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The Golden Gate International Exposition (GGIE) was a massive undertaking. The city of San Francisco had long looked for a site for a new airport to service the Pacific market, and the fair provided the impetus to build Treasure Island, a man-made island that would eventually service the massive seaplanes in use at the time. The GGIE also helped cement the Bay Area as a tourism and business center, competing directly with the 1939-1940 New York World's Fair. While New York centered more on the industrial side, the GGIE showcased the many natural wonders of the West, with expansive gardens and complementing architecture. The GGIE was a success on all counts, enticing millions of visitors to travel to the region. When the fair was over, Treasure Island became an important naval base during World War II.
Published on the occasion of the expo's 75th anniversary, Into the Void Pacific is the first architectural history of the 1939 San Francisco WorldÕs Fair. While fairs of the 1930's turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical conceits to explore the nature of the city's place in what organizers called "Pacific Civilization." Andrew Shanken adopts D.H. LawrenceÕs suggestive description of California as a way of thinking about the architecture of the Golden Gate International Exposition, using the phrase Òvoid PacificÓ to suggest the isolation and novelty of California and its habit of looking West rather than back over its shoulder to the institutions of the East Coast and Europe. The fair proposed this vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. The book explores how buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil. Yet it is also a tale of architectural compromise, contingency, and symbolism gone awry. With chapters organized around the creation of Treasure Island and the key areas and pavilions of the fair, this study takes a cut through the work of William Wurster, Bernard Maybeck, Timothy Pflueger, and Arthur Brown, Jr., among others. Shanken also looks closely at buildings as buildings, analyzing them in light of local circumstances, regionalist sensibilities, and national and international movements at that crucial moment when modernism and the Beaux-Arts intersected dynamically.
The 1964-1965 New York World's Fair was the largest international exhibition ever built in the United States. More than one hundred fifty pavilions and exhibits spread over six hundred forty-six acres helped the fair live up to its reputation as "the Billion-Dollar Fair." With the cold war in full swing, the fair offered visitors a refreshingly positive view of the future, mirroring the official theme: Peace through Understanding. Guests could travel back in time through a display of full-sized dinosaurs, or look into a future where underwater hotels and flying cars were commonplace. They could enjoy Walt Disney's popular shows, or study actual spacecraft flown in orbit. More than fifty-one million guests visited the fair before it closed forever in 1965. The 1964-1965 New York World's Fair captures the history of this event through vintage photographs, published here for the first time.
Based on an exhibition held at the National Building Museum, Washington, DC, October 2010-July 2011.
A magical city sat next to the San Francisco Bay in 1915 to celebrate the construction of the Panama Canal and America's success in the World. Known as the Panama-Pacific International Exposition, The San Francisco World's Fair was a massive event that entertained more than 18 million people who visited the Western United States while The Great War raged across the World in Europe. More than 20 countries participated and enthralled guests with a visionary display of palaces, technological achievements and art. The Panama-Pacific International Exposition Company first printed this book as "The Blue Book" in 1915, a lavish celebration of the success of the fair. Restored by World's Fair historian, Mark Bussler (Director of Expo: Magic of the White City and author of The World's Fair of 1893 Ultra Massive Photographic Adventure Series), this massive reprinting preserves the original pictures, text, and type font while adding new spreads and modern layouts.
When a brash and beautiful American newspaper reporter, Lily Nordby, falls into a forbidden love affair with Tokido Okamura, a sophisticated Japanese diplomat whom she suspects is a spy, at the Golden Gate International Exposition, a brilliant Mayan art scholar, Woodrow Packard, tries to save her.
The Expo Book: A Guide to the Planning, Organization, Design & Operation of World Expositions
When So-Called Dollars was published it was the first, and it is still the only book to deal comprehensively with its subject matter. The book begins with the legendary Erie Canal Completion issues of 1826 and proceeds to catalog 135 years of the Golden Age of American history, all the way up to 1961. Although there have been many propositions for reviving the book over the years, none were more than theoretical musings until two collectors, Tom Hoffman of Crystal Lake, IL and Jonathan Brecher of Cambridge, MA set the process in motion. They have been joined by two others, Dave Hayes and John Dean, to produce a remarkable new edition, of the sort that can only be the product of dedicated hobbyists who love their subject and see it as their obligation to share with others the knowledge gained from years of collecting. While the second edition holds true to the original in basic style and in substance, prices have skyrocketed and it offers much that is new. There are many more illustrations than in the first edition. In fact, virtually every type is now represented by a photograph. More historical information for the issues is presented in the text, which has been further expanded with additional listings of both previously unknown metal varieties and totally new items. The size of each item is now given in mm rather than in 16ths of an inch as in the 1963 edition. Each issue has been assigned a rarity rating of from R-1, indicating more than 5,000 known, to R-10, meaning unique. In addition, a loose-leaf price guide included in each book at no additional charge. The index has been expanded to include references to more subjects and places. Finally, there is a section of color plates. The Hibler & Kappen book remains the standard reference work on the subject with its HK numbers an instantly recognizable means of cataloging and identification.