The Book of International Exposition Guidebooks: A Selection of Guidebook images from all major Expos from 1929 to 2020
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The Book of International Exposition Guidebooks - Gordon Linden
The Book of International Exposition Guidebooks
Published by: The Expo Book
ISBN 978-1-329-96580-5
Design: Teresa Papachristou, IND [Inter National Design]
Revisions and Cover Design: Mara Nuyens
© 2024 Gordon Linden / The Expo Book
All rights reserved. Non part of this book may be used or reproduced in any manner without written permission from the publisher, except for reviews.
Every effort has been made to identify owners of copyright. Anyone claiming copyright is requested to contact the Expo Book regarding such matters.
by Gordon L. Linden
INTRODUCTION1
1929 BARCELONA, SPAIN9
1929-1930 SEVILLE, SPAIN15
1930 ANTWERP, BELGIUM21
1930 LIEGE, BELGIUM27
1933-1934 CHICAGO, USA33
1937 PARIS, FRANCE45
1939-1940 NEW YORK, USA51
1939-1940 SAN FRANCISCO, USA57
1958 BRUSSELS, BELGIUM63
1962 SEATTLE, USA69
1964-65 NEW YORK, USA75
1967 MONTREAL, CANADA81
1968 SAN ANTONIO, USA87
1970 OSAKA, JAPAN93
1974 SPOKANE, USA99
1975 OKINAWA, JAPAN105
1982 KNOXVILLE, USA111
1984 NEW ORLEANS, USA117
1985 TSUKUBA, JAPAN123
1986 VANCOUVER, CANADA129
1988 BRISBANE, AUSTRALIA135
1992 GENOA, ITALY141
1992 SEVILLE, SPAIN147
1993 TAEJON, KOREA153
1998 LISBON, PORTUGAL159
2000 HANNOVER, GERMANY165
2005 AICHI, JAPAN171
2008 ZARAGOZA, SPAIN177
2010 SHANGHAI, CHINA183
2012 YEOSU, KOREA189
2015 MILAN, ITALY195
2017 ASTANA, Kazakhstan201
2020 DUBAI, UAE207
BIBLIOGRAPHY215
ACKNOWLEDGEMENTS221
TABLE OF CONTENTS
Although international expositions were held prior to London’s 1851 Crystal Palace Exhibition, that event is generally considered to be the first of a type of non-sports, cultural visitor event which is today known as an International Exposition or more colloquially as an Expo. Through the years, Expos have been called World’s Fairs, World Expositions and other variations on these terms, but they refer to the same type of event which consists of a place-based exhibition taking place for up to six months, hosted by an official organizer which features exhibits developed and operated primarily by international participants with some level of corporate participation. A successful Expo is both entertaining and educating; visitors can partake of a variety of cuisines, attend shows and live performances, and enjoy an experience unlike that found in other forms of large scale cultural gatherings.
The frequency and quality of the many events which followed the Crystal Palace gave rise in 1928 to the formation of a treaty organization – the Bureau of International Expositions or BIE
– composed of several countries that joined forces to oversee international expositions. Over the years since the BIE was established, Expos have been held in various cities throughout the world distributed geographically to Europe, North America, and Asia; future Expos are being planned for Asia (Osaka 2025), Southeastern Europe (Belgrade 2027), and the Middle East (Riyadh 2030).
Visitors to Expos have been spoiled for choice with merchandise items for sale ranging from the very practical (i.e. umbrellas for the occasional rain shower or sunscreen for those waiting in long lines) to the whimsical (i.e. plush toys of Expo mascots) and purely frivolous (i.e. the Invisible Dog Leash
sold at Spokane’s Expo ’74). While the range of items for sale to visitors has varied from event to event, one mainstay has been the Official Guidebook. As the images and text on the following pages amply illustrate, guidebooks have been a ubiquitous part of the Expo offering, providing essential information about the event such as access to the site, available ticketing formats, hours of operation, exhibitors, special performances, and visitor services such as food and beverage, first aid, security, etc. Given the timeframe of the selection of materials contained herein which extends from 1929 until 2020, a period which saw the introduction of commercial radio broadcasting (1920’s) and television (1940’s), the guidebook format has demonstrated a remarkably resilient and flexible means of conveying timely information and promoting ephemeral events; in retrospect, guidebooks provide us with time capsules of the attractions and features of Expos which, having survived on the bookshelves and in the boxes of the descendents of the visitors and original owners of the books, give us today both a way to take nostalgic looks back in time as well as records of prior events which enhance our understanding of past Expo experience while we plan for future events.
INTRODUCTION
An Expo Guidebook Primer
A review and analysis of the guidebooks presented herein provide a basis for a discussion of the various features which comprise this vehicle for communicating information about an Expo to the visitor.
Contents
The contents of an Official Expo guidebook typically include the following:
Basic Expo Information: Full Title (of the event), Short Title, Theme, BIE Expo Category, Duration, Statistics (i.e. site area, parking spaces, forecast attendance, etc.)
Organizer information
Expo Logo description
Expo Mascot(s) description
Site map(s)1
List of Confirmed participating countries and international organizations
Corporate participants, sponsors, suppliers
Theme Pavilions descriptions
International Pavilions descriptions
Corporate Pavilions descriptions
Events
Forums
Visitor Services: Ticketing, Transportation, Food Services, Merchandise Shopping, Information, Rentals (e.g. wheelchairs, etc.), Signage, Assistance for the Disabled, Lost and Found, Lost Children, Security, First Aid, Postal Services, Financial Services (ATM’s, banking)
Staffing including Volunteers
Website information
One of the problems which publishers of Expo guidebooks have faced in the past has been the need to publish the books prior to the opening of the Expo so that they will be available for purchase the day the event opens. As is evident in many of the books illustrated herein, one of the consequences of this requirement has been that the book publishers, lacking final drawings or photos of completed buildings and exhibits, have been obliged to utilize drawings and, in some cases, photos of architectural models to illustrate the individual pavilions and exhibits. In this way, they have been able to include material about each pavilion and exhibit within a reasonable timeframe to allow the book to be fully formatted for publication. Unfortunately, in some cases, the illustrations appear to be very conceptual, hastily drawn and lack the detail which would make a more convincing case for the attractiveness of a given exhibit; likewise in books where black and white or limited colors are used for the drawings, the illustrative results are not always compelling.
Another problem which arises from the need to compile and print a guidebook before the event opens is that the descriptive material for the pavilions and exhibits is sometimes boilerplate about a given country which neither addresses the actual contents of the pavilion nor speaks to the country’s interpretation of the theme of the Expo.
Perhaps the most obvious shortcoming in terms of content which is evident in the Official Guidebooks is the universal absence of any type of critical analysis of the Expo content which would provide insights to the visitor as to the merits – or shortcomings – of a particular exhibit or performance or food service operation. This lack of criticality arises, unfortunately but understandably, from the organizer’s need to promote the overall Expo as a high quality, good value for money experience recognizing that a critical word about a particular international pavilion which is funded and operated by a sovereign nation or its appointed concessionaire could set off a diplomatic incident. In spite of this conundrum for organizer-sponsored official guidebooks, some non-official, independent guidebooks have been produced at Expos although these have been mostly one off publications lacking the continuity or experience which an established reviewer or publisher could offer.2 At Seville’s Expo ’92, an independent guide entitled The Best of the Expo
appeared shortly after the Expo opened. Featuring firsthand descriptions of the pavilions and attractions which were evidently researched by the book authors during visits to the Expo the reviews, although mostly positive, were accompanied by a star rating of from one to five stars with five being the top rating3 . Upon publication the organizers responded with a broad campaign of news and press releases denouncing the book and criticizing its authors for spoiling the visitor’s experience.
Format/Materials
The guidebooks have typically been published as paperbacks, although a few have been bound with an exterior hardback. A variety of materials have been utilized for the interior pages of the books which range from very inexpensive paper typically used for newspapers with black and white type which were used in the older books, to the more refined, heavier stock used in the full color books of more recent years.
1 Some Guidebooks have foldout maps, although these may also be sold separately.
2 Parsons, Nicholas T.,Worth the Detour, A History of the Guidebook
, Sutton Publishing, Gloucestershire, United Kingdom, 2007, p 258 regarding the rise and success of the Michelin Guides as a reliable source of critical information about attractions, accommodations and food.
3 Lo Mejor de la EXPO
, Ediciones On Site, 1992.
In addition,