter of 8 and 3/8 inches. The contents were secured in an airtight glass container and consisted of five main categories: small articles of common use, textiles and materials, miscellaneous items, a microfilm essay featuring contemporary art and literature, and a newsreel. In addition to this, 3000 “Books of Record” were created in 1938 with permanent paper and special ink to be distributed worldwide to libraries, museums, and monasteries. These books contain an ingenious key to the English language to aid anyone in locating the time capsule if the English language is lost.

The book contains clues about the capsules' location, including the latitude and longitude of the burial site. It also provides instructions for creating and utilizing instruments to find the capsules through electromagnetic means. In addition to these clues, the book makes requests, such as translating it into newer languages that take precedence over old ones. The exposition was a significant boost to the growing idea of mass consumerism, marking the end of an era when world's fairs provided affordable and all-encompassing entertainment to the masses. However, subsequent world's fairs diverged from their original goal of educating the public about different cultures through relatively accurate but often ethnocentric means. This shift was

partially due to an increasingly educated public and corporations' rise in power, which were linked to the postwar economy's growth.

During the 1930s, world's fairs started to target specific audiences, as seen in the 1939 fair. This era marked a transitional period that blended traditional fair themes with a more consumer-oriented attitude that rose alongside the renewal of capitalism during and after WWII. World's Fairs became associated with large corporate exhibits, promoting future products to potential consumers, along with an increase in adult-oriented shows. These shows often used nudity as a means of drawing controversy and ultimately, profit. This was one of the first examples of using sexuality as a tool for marketing.

The focus on child entertainment during the 1964 fair caused a greater polarization among exhibits and is closely connected to the event. This information is supported by sources such as Zim, Larry et. al.'s book The World of Tomorrow - The 1939 New York World's Fair and David Gelernter.

Within this paragraph, there are several book titles and their respective authors. These include "Lost World of Fair" by Robert Rydell, published in 1996 by Harper Perennial, "World of Fairs: The Century of Progress Expositions" by Robert Rydell, published in 1993 by the University of Chicago Press, "World's Fairs" by Eric Mattie, published in 1998 by Princeton Architectural Press, and "Schrenk, Lisa" who is not identified as an author or associated with a specific book title.

Chicago's 1933-1934 World's Fair architecture is covered in the book "Building a Century of Progress" by the University of Minnesota Press in 2007. Another book called "Fair America" was written by Robert Rydell and others and focuses on the

fair in Washington D.C.

The Smithsonian Institute Press published "C." in 2000, while Direct Cinema Limited released "World of Tomorrow" on DVD in 2006.

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