You will hardly come upon your first view within the pages of this book without realizing that you have been brought into contact with something altogether new, something new and at variance with the traditions of other days. If you are like most of us, you will wonder if the future is to look like this, and, if it does, what your place is to be in it. ~ Allen D Albert A Century of Progress Exposition Official Book of Views To describe the 1933 Chicago World's Fair in a word, one might choose, "modern" or "dazzling," perhaps even "outrageous." The fair experimented with modern architecture, dazzling electric illumination, and a daring color scheme meant to reflect the scientific content of the fair's exhibits. The fair featured advancements in all fields of science, ranging from the inner-workings of the automobile engine to the most recent theory on the structure of the atom. Entitled "The Century of Progress," it used these vivid colors and impressive exhibits to create a light-hearted and uplifting experience intended to distract the nation from the hardships of the Great Depression. The viewbook featured here provides visitors with a souvenir of this striking event and a way to remember the exhibits and buildings after the exhibition was over and the fairgrounds returned to a public park. The viewbook was compiled by the Architectural Commission for the fair, with the text by Allen D. Albert, an honorary secretary, and forward by Rufus C. Dawes, the president. The book, approximately nine by twelve inches, and consisting of 64 pages of vibrant images of the fair, depicts the major buildings, exhibits and attractions. These images are mostly watercolors, sometimes enhanced photographs or cartoons. Th... ... middle of paper ... ...he tomorrow! With our help the new day can be made so much more rich that the old! The views have the look of romance. Romance may become reality if we humans will it to be so!" Works Cited Albert, Allen D. Century of Progress Exposition, Official Viewbook. Reuben H. Donnelly Corporation. Chicago, Illinois. 1933. Findling, John E. Historical Dictionary of Worlds Fairs and Expositions 1851-1988 Greenwood Press, Westport Connecticut. 1990. Ganz, Cheryl R. "Science Advancing Mankind." The Society for the History of Technology. 2000. Haskell, Douglas. "Mixed Metaphors at Chicago." Architectural Review August, 1933. v. 74 pp. 47-49. Kaufmann and Fabry Co. Official Pictures of A Century of Progress Exposition The Reuben H. Donnelley Corporation. Chicago, Illinois. 1933. "The Chicago World's Fair, 1933." Architectural Forum 1933 July, v. 59, p. 1-86.
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990 Komendant, August, "Post-Modern on Habitat", Progressive Architecture 1968 March vol.49, p.138-147
“Cleveland Museum of Art: Building,” Cleveland Art, Cleveland Museum of Art, 2013. Web. 25 March, 2014.
From first impression, Burnham found that Chicago had a murky factorial image lined with a “fantastic stink that lingered in the vicinity of Union Stock yards” (41). The dreadful surface that Chicago was maintaining allowed Burnham to be determined to collaborate and recreate its image. His efforts would also make a reputational comeback for America’s poor representation in the Exposition Universelle (15). One major feature that transformed public opinion of the state was to illuminate the entire fair with clean white buildings that outlined the goodness of the area (252). Eye-catching whiteness contradicted the presumed dirtiness of the town. Making a contradiction from what was assumed of the city would allow the fair to generate a much bigger transformation. The lights also gave the fair a unique, whimsical edge. “The lamps that laced every building and walkway produced the most elaborate demonstration of electric illumination ever attempted”, incorporating new technology in a grand-scale way merely to keep the theme of brightness ongoing throughout each day and night (254). Most importantly, it displayed the town’s potential to become a thriving and respected city. The theme of whiteness interlaced with the neoclassical outline in The World Fair’s de...
The Chicago World’s Fair was at one of the most progressive time periods in American history. Free from the bonds of the Civil War, American inventors were able to invent for the sake of invention, women were once again able to fight for their rights as citizens, and African Americans were, for the first time ever, viewed as people
The World’s Fair of 1893 was set to commemorate the 400th year anniversary of Columbus’ voyage to America. When the top leaders in the US heard about the opportunity of hosting the fair, they quickly showed their interest. The main cities that showed interest were New York,...
Erik Larson’s book Devil in the White City is full of magic and madness that has shaped the society of the late 19th century that is specific to in Chicago. The issues that have been handled through this time frame that are addressed in this book is that how Chicago was known to be the black city at first, and how the city hoped that hosting the World’s fair would increase their reputation. Secondly, the magic of a man named Daniel Burnham that did put the plans of the world fair in Chicago into life and the obstacles that he had overcame. Next, once the world fair was complete, it has made Chicago “The White city,” by its dazzling designs and attractions that made it memorable. Then, the madness of H.H. Holmes and how his evil deeds has seemed to undermine the world fair and the things that are going on within it with his murders and treachery that does grip Chicago once his evil deeds have been found out. Finally, the events that happened in the world fair that relate to the issues that occur in the late ninetieth century within the United States. The city of Chicago was in a desolate condition before it hosted the World Fair.
Baker Patricia, 1992, Fasions Of A Decade: The 1940's, New York, Facts On File, Inc.
..., the society begins to see love as a goal. Romantic love becomes a noble trait and just quest if one wishes to embark on it.
image on Exposition souvenirs was ideal in light of the fair's theme - our nation's 150th
Raeburn, John. A Staggering Revolution: A Cultural History of Thirties Photography. Chicago: University of Illinois, 2006. Print.
One story describes the planning of the 1893 Chicago World’s Fair that had been proposed to celebrate the four hundred years since Columbus landed in America. The idea didn’t get much attention until a year earlier, when Paris held a world fair and unveiled the Eiffel Tower. Not to be outdone, America decided now it was a matter of who would hold a fair that would put France’s fair to shame. There was a dilemma of where the fair would be built New York or Chicago, but votes were tallied up and the majority of the vote was Chicago. Among the many architects in Chicago, the main job of the designing the fair was given to Daniel H. Burnham. He needed a companion to help him with the design and other features of the fair, so he chose John Root, a very close friend of his and former associate. Because of the amount of time it took to decide where to build the fair, The White City was believed to be impossible to construct because of time con...
Andrist, Ralph K., and Edmund O. Stillman. The American Heritage History of the 1920s & 1930s. New York: American Heritage/Bonanza, 1987. Print.
One half of the story was of a man named Daniel Burnham, who was a famous architect of his time. It’s in this half of the story that can you see the good part of the city. Pride can be seen mainly throughout his story. His life in these pages was based on the construction of the World Columbian Exposition which was a fair held in Chicago in 1893. This magnificent fair was in honor of one of America’s most well known discoverers, Christopher C. Columbus. This was the 400th anniversary of his discovery of the new world. Through Burnham’s pride and his determination, he was able to complete the fair in almost a year. However, it was not truly ready for opening day due to a few construction issues, such as the world’s f...
This 11 by 7 inch color lithograph seen here depicts the Manufactures and Liberal Arts Building at the Chicago World's Columbian Exposition of 1893. As the main exhibit space of the fair, it was the largest building ever constructed at the time and the most visited site at the exposition. The general scheme for the building was laid out during the early planning stages of the Chicago fair. It was to be located facing Lake Michigan on its long axis and the east end of the Court of Honor, where the other main buildings were grouped, on its short axis. Architect John Wellborn Root, partner of fair director Daniel Burnham, devised the basic function for the building. Because Root died early in the planning stages, the program was radically altered by his successor Charles Atwood. The latter's idea for a clear span surrounded by galleries prevailed, as fair organizers were intent to surpass that of the famous Galerie des Machines at the Paris exposition of 1889. New York architect George B. Post (1837-1913) was chosen to design the Manufactures building from a group of mostly eastern architects selected for the major fair buildings, including Richard Morris Hunt and McKim, Mead and White. His experience in large classically detailed New York buildings such as the Produce Exchange (1881-84) and the Havemeyer Building (1891-93), both demolished, made him a good candidate to uphold the White City ideal of the fair, emphasizing classical canons of composition and ornamentation. His expertise in the use of iron and steel, as in the large interior light court of the Produce Exchange, would come in handy if the Manufactures Building was to succeed in its "clear-span rivalry" with the Galerie des Machines (Hoffmann).
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990