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Full text of "1964-65 New York World's Fair Groundbreaking and Dedication Booklets"

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AUG. 2 1, 




Due to a last minute downpour, symbolic groundbreaking ceremonies, complete 
with toy shovels, were held for Eastman Kodak's Fair exhibit. Left to right: 
William A. Berns, Fair vice president for Communications and Public Relations, 
Robert Moses, Fair president, and William S. Vaughn, president of Eastman Kodak. 


MR. WILLIAM A. BERNS [World's Fair vice presi- 
dent for Communications and Public Relations] : Mr. 
Moses, Mr. Vaughn, distinguished guests, ladies and 
gentlemen : 

These indoor groundbreakings are much cleaner, so 
we're happy to be inside this rainy day for an important 
groundbreaking in the history of the New York World's 
Fair. As we look here at the large diorama, we think back 
to the 1939 Fair. The gentleman I'm about to introduce 
joined Eastman Kodak before the last World's Fair, 
around 1935. He's seen the Company's previous partici- 
pation and now, he's actively engaged in plans for this 
new great pavilion, being planned by Eastman Kodak. 

It is a pleasure to introduce the assistant to the vice 
president in charge of sales and advertising in the United 
States for Eastman Kodak, Mr. Lincoln V. Burrows. 

MR. BURROWS: Thank you, Bill Berns. 

Mr. Moses and guests: 

I would like to take this opportunity to welcome all of 
you and extend a special greeting to the honorable consuls 
representing Australia, Brazil, Canada, France, Germany, 
Mexico and the United Kingdom, where we have some 

of our more important operations. 

As you may perhaps know, we are a company with an 
extensive international flavor and it is appropriate that 
we become a part of this Fair, which has such an interna- 
tional scope. Our friends and associates outside the United 
States are many, and their contributions to Kodak's prog- 
ress have been substantial. 

It is my brief but very pleasant task to introduce to you 
today a man whose keen judgment and willing nature are 
well-known within our Company. 

As a student his association with photography began in 
England when, as a Rhodes Scholar, he became intrigued 
with the physics of light. His interest was broadened when 
he joined the Kodak organization in 1928. It was extended 
with growing responsibilities in company units at Roch- 
ester, later at Kodak, Ltd., in England, and on assignments 
with the Tennessee and Texas Eastman Companies and 
the Kodak Chemical Divisions. 

In 1959, he became Kodak's general manager and vice 
president and a year later he was elected president and 
chief executive officer. Affable and analytical, regarded 
with both respect and affection by all of us at Kodak, he 
is a man who once gave serious thought to a career as a 
mathematics teacher. It was and is to the benefit of the 
Company and to photography that he chose Kodak instead. 

It gives me great pleasure to introduce to you the presi- 
dent of the Eastman Kodak Company — William S. 

© 1962 — Now York World's Fair 1964-1965 Corporation 

MR. VAUGHN: Thank you, Link. You really dug up 
a few things there that I wasn't aware of myself, or almost 
had forgotten. 

Mr. Moses, members of the press, distinguished 
guests and visitors: 

It is indeed a pleasure to be here with you this morning 
— much more so than if we were outside, I might add. 
Your presence adds support and validity to our own belief 
that this exposition has true significance for industry, for 
our company, to this community and our state, and to the 

We're confident, further, that its appeal will be truly 

On this occasion we mark the beginning of our con- 
tribution to that appeal. On these grounds, nearby, are the 
foundations for the pavilion symbolic of photography's 
remarkable achievements over 140 years. 

At its outset photography was a promising but cumber- 
some practice, something between art and alchemy. Later, 
as it became less difficult for the user and more manage- 
able in the laboratory, photography and its influence began 
to grow. Today it is the world's leading hobby. Its sphere 
has extended to education, industry, commerce, govern- 
ment, medicine and the sciences. It is one of the most 
versatile tools in the service of mankind. 

In the finished pavilion on the Kodak site, visitors will 
find the most complete and colorful exhibit ever assem- 
bled to display photography's impact on our lives. We are 

confident that it will bring new awareness of photogra- 
phy's pervasive scope and influence. 

Part of the scope to which we refer is the enjoyment 
that millions associate with photography as a leisure 
activity. But there is more: The historian's interest in what 
went before preserved on film; photography's ability to 
measure and document scientific progress; industry's 
growing use of photography as an ingenious and trust- 
worthy production tool. The Kodak exhibit will present 
these and many other areas of interest. 

Accomplishments of the past will also be on display. 
We will not neglect those pioneers who gave photography 
its start: Niepce and Daguerre, Talbot and Archer were 
Europeans but it was an American, George Eastman, who 
pioneered roll film and the simple hand-held cameras that 
made picture-taking both popular and practical for mil- 

Eastman's first Kodak camera reached the market in 
1888. In August of 1889, just 50 years after Daguerre 
demonstrated his picture process before the French Acad- 
emy, the first Eastman transparent base roll film was 

Eastman built his company upon research but his inter- 
est in experimentation was not limited to the sciences. 
He was, as well, a pioneer in mass production and inter- 
national marketing. In that latter regard, he was well 
aware of the rewards possible from the promotion of 
photography at international expositions. As early as 1891, 

Eastman was planning to make the World's Columbian 
Exposition in Chicago a mecca for amateur photographers 
from all over the world. 

When the Exposition opened two years later, the Kodak 
exhibit center provided dark rooms, so that visitors might 
develop and print their own photos before leaving the 
Fairgrounds. Photographic enlargements of then unbe- 
lievable size — up to four by six feet — amazed the visi- 
tors. The first full-size x-ray photograph of an entire 
human body was displayed by our company at Chicago's 
Century of Progress Exposition in 1935. The Kodak 
Pavilion at the Brussels Fair in 1958 was a focal point 
for picture-takers. The Company's Cavalcade of Color at 
the New York World's Fair of 1939 and 1940 gave great 
impetus, we have always felt, to color photography's 
widespread popularity. Almost 8 million visitors to the 
exhibit saw tiny Kodachrome slides projected to 50,000 
times their original size. 

We mention these examples from the past only as 
precursors of what is to be presented by Kodak on this 
site in 1964 and 1965. We intend to offer Fairgoers an 
exhibit as appealing, as instructive, and we believe even 
more dramatic than those which have previously appeared 
under the Kodak emblem. Exhibits will be designed with 
doing as well as seeing in mind. We also intend to present 
visual impressions that only photography can capture and 
convey — impressions too fleeting for the unaided eye 
to recall and interpret. 

In physical design, the Kodak pavilion is the result of 
many months of thought and effort. Those chiefly respon- 
sible, the Company's architects and designers — Will 
Burtin and others in his organization — have worked 
diligently and imaginatively and to excellent purpose. 

We are pleased at this time, as you see here, to show 
you the design of the pavilion as it will appear. We believe 
that this pavilion will be regarded as a unique architec- 
tural showcase. 

A floating carpet of concrete, supported by four main 
columns, will provide a surface of gently sloping walk- 
ways, gardens and fountains. There will be attractive 
settings for camera users who wish to photograph their 
families and friends. 

Beneath the concrete carpet, at ground level, the visitor 
will find numerous exhibit areas of interest. Here, he will 
be able to pass at leisure through the world of photogra- 
phy and also view exhibits which recall Kodak achieve- 
ments in other fields, such as chemicals, plastics, and syn- 
thetic fibers. 

A large and striking tower of photography will add 
visual drama. The equivalent of an eight-story building 
in height, the tower will have around its shaft five giant 
photographs. We expect that each of these will be more 
than 2,000 square feet in size and, illuminated by day and 
by night, will be visible from afar as well as nearby. The 
tower will also house a large theater capable of accommo- 
dating thousands during the course of each day's Fair- 


Scale model of the Eastman Kodak Company building for the 1964-65 New York World's Fair shows the 80-foot tower ringed 
by five giant photo enlargements that will be illuminated day and night. One of the 10 largest Fair buildings to be built by 
American manufacturing companies, the structure will contain two theaters, 26 exhibit sections and — on the open-to-the-skies 
level — numerous backdrops where visitors can take attractive pictures. 

going hours. We are at the present time planning a 12 
to 14-minute motion picture for showing. For this pro- 
duction and for all that will appear at our exhibit, we will 
draw upon our years of technical experience and results 
of continuing research. 

Extensive study has gone into new methods of photo- 
graphic display. Our aim is a total presentation, as exciting 
in technique as in topical matter. We've already referred 
to the part played by photography in modern life — in 
business, in science, in health, and in a variety of fields. 

But to many of us, photography is even more than a 
pleasurable hobby or commercial medium. We nourish 
a sincere belief that photography, as a means of commu- 
nication, can make substantial contributions to world 
understanding and progress. 

Photography is a language of its own. Being universal 
in its appeal, it needs no translation. It provides graphic 
evidence that people throughout the world share many 
of the same problems, the same human aspirations and 
a paramount hope for peace. It needs no footnotes, no 
inter-lingual dictionaries. 

We believe that no other medium is more admirably 
suited to carry out the purpose of the New York World's 
Fair — Peace Through Understanding. 

By 1964, the industrious and imaginative efforts of 
Mr. Moses and his associates will have come to fruition. 
Flushing Meadow will have been transformed by then 
into a symbol of human achievement. We are pleased to 
mark at this time the beginning of Kodak's part in this 
challenging enterprise. 

We appreciate your willingness to share this occasion 
with us. But let me add this invitation: Won't you come 

again and see us' at the Fair? 
Thank you very much. 

MR. BERNS: Thank you very much, Mr. Vaughn. On 
behalf of the New York World's Fair and Eastman Kodak, 
we want to comment on the fine representation of photo- 
graphic equipment and film here today. We greet the 
members of the press, and we hope to see you here often. 

Since this is an historical occasion and there have been 
references to the history of photography, of Eastman 
Kodak, and of the 1939 Fair, I think, in introducing our 
next speaker, reference should be made to the fact that 
the area we look upon now on this diorama was selected 
back in the '30's as the site for the 1939 World's Fair 
by Mr. Moses, who was the New York City Park Com- 
missioner — then landlord, now tenant. 

We who work here at the New York 1964-1965 World's 
Fair are constantly inspired by him to carry out our duties, 
to make certain we open on time, and to help put together 
a great event for you. We present now the president of 
the New York World's Fair, The Honorable Robert Moses. 

MR. MOSES: I think that statement of the president 
of Kodak is one of the best I've heard here, and I've lis- 
tened to a good many of them. 

I was particularly interested in his reference to the role 
that photography plays in so many aspects, phases, facets 
of our present day life. Those of us who, for our sins, 
are mixed up- in public affairs, are more than impressed: 
we're almost intimidated by photography. 

You have tabloids and the picture magazines. The text 
is cut down in direct proportion to the greater use of 

photographs. That illustrates one of the immediate effects 
of photography: The impact of the daily news, the current 
events, the startling things that go on from day to day 
— all pointed up in dramatic pictures. 

And then Mr. Vaughn has mentioned also the family 
photographing habit, which grows more and more — the 
amusement and interest and education that people of all 
ages get out of taking pictures. 

And finally, of course, you have the record: As Gov- 
ernor Smith used to say, (of course, he was referring 
more to the printed word than to photography) , let's look 
at the record. It's the record that counts. 

Now, those of us who build enterprises of this kind 
use photography for all sorts of purposes that were quite 
unheard of 20 to 25 years ago when I began working at 
things of this sort. We use helicopters for rescue work 
but we use them also for photography. We use helicopters 
and cameras for the fourth dimension, for an aspect of 
construction that you can't get in any other way, and which 
we never used to get before. 

I was out the other day looking over an area and I got 
a totally different impression of it from the air, from a 
helicopter and from the pictures that were taken at the 

A few years ago we were looking for a new route for 
an expressway or parkway in Westchester, and as those of 
you who live in this neck of the woods know, these main 
arteries run north and south and follow the swales, the 
valleys, and that is where the storm water and sewage is 
also taken care of. We thought we knew pretty well — 
all of us — where these swales were, where the valleys 
were, until an engineer working for one of the contracting 

firms, one of the consulting firms, took several hundred 
pictures from the air and found what, of course, had 
palpably been there all along but had not been shown 
accurately, significantly, on the map. He found the new 
route. It represented an old Revolutionary road that ran 
up to White Plains, that was used by George Washington. 
And that became the site for the new main expressway 
that eventually goes all the way upstate and ends up in 
Albany and on the frontier, the Niagara Frontier. It's 
photography that did that. You can say that the U.S. 
Geological Survey should have found it, you can say all 
kinds of things, but it was the photographs that did the 
job. We went on from photographs to locate the route. 

Now, we are dependent, very dependent on Kodak for 
the record of this Fair — not only for the construction 
progress at this stage of the game which in some respects 
is not as brilliant as we'd like it to be but which we'll take 
care of, but also for what goes on at the Fair, and for the 
record afterwards of what has happened here. 

It's an astonishing thing for those of us who have rela- 
tives and connections around the country, to see how these 
records are treasured, how people a couple of generations 
back got the early photographs of the 1893 Chicago Expo- 
sition and subsequent Expositions here and abroad, and 
kept them in albums and dragged them out on every 
possible occasion and looked them over. They get about 
as much fun out of that as their parents and grandparents 
did out of seeing the show itself. 

Well, we're delighted that Kodak is here. We know 
what you can do, and we're going to depend upon you 
for the record. 

Thank you. 

Lincoln V. Burrows (left), assistant to Eastman Kodak's 
vice president of domestic sales and advertising, and 
William S. Vaughn, president of the company, as they 
exatnined the first Eastman camera during recent Fair 

riMM >r (6sS) mm satu simi 


ALBERT K. CHAPMAN, Chairman of the Board of Directors 


M. WREN GABEL, Vice President and General Manager 

JAMES E. McGHEE, Vice President in Charge of U. S. Sales and Advertising 

EDWARD P. CURTIS, Vice President in Charge of 

Professional Motion-Picture Film Sales & Foreign Sales and Advertising 
GERALD B. ZORNOW, Vice President 
W. B. POTTER, Vice President & Director of Advertising 
LINCOLN V. BURROWS, Director of Planning, 

Kodak Exhibit, New York Worlds Fair 


Flushing 52, N. Y. Tel.: 212-WF 4-1964 

ROBERT MOSES, President 

THOMAS J. DEEGAN, JR., Chairman of the Executive Committee 

WILLIAM E. POTTER, Executive Vice President 

STUART CONSTABLE, Vice President, Operations 

CHARLES POLETTI, Vice President /nternotiono/ Affairs and Exhibits 

WILLIAM A. BERNS, Vice President, Communications and 

Public Relations 
ERWIN Win, Compfro//er 
ERNESTINE R. HAIG, Secretory of the Corporation and 

Assistant to the President 
MARTIN STONE, Director of Industrial Section 

GUY F. TOZZOLI, (Port of New York Authority) Transportation Section 
WILLIAM WHIPPLE, JR., Chief Engineer