GROUNDBREAKING AT THE
NEW YORK WORLD'S FAIR 1964-1965
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.
REMARKS BY WORLD'S FAIR AND EASTMAN
KODAK OFFICIALS AT THE EASTMAN KODAK
GROUNDBREAKING CEREMONIES, NEW YORK
WORLD'S FAIR, TUESDAY, AUGUST 21, 1962.
MR. WILLIAM A. BERNS [World's Fair vice presi-
dent for Communications and Public Relations] : Mr.
Moses, Mr. Vaughn, distinguished guests, ladies and
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
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-
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-
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
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
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.
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
EASTMAN KODAK COMPANY
ALBERT K. CHAPMAN, Chairman of the Board of Directors
WILLIAM S. VAUGHN, President
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
NEW YORK WORLD'S FAIR 1964-1965 CORPORATION
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
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