Hubbry Logo
Century of ProgressCentury of ProgressMain
Open search
Century of Progress
Community hub
Century of Progress
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Century of Progress
Century of Progress
Century of Progress
View on Wikipedia
from Wikipedia

1933–1934 Chicago
A 1933 Century of Progress World's Fair poster. It was later decided to continue the fair into 1934. This poster features the fair's Federal Building and Hall of States.
Overview
BIE-classUniversal exposition
CategoryHistorical Expo
NameA Century of Progress International Exposition
MottoScience Finds, Industry Applies, Man Conforms
Area172 hectares (430 acres)
Visitors48,469,227
Location
CountryUnited States
CityChicago
VenueLakefront, Northerly Island
Coordinates41°51′38″N 87°36′41″W / 41.86056°N 87.61139°W / 41.86056; -87.61139
Timeline
Bidding1923
OpeningMay 27, 1933 (1933-05-27)
ClosureOctober 31, 1934 (1934-10-31)
Universal expositions
PreviousIbero-American Exposition of 1929 in Sevilla and 1929 Barcelona International Exposition in Barcelona
NextBrussels International Exposition (1935) in Brussels

A Century of Progress International Exposition, also known as the Chicago World's Fair, was a world's fair held in the city of Chicago, Illinois, United States, from 1933 to 1934. The fair, registered under the Bureau International des Expositions (BIE), celebrated the city's centennial. Designed largely in Art Deco style, the theme of the fair was technological innovation, and its motto was "Science Finds, Industry Applies, Man Conforms", trumpeting the message that science and American life were wedded.[1] Its architectural symbol was the Sky Ride, a transporter bridge perpendicular to the shore on which one could ride from one side of the fair to the other.

One description of the fair noted that the world, "then still mired in the malaise of the Great Depression, could glimpse a happier not-too-distant future, all driven by innovation in science and technology". Fair visitors saw the latest wonders in rail travel, automobiles, architecture and even cigarette-smoking robots.[2] The exposition "emphasized technology and progress, a utopia, or perfect world, founded on democracy and manufacturing."[3]

Context

[edit]
Ticket for the opening day ceremonies at Soldier Field

A Century of Progress was organized as an Illinois nonprofit corporation in January 1928 for the purpose of planning and hosting a World's Fair in Chicago in 1934. City officials designated three and a half miles of newly reclaimed land along the shore of Lake Michigan between 12th and 39th streets on the Near South Side for the fairgrounds.[4] Held on a 427 acres (1.73 km2) portion of Burnham Park, the $37,500,000 (equal to $910,893,316 today) exposition was formally opened on May 27, 1933, by U.S. Postmaster General James Farley at a four-hour ceremony at Soldier Field.[5][6] The fair's opening night began with a nod to the heavens. Lights were automatically activated when the rays of the star Arcturus were detected. The star was chosen as its light had started its journey at about the time of the previous Chicago world's fair—the World's Columbian Exposition—in 1893.[7] The rays were focused on photoelectric cells in a series of astronomical observatories and then transformed into electrical energy which was transmitted to Chicago.[8]

Exhibits

[edit]
A Century of Progress International Exposition – map drawn by Tony Sarg

The fair buildings were multi-colored, to create a "Rainbow City" as compared to the "White City" of Chicago's earlier World's Columbian Exposition. The buildings generally followed Moderne architecture in contrast to the neoclassical themes used at the 1893 fair. One famous feature of the fair were the performances of fan dancer Sally Rand. Hal Pearl then known as "Chicago's Youngest Organist" and later "The King of the Organ" was the official organist of the fair. Mary Ann McArdle and her sister Isabel (from the UK) performed Irish Dancing. Other popular exhibits were the various auto manufacturers, the Midway (filled with nightclubs such as the Old Morocco, where future stars Judy Garland, the Cook Family Singers, and the Andrews Sisters performed), and a recreation of important scenes from Chicago's history. The fair also contained exhibits that may seem shocking to modern audiences, including offensive portrayals of African Americans, a "Midget City" complete with "sixty Lilliputians",[9] and an exhibition of incubators containing real babies.[10]

The fair included an exhibit on the history of Chicago. In the planning stages, several African American groups from the city's newly growing population campaigned for Jean Baptiste Point du Sable to be honored at the fair.[11] At the time, few Chicagoans had even heard of Point du Sable, and the fair's organizers presented the 1803 construction of Fort Dearborn as the city's historical beginning. The campaign was successful, and a replica of Point du Sable's cabin was presented as part of the "background of the history of Chicago".[11] Also on display was the "Lincoln Group" of reconstructions of buildings associated with the biography of Abraham Lincoln, including his birth cabin, the Lincoln-Berry General Store, the Chicago Wigwam (in reduced scale), and the Rutledge Tavern which served as a restaurant.

Admiral Byrd's polar expedition ship the City of New York was visited by President Franklin D. Roosevelt when he came to the fair on October 2, 1933. The City was on show for the full length of the exhibition.[12]

Cover carried on the Graf Zeppelin from 1933 Century of Progress Exposition franked with C-18 US Air Mail stamp issued for the airship's visit.

One of the highlights of the 1933 World's Fair was the arrival of the German airship Graf Zeppelin on October 26, 1933. After circling Lake Michigan near the exposition for two hours, Commander Hugo Eckener landed the 776-foot airship at the nearby Curtiss-Wright Airport in Glenview. It remained on the ground for twenty-five minutes (from 1 to 1:25 pm)[13] then took off ahead of an approaching weather front, bound for Akron, Ohio.

The "dream cars" which American automobile manufacturers exhibited at the fair included Rollston bodywork on a Duesenberg chassis, and was called the Twenty Grand ultra-luxury sedan; Cadillac's introduction of its V-16 limousine; Nash's exhibit had a variation on the vertical (i.e., paternoster lift) parking garage—all the cars were new Nashes; Lincoln presented its rear-engined "concept car" precursor to the Lincoln-Zephyr, which went on the market in 1936 with a front engine; Pierce-Arrow presented its modernistic Pierce Silver Arrow for which it used the byline "Suddenly it's 1940!" But it was Packard which won the best of show with the reintroduction of the Packard Twelve.

The passengers, including "Zeph" the burro, that rode the Zephyr on the "Dawn-to-Dusk Dash" gather for a group photo in front of the train after arriving in Chicago on May 26, 1934.

An enduring exhibit was the 1933 Homes of Tomorrow Exhibition that demonstrated modern home convenience and creative practical new building materials and techniques with twelve model homes sponsored by several corporations affiliated with home decor and construction.

Electrical Building at night, by William Mark Young

Marine artist Hilda Goldblatt Gorenstein painted twelve murals for the Navy's exhibit in the Federal Building for the fair. The frieze was composed of twelve murals depicting the influence of sea power on America, beginning with the settlement of Jamestown, Virginia, in 1607 when sea power first reached America and carrying through World War I.[14] Another set of murals, painted for the Ohio State Exhibit by William Mark Young, was relocated afterwards to the Ohio Statehouse.[15][16] Young also painted scenes of the exhibition buildings.

The first Major League Baseball All-Star Game was held at Comiskey Park (home of the Chicago White Sox) in conjunction with the fair.

Frank Buck souvenir badge

In May 1934, the Union Pacific Railroad exhibited its first streamlined train, the M-10000, and the Chicago, Burlington and Quincy Railroad its famous Zephyr which, on May 26, made a record-breaking dawn-to-dusk run from Denver, Colorado, to Chicago in 13 hours and 5 minutes, called the "Dawn-to-Dusk Dash". To cap its record-breaking speed run, the Zephyr arrived dramatically on-stage at the fair's "Wings of a Century" transportation pageant.[17] The two trains launched an era of industrial streamlining.[18] Both trains later went into successful revenue service, the Union Pacific's as the City of Salina, and the Burlington Zephyr as the first Pioneer Zephyr.[19] The Zephyr is now on exhibit at Chicago's Museum of Science and Industry.[20]

Frank Buck furnished a wild animal exhibit, Frank Buck's Jungle Camp. Over two million people visited Buck's reproduction of the camp he and his native assistants lived in while collecting animals in Asia. After the fair closed, Buck moved the camp to a compound he had created at Amityville, New York.[21]

Panoramic view of the 1933 Century of Progress World's Fair

Architecture

[edit]
Ahlberg Bearing Company pavilion at Century of Progress

Planning for the design of the Exposition began over five years prior to Opening Day.[22] According to an official resolution, decisions regarding the site layout and the architectural style of the exposition were relegated to an architectural commission, which was led by Paul Cret and Raymond Hood.[23] Local architects on the committee included Edward Bennett, John Holabird, and Hubert Burnham. Frank Lloyd Wright was specifically left off the commission due to his inability to work well with others, but did go on to produce three conceptual schemes for the fair.[24][25] Members of this committee ended up designing most of the large, thematic exhibition pavilions.[26]

From the beginning, the commission members shared a belief that the buildings should not reinterpret past architectural forms – as had been done at earlier fairs, such as Chicago's 1893 World's Columbian Exposition—but should instead reflect new, modern ideas, as well as suggest future architectural developments.[27] Because the fairgrounds was on new man-made land that was owned by the state and not the city, the land was initially free from Chicago's strict building codes, which allowed the architects to explore new materials and building techniques.[28] This allowed the design and construction of a wide array of experimental buildings, that eventually included large general exhibition halls, such as the Hall of Science (Paul Cret) and the Federal Building (Bennet, Burnham, and Holabird); corporate pavilions, including the General Motors Building (Albert Kahn) and the Sears Pavilion (Nimmons, Carr, and Wright); futuristic model houses, most popular was the twelve-sided House of Tomorrow (George Frederick Keck); as well as progressive foreign pavilions, including the Italian Pavilion (Mario de Renzi and Adalberto Libera); and historic and ethnic entertainment venues, such as the Belgian Village (Burnham Brothers with Alfons De Rijdt),[29] and the Streets of Paris (Andrew Rebori and John W. Root) where fan dancer Sally Rand performed.[30] These buildings were constructed out of five-ply Douglas fir plywood, ribbed-metal siding, and prefabricated boards such as Masonite, Sheetrock, Maizewood, as well as other new man-made materials.[31] The exhibited buildings were windowless (but cheerfully lighted) buildings.[32] Structural advances also filled the fairgrounds. These included the earliest catenary roof constructed in the United States, which roofed the dome of the Travel and Transport Building (Bennet, Burnham and Holabird) and the first thin shell concrete roof in the United States, on the small, multi-vaulted Brook Hill Farm Dairy built for the 1934 season of the fair.[33]

Later history

[edit]

Amoebic dysentery outbreak

[edit]

From June to November 1933, there was an outbreak of amoebic dysentery associated with the fair. There were more than a thousand cases, resulting in 98 deaths.[34][35][36] Joel Connolly of the Chicago Bureau of Sanitary Engineering brought the outbreak to an end when he found that defective plumbing permitted sewage to contaminate drinking water in two hotels.

Extension

[edit]

Originally, the fair was scheduled only to run until November 12, 1933, but it was so successful that it was opened again to run from May 26 to October 31, 1934.[37] The fair was financed through the sale of memberships, which allowed purchases of a certain number of admissions once the park was open. More than $800,000 (equal to $18,803,980 today) was raised in this manner as the country was in the Great Depression. A $10 million bond was issued on October 28, 1929, the day before the stock market crashed. By the time the fair closed in 1933, half of these notes had been retired, with the entire debt paid by the time the fair closed in 1934. For the first time in American history, an international fair had paid for itself. In its two years, it had attracted 48,769,227 visitors. According to James Truslow Adams's Dictionary of American History, during the 170 days beginning May 27, 1933, there were 22,565,859 paid admissions; during the 163 days beginning May 26, 1934, there were 16,486,377; a total of 39,052,236.[38]

Legacy

[edit]
Century of Progress
U.S. commemorative stamps (1933)
Fort Dearborn
Federal Building
Flag of Chicago from 1933 to 1939, with the third star added to commemorate the Exposition

Much of the fair site is now home to Northerly Island park (since the closing of Meigs Field) and McCormick Place. The Balbo Monument, given to Chicago by Benito Mussolini to honor General Italo Balbo's 1933 trans-Atlantic flight, still stands near Soldier Field. The city added a third red star to its flag in 1933 to commemorate the Century of Progress Exposition (the Fair is now represented by the fourth of four stars on the flag).[39] In conjunction with the fair, Chicago's Italian-American community raised funds and donated a statue of Genoese navigator and explorer Christopher Columbus.[40] It was placed at the south end of Grant Park, near the site of the fair.

The Polish Museum of America possesses the painting of Pulaski at Savannah by Stanisław Kaczor-Batowski, which was exhibited at the Century of Progress fair and where it won first place. After the close of the fair, the painting went on display at The Art Institute of Chicago where it was unveiled by Eleanor Roosevelt on July 10, 1934. The painting was on display at the Art Institute until its purchase by the Polish Women's Alliance on the museum's behalf.[41]

The U.S. Post Office Department issued a special fifty-cent Air Mail postage stamp, (Scott catalogue number C-18) to commemorate the visit of the German airship depicting (l to r) the fair's Federal Building, the Graf Zeppelin in flight, and its home hangar in Friedrichshafen, Germany. This stamp is informally known as the Baby Zep to distinguish it from the much more valuable 1930 Graf Zeppelin stamps (C13–15). Separate from this issue, for the Fair the Post Office also printed 1 and 3 cent commemorative postage stamps, showing respectively Fort Dearborn and the modernistic Federal Building. These were also printed in separate souvenir sheets as blocks of 25 (catalog listings 728–31). In 1935 the sheets were reprinted (Scott 766–67).

From October 2010 through September 2011, the National Building Museum in Washington, D.C. opened an exhibition titled Designing Tomorrow: America's World's Fairs of the 1930s.[42] This exhibition prominently featured the Century of Progress fair in Chicago.

[edit]
  • Nelson Algren's 1935 novel Somebody in Boots features the Chicago World's Fair of 1933–34, with the Century of Progress being described as "the brief city sprung out of the prairie and falling again into dust."[43]
  • In Tennessee Williams's 1944 play, The Glass Menagerie, set during the final years of the Great Depression, Laura Wingfield's "gentleman caller", Jim O'Conner, recalls his recent trip to the Century of Progress and how the Hall of Science exhibit gave its attendees a vision of a better America that was just around the corner.
  • Jean Shepherd wrote about attending the Century of Progress as a boy in the 1966 book In God We Trust: All Others Pay Cash[44]
  • Roy J. Snell, author of books for boys and girls, used Chicago, the building of the Fair site, the Fair itself -including the Sky Ride – and then certain portions of the Fair after it closed in several of his books. Publisher, Reilly & Lee. Books now in Public Domain.[citation needed]
  • Beverly Gray at the World's Fair, originally the sixth book in Clair Blank's Beverly Gray series, was published in 1935 and is set at the Century of Progress. The book was dropped when the series changed publishers due to fears that readers would find it dated, and has since become a sought after volume by collectors of the series.[citation needed]
  • In True Detective, the 1983 private eye novel by Max Allan Collins, and the first to feature his long-running character Nate Heller, Heller is hired as a security consultant by the Fair, and a good deal of the novel is set there. The suspenseful action climax takes place at the Fair. The novel went on to win the Shamus from the Private Eye Writers of America for Best Novel.[45]
  • Brief footage of the fairground sideshows is used in the 1933 film Hoop-La, the plot of which revolves around the fair. It was the last film made by Clara Bow. Also shown is a panorama of the Century of Progress concourse.[citation needed]
  • In her novel The Fountainhead, Ayn Rand describes a world fair named The March of the Centuries. Despite having taken place in 1936, The March of the Centuries bears a striking similarity to the Century of Progress exposition: it, too, is designed by a group of architects; architect Howard Roark was initially invited but later denied opportunity to participate in planning (as his prototype Frank Lloyd Wright was left off the commission), the fair opened in May. Rand described the fair as "a ghastly flop" and mentioned that its only attraction was "somebody named Juanita Fay who danced with a live peacock as sole garment" (a description clearly based on Sally Rand's performance).[46]
  • In Neal Stephenson's 2024 novel Polostan, the main character works as a shoe model and salesperson for a shop on the fairway that fits shoes using an X-ray machine. She sees the arrival of the Decennial Air Cruise and events in Soldier's Field.

Resources

[edit]

The major archive for the Century of Progress International Exposition, including the official records from the event and the papers of Lenox Lohr, general manager of the fair, are housed in Special Collections at the University of Illinois, Chicago. A collection of materials including images is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The Century of Progress Collection includes photographs, guidebooks, brochures, maps, architectural drawings, and souvenir items. Specific collections with material include the Chicago Architects Oral History Project; the Daniel H. Burnham Jr. and Hubert Burnham Papers; Edward H. Bennett Collection; Voorhees, Gmelin, and Walker photographs.

[edit]
  • Mural General Exhibit 3rd pavilion
    Mural General Exhibit 3rd pavilion
  • One of the eagles that stood on pedestals along Lakeshore Drive and Michigan Avenue in Downtown Chicago during the World's Fair.
    One of the eagles that stood on pedestals along Lakeshore Drive and Michigan Avenue in Downtown Chicago during the World's Fair.
  • Poster for the fair by Glen C. Sheffer.
    Poster for the fair by Glen C. Sheffer.
  • Ground Plan for the Exhibit showing name and location of most exhibits. From the files of Assistant Ticket Manager Joseph W Baker.
    Ground Plan for the Exhibit showing name and location of most exhibits. From the files of Assistant Ticket Manager Joseph W Baker.
  • Japanese official pavilion buildings at the 1933 World's Fair, with gardens constructed by Chicago Japanese garden builder T.R. Otsuka
    Japanese official pavilion buildings at the 1933 World's Fair, with gardens constructed by Chicago Japanese garden builder T.R. Otsuka

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Century of Progress

View on Grokipedia
from Grokipedia
The Century of Progress International Exposition was a held in , , from May 1933 to November 1934, commemorating the 100th anniversary of the city's incorporation in 1833. Originally planned to celebrate Chicago's historical achievements, the event evolved to emphasize scientific and technological advancements as symbols of optimism amid the . Spanning 424 acres along Lake Michigan's shoreline from 12th to 39th Streets, the fair featured modernist architecture, industrial exhibits, and international pavilions that showcased innovations in science, manufacturing, and transportation. It attracted over 39 million paid visitors across two seasons, providing economic relief and cultural inspiration during widespread hardship. Notable highlights included the Hall of Science, the Sky Ride , and demonstrations of emerging technologies such as streamlined trains and early , underscoring a forward-looking vision of human progress. The exposition concluded profitably, having transformed a reclaimed industrial site into a vibrant temporary city that influenced American design and public enthusiasm for modernity.

Historical Context

Chicago's Founding Centennial and Great Depression Setting

The Century of Progress International Exposition was conceived to mark the 100th anniversary of 's incorporation as a town in 1833. On August 12, 1833, the Illinois General Assembly incorporated the Town of , establishing it as a municipal entity with a population of approximately 350 residents centered around on the swampy banks of the . This formal recognition followed earlier settlement efforts, including the Treaty of Chicago in 1833, which ceded Native American lands in the region to the , enabling further European-American expansion. The centennial celebration shifted focus from merely historical commemoration to highlighting scientific and technological advancements achieved over the century, reflecting 's evolution from a frontier outpost to an industrial powerhouse. Chicago's rapid urbanization in the intervening years was driven by its geographic advantages, including access to for water transport and proximity to agricultural heartlands, which spurred the construction of canals, railroads, and facilities. By the early , the city had become a global center for meatpacking, production, and grain trading, with innovations like the system and symbolizing its architectural and engineering prowess. The exposition's planning, initiated in the early , aimed to showcase this progress amid calls for a to rival previous events like the 1893 Columbian Exposition. The event unfolded against the backdrop of the , which had gripped the since the of October 1929, leading to widespread and economic contraction. In , industrial output plummeted, banks failed, and relief efforts strained municipal resources, yet proponents viewed the fair as a potential catalyst for recovery by attracting visitors and stimulating local commerce. Despite financial risks, including reliance on private funding and ticket sales during austere times, the exposition opened on May 27, 1933, offering escapism and optimism through displays of futuristic innovations, even as national GDP remained depressed and federal interventions under President Franklin D. Roosevelt's were nascent. This juxtaposition of celebratory intent and economic adversity underscored the fair's role in projecting confidence in American ingenuity amid crisis.

Initial Conception and Thematic Focus on Technological Advancement

The Century of Progress International Exposition was initially conceived in the early as a commemoration of the 100th anniversary of Chicago's incorporation on , 1833. Efforts gained formal structure with the formation of a planning committee in , and the event received its official name in 1929 after initial periods of limited public and civic support. Under the administration of Mayor William E. Dever, early promotion was led by a commission headed by Edward N. Hurley, though momentum accelerated following the election of Mayor , who prioritized the project as part of broader civic revitalization. Rufus C. Dawes, an oil executive and banker, was selected as board chairman in 1927, bringing organizational expertise to steer the exposition amid economic uncertainties. In 1928, at the urging of prominent physicians and scientists, Dawes redirected the fair's thematic core toward scientific discovery and industrial progress, diverging from a purely historical to emphasize forward-looking as a counter to the Great Depression's onset. This pivot aimed to reframe 's image beyond associations with , positioning the city as a hub of technological optimism. The exposition's motto, "Science Finds, Industry Applies, Man Adapts," articulated this focus, underscoring a causal chain from empirical scientific breakthroughs to practical industrial implementation, enabling human societal adaptation. Exhibits were curated to dramatize achievements over the prior century, particularly those driven by in fields like , transportation, and , with the intent to inspire public confidence in technology's capacity for economic recovery and modernization. This thematic emphasis reflected organizers' conviction that verifiable technological advancements, rather than governmental intervention alone, offered tangible pathways to progress, as evidenced by planned displays of innovations such as streamlined locomotives and early feats.

Planning and Organization

Leadership Structure and Key Figures

The Century of Progress International Exposition was organized as a not-for-profit corporation established on January 5, , governed by a Board of Trustees that appointed an Executive Committee to handle operations between board meetings. Rufus C. Dawes, an oil executive and banker, was elected president of the Centennial Celebration in 1928 and served as the exposition's primary leader, providing crucial financial backing and political influence to navigate the Great Depression-era challenges. Dawes, selected as board chairman in 1927 by the Chicago Association of Commerce's Committee, recruited his brother, —a former U.S. (1925–1929) and ambassador to the —to serve as finance chairman, where he secured guarantees from Chicago bankers and business leaders, raising over $10 million in bonds by mid-1929 to fund the project amid economic downturn. To manage operational execution, Dawes appointed Lenox R. Lohr, a military engineer and veteran, as general manager in 1929; Lohr directed site preparation, exhibit coordination, and daily fair administration, leveraging his expertise to ensure the event opened on schedule despite fiscal constraints. The structure emphasized private sector leadership over government control, with mayoral involvement limited to initial promotion—Mayor William E. Dever formed a 150-member in the mid-1920s—transitioning to support from successors and Edward J. Kelly, who facilitated municipal cooperation but deferred to the board's authority. This setup allowed Dawes and his team to prioritize technological themes and corporate exhibits, reflecting their business-oriented vision for the fair as a showcase of progress rather than a project.

Funding Mechanisms and Financial Challenges

The Century of Progress International Exposition relied on private financing mechanisms, eschewing direct subsidies or taxpayer funds to construct and operate the event. Organizers secured nearly $10 million through public bond sales initiated in late , alongside approximately $20 million in contributions from private individuals and corporations, yielding a total of about $30 million for core development. Membership campaigns further raised over $800,000 by offering prepaid admission tickets, leveraging Chicago's business community for initial capital. Prominent local figures drove these efforts, including Rufus C. Dawes as chairman, who utilized personal networks and prestige to underwrite bonds, with support from of , Roebuck & Co., and the Dawes brothers securing around $12 million in gold notes from business leaders. The federal government provided limited involvement by funding a $1 million Federal Building, but organizers explicitly avoided seeking congressional aid to maintain independence. Corporate exhibitors covered their own pavilion costs, estimated to push the overall expenditure beyond $100 million when including private displays and operations. Planning commenced in December 1927, but the 1929 and ensuing posed acute financial risks, eroding investor confidence and complicating bond retirement amid widespread economic contraction. Initial attendance uncertainties threatened viability, yet the exposition surmounted these obstacles through adaptive management under general manager Lenox R. Lohr, who sustained public and creditor support. Ultimately, it achieved profitability, with first-season costs of $38,699,476.77 offset by a $6,861,888.22 surplus after attracting over 22 million visitors; the combined 1933–1934 seasons marked the first U.S. to fully self-finance, yielding net gains redistributed to institutions such as the Museum of Science and Industry.

Site Development and Infrastructure Preparation

The site for the Century of Progress Exposition was primarily Northerly Island, an artificial peninsula extending into Lake Michigan south of downtown Chicago, encompassing approximately 424 acres of reclaimed lakeshore land. This location was selected for its proximity to the city center, allowing pedestrian access, and its alignment with earlier urban planning visions for recreational lakefront development. Northerly Island had been created through landfill operations involving dredged material from the lakebed, with initial construction and filling commencing in the 1920s as the first segment of a proposed chain of islands outlined in the 1909 Plan of Chicago. Dredging and basic formation were completed by 1925, providing a stable base ahead of the exposition's needs. Site preparation accelerated after the exposition corporation's formation in January 1928, though financial constraints from the delayed full-scale work until late 1932. The reclaimed terrain required grading and stabilization to support heavy exhibit structures and visitor traffic, including the creation of internal lagoons, roadways, and pathways for efficient navigation across the grounds. Infrastructure development focused on temporary yet functional systems, such as electrical grids powered initially by on-site generators and connections to municipal water and sewage lines, enabling the rapid erection of over 150 buildings using prefabricated steel frames and lightweight materials like plaster over mesh for exteriors. Rail access was enhanced through coordinated reductions in fares by major lines to facilitate attendee transport to the site. These efforts transformed the semi-developed into a self-contained exposition venue by the opening on May 27, 1933, despite ongoing expansions during the event seasons.

The 1933 Exposition Season

Opening Events and Ceremonies

The Century of Progress International Exposition opened to the public on May 27, 1933, marking the centennial of Chicago's incorporation. The event commenced with a four-hour dedication ceremony at , attended by an estimated 15,000 to 20,000 people. U.S. James A. Farley officially opened the gates, representing the federal government under President . A distinctive scientific element symbolized the fair's theme of progress: the illumination of the grounds was triggered by a photoelectric cell activated by light from the star . Organizers calculated that this light, traveling at 186,000 miles per second, had departed approximately 40 years earlier, aligning with the 1893 in to evoke a century of advancement from the city's founding in 1833. This celestial linkage underscored the exposition's emphasis on technological and scientific achievement, setting a tone of innovation for the event. The ceremonies included speeches highlighting Chicago's growth and the fair's forward-looking exhibits, with participation from local leaders such as exposition president Rufus C. Dawes. Evening festivities featured fireworks and illuminated displays across the 424-acre site along , drawing immediate crowds despite the ongoing . The opening day's success, with rapid ticket sales and visitor influx, validated the organizers' decision to proceed amid economic hardship, foreshadowing total attendance exceeding 48 million over the two seasons.

Core Layout and Thematic Organization

The Century of Progress International Exposition occupied 427 acres of reclaimed land in Burnham Park along the southern shore of , extending from 12th Street to 39th Street on Chicago's Near South Side. This site, primarily on the artificial peninsula, featured a centralized layout designed to facilitate visitor flow through interconnected exhibition areas, diverging from the axial grandeur of prior fairs in favor of a more fluid, modern arrangement emphasizing accessibility and spectacle. By opening day on May 27, 1933, the grounds included 32 major buildings housing exhibits grouped thematically by scientific, industrial, and cultural advancements. Thematically, the exposition celebrated technological and industrial progress since Chicago's incorporation in 1833, with exhibits organized to illustrate causal chains from fundamental to practical applications and future innovations. Core areas progressed logically: the Hall of Science presented foundational principles in physics, chemistry, and biology through interactive displays and dioramas; adjacent industrial pavilions, such as the Electrical Building and Food and Agriculture Building, demonstrated applied technologies like and mechanized farming, often contrasting historical methods with contemporary efficiencies. The Travel and Transport Building highlighted advancements in mobility, from automobiles to , while the Federal Building centralized government exhibits on policy and resources. This sequential organization underscored empirical demonstrations of progress, with over two dozen corporate-sponsored structures like the Ford Exhibit—spanning 11 acres—showcasing techniques. Spatial divisions further reinforced themes, with the Court of Honor serving as an entry gateway flanked by the Administration Building and Sky Ride—a 1,850-foot linking the north and south ends over a central for panoramic views. Midway areas transitioned to entertainment, including the Enchanted Island for family-oriented amusements, while peripheral zones hosted international and state pavilions emphasizing global contributions to progress. The "Rainbow City" moniker arose from vibrant, experimental color schemes and lighting on streamline moderne structures, enhancing the thematic focus on innovation over classical revivalism. This layout not only optimized attendance—nearing 40 million over two seasons—but also embodied causal realism in exhibiting how scientific discoveries drove economic and societal advancements amid the .

Exhibits and Attractions

Industrial and Scientific Innovations

The Hall of Science housed exhibits illustrating advancements in pure sciences, including physics, chemistry, and biology, emphasizing foundational discoveries that underpin technological progress. A significant portion featured medical science, with the displaying dioramas of surgical techniques, charts on cancer and treatment, and lantern slides documenting clinical breakthroughs. contributed astronomical instruments and models to demonstrate observational methods in pure science. Industrial applications were prominent in dedicated pavilions, such as the Electrical Building, which traced from hydroelectric generation to practical uses in machinery, lighting, and domestic appliances like refrigerators and radios. The exposition pioneered widespread use of advanced illumination technologies, including , , , and mercury vapor tubes, marking the first such implementation at a to enhance nighttime visibility and aesthetic appeal. Transportation innovations included the display of streamlined vehicles and rail prototypes. In the 1934 season, the Chicago, Burlington & Quincy Railroad exhibited the , a diesel-electric constructed from , following its inaugural dawn-to-dusk run from to —covering 1,015 miles in 13 hours 5 minutes at an average speed of 77.7 mph and peaking at 112.5 mph. This demonstration highlighted and aerodynamic design, attracting large crowds and influencing postwar rail development. The Homes of Tomorrow showcased experimental residential architecture integrating industrial materials and systems. These prototypes, relocated post-fair to Indiana Dunes, featured innovations like steel framing, prefabricated components, and built-in electrical systems; the House of Tomorrow, a three-story dodecagonal structure with extensive glass walls, central vacuum, and an attached airplane hangar, drew over one million visitors. Such exhibits underscored the fair's motto, "Science Finds, Industry Applies, Man Conforms," by linking research to manufacturable products amid the economic constraints of the .

International and Corporate Pavilions

International participation at the Century of Progress was modest, with only a handful of nations erecting dedicated pavilions amid the economic constraints of the Great Depression, which prompted many countries to forgo full-scale exhibits. Official foreign nation pavilions included those from China, Czechoslovakia, Egypt, Italy, and Japan. Italy's structure, designed to evoke a massive airplane, commemorated aviator Italo Balbo's transatlantic flight that concluded at the exposition site on July 15, 1933, with 24 seaplanes arriving from Italy. The Japanese pavilion featured traditional architecture integrated with landscaped gardens built by local expert T.R. Otsuka, showcasing cultural artifacts and industrial products. Additional nations such as , , and others maintained exhibits within shared halls rather than standalone buildings, reflecting a total of 19 countries involved in the 1933 season. These international displays emphasized national achievements in science, industry, and , aligning with the fair's theme of progress, though on a reduced scale from earlier world's fairs. Corporate pavilions outnumbered international ones, with nearly two dozen structures sponsored by American companies to promote consumer goods, automobiles, and home technologies. Prominent examples included the General Motors Building, which housed demonstrations of automotive advancements and electrical appliances; the Exhibit, focusing on vehicle innovations; and the Ford Exposition, displaying streamlined designs and manufacturing processes. The Sinclair Refining Company's exhibit reconstructed prehistoric scenes using models to illustrate petroleum's ancient origins, drawing significant crowds. Other corporate efforts, such as those from the Ahlberg Bearing , highlighted specialized industrial components within the General Exhibits Group. These pavilions collectively underscored American industrial prowess, featuring interactive displays of gadgets for homes and vehicles to stimulate economic optimism during the Depression.

Entertainment Features and Public Spectacles

The Century of Progress International Exposition featured a variety of options designed to attract visitors amid the , including revues, dances, and orchestral performances that emphasized spectacle and . Key attractions on the midway, such as the Streets of Paris, recreated Parisian street scenes with shows, music, and dancing, drawing an estimated two million attendees through its blend of gaiety, clowns, beauty revues, and novelty exhibits like peep shows and a chamber of horrors. A prominent highlight was the performed by burlesque artist at the Streets of Paris' Cafe de la Paix stage, where she used large fans to create an illusion of , sparking both popularity and controversy; Rand was arrested multiple times for indecency during the season but continued performing after acquittals, contributing to the venue's sensational draw. Musical spectacles included free outdoor concerts at Ford Symphony Gardens, an bandshell venue hosting symphonic and theatrical performances to promote leisure amid industrial exhibits. The delivered 125 concerts across the fairgrounds, notably at the Swift Bridge, featuring premieres such as Florence Price's in E Minor on June 15, 1933, marking a milestone for African American composers in major orchestras. These events, often held in the evenings, provided accessible public entertainment that contrasted with the fair's technological focus, enhancing visitor engagement through live artistry.

Architectural and Design Innovations

Streamline Moderne and Modernist Principles

The architecture of the Century of Progress Exposition prominently incorporated , a variant of Art Moderne characterized by aerodynamic forms, curved lines, and horizontal emphasis to evoke speed and technological advancement. This style, emerging in the early , drew inspiration from streamlined transportation designs like locomotives and , aligning with the fair's theme of scientific and industrial progress. Buildings featured smooth, rounded corners, sleek surfaces, and minimal ornamentation, often clad in synthetic materials such as aluminum and glass, which contrasted sharply with the ornate Beaux-Arts style of earlier expositions. A key example was the General Motors Pavilion, designed by Albert Kahn Associates, which exemplified through its elongated, low-profile structure spanning an eighth of a mile in length and 306 feet in width, topped by a 177-foot illuminated tower. The pavilion's facade incorporated curved, flowing lines and vibrant coloring to suggest motion and efficiency, housing exhibits on automotive innovations that reinforced the style's association with modernity. Similarly, the fair's "Rainbow City" aesthetic applied bright, multicolored exteriors to Streamline forms, enhancing visual dynamism and symbolizing optimism amid the . Modernist principles underpinned these designs, prioritizing functionalism, structural honesty, and the integration of new technologies over decorative excess. Architects like and Nathaniel Owings oversaw exhibitions emphasizing clean lines and innovative construction, as seen in the Administration Building, which set a standard for sleek, purpose-driven forms with symbolic figures representing and industry. The House of Tomorrow by George Keck illustrated this approach with its steel frame, extensive curtain walls of glass for , and built-in amenities like and dishwashers, demonstrating practical applications of modernist volume and transparency. Such elements collectively projected a vision of efficient, forward-thinking living, using materials like steel and glass to highlight industrial capabilities.

Use of Color, Lighting, and Experimental Materials

The Century of Progress Exposition emphasized vibrant color schemes in its , departing from the neoclassical white facades of the 1893 to create a "Rainbow City" with buildings painted in a palette of 24 distinct hues, including deep greens and rich reds, to symbolize modernity and progress. This approach extended to 28 specialized colors developed for industrial and domestic applications, influencing postwar design trends by promoting bolder, functional aesthetics over subdued tones. Synthetic materials complemented these colors, with clean lines and bright accents highlighting forms in structures like the Hall of and corporate pavilions. Lighting played a central role in transforming the fairgrounds into a nocturnal , with innovative effects such as building outlines, water illuminations, and early applications creating dynamic visual experiences after dark. A "" device projected beams into mist clouds for ethereal effects, while the Electrical Building featured dramatic floodlighting that accentuated its modernist contours. The fair's opening on May 27, 1933, incorporated symbolic lighting from the star , with photocells at observatories converting starlight into to power the ceremony, underscoring themes of scientific advancement. Experimental materials were showcased prominently in the "Homes of Tomorrow" district, where eleven prototype residences demonstrated innovations like lightweight framing, prefabricated components, and novel composites such as glass blocks and aluminum alloys to enable affordable, efficient . These structures incorporated technologies including central air-conditioning and integrated appliances, testing durability against weather while prioritizing open floor plans and modern lifestyles over traditional . Broader exhibition buildings employed similar advances, such as tensile fabrics and modular assemblies, allowing rapid erection and reflecting industry shifts toward industrialized production methods. Five of these homes were later relocated to Beverly Shores, , preserving examples of the era's material experimentation.

Operational Aspects and Attendance

Management and Daily Visitor Experience

The Century of Progress International Exposition was administered by the A Century of Progress Corporation, with Rufus C. Dawes, an oil executive and banker, serving as president from the organization's formation in 1928 through the event's operations in 1933 and 1934. Dawes directed a board of Chicago business leaders and oversaw specialized departments, including exhibits, concessions, and transportation, which coordinated staffing, maintenance, and logistics for the 424-acre site. These departments employed thousands of workers for roles in crowd control, exhibit operations, and vendor services, with concessions alone featuring staff dedicated to visitor interactions at food stands and entertainment venues. Daily visitor access began at admission gates along the lakefront, where adults paid 50 cents and children 25 cents for entry, with season passes available for $15 allowing up to 150 visits. The fairgrounds operated from morning through late evening, leveraging colorful lighting for nighttime spectacles that extended the typical visit beyond daylight hours, as detailed in official guides emphasizing efficient navigation via printed maps and directional . Visitors arrived primarily by streetcar, elevated trains, or special excursion rail services to stations near 31st Street, with on-site parking and pedestrian paths managing foot traffic across exhibit halls, midway amusements, and the Court of Honor. Peak attendance days, such as the closing with 374,127 visitors, strained capacity, prompting operational adjustments like staggered entry and expanded transportation coordination to mitigate congestion on walkways and at popular attractions like the Sky Ride. Concessions provided meals and souvenirs amid the crowds, while security and sanitation teams enforced rules to maintain order, though the exposition's private funding model prioritized revenue from tickets and vendors over extensive public subsidies. Overall, the experience blended educational exhibits with leisure, fostering a sense of technological optimism despite the Great Depression's economic constraints.

Attendance Statistics and Revenue Generation

The Century of Progress International Exposition recorded substantial across its two seasons, reflecting public interest amid the . In 1933, from May 27 to November 12, paid admissions totaled 22,565,859 over 170 days of operation. The 1934 season, running from May 26 to October 31, attracted 16,486,377 paid admissions in 163 days. Cumulative paid admissions exceeded 39 million, while the overall count reached 48,769,227 visitors. Revenue was derived primarily from admission fees, set at 50 cents for adults and 25 cents for children, alongside percentages from concessions and rentals from exhibitors. Visitor expenditures within the fairgrounds amounted to $36,683,166 in 1933 and $24,474,865 in 1934, contributing to total onsite spending surpassing $61 million. The exposition's development costs exceeded $50 million, financed initially through $10 million in bonds issued in 1929. Despite economic challenges, it fully retired these bonds with interest, avoided government subsidies, and concluded with a net surplus of $344,029.85 allocated for post-fair activities, achieving financial self-sufficiency unprecedented among prior U.S. international expositions.

Extension to the 1934 Season

Rationale for Continuation and Preparations

The 1933 season of the Century of Progress Exposition concluded with a profit of $6,861,888.22 after expenditures totaling $38,699,476.77, demonstrating financial viability amid the Great Depression. Paid attendance reached 22,565,859, exceeding initial projections hampered by the banking crisis and economic downturn, while providing a measurable boost to local employment and consumer activity through construction, operations, and pavilion displays of durable goods. President personally requested the extension, directing Rufus C. Dawes, president of the nonprofit Century of Progress corporation, to reopen the fair as a means to sustain economic momentum and encourage spending on industrial innovations showcased in corporate exhibits. This rationale aligned with broader objectives to counteract deflationary pressures, leveraging the fair's demonstrated capacity to draw crowds and highlight technological advancements as antidotes to pessimism. Preparations for the 1934 season, announced in late 1933, focused on cost-effective reuse of the Burnham Park and site, including winterization of structures, renewal of contracts with returning exhibitors, and recruitment of new participants such as , who constructed a prominent featuring automotive assembly demonstrations. Additional enhancements encompassed expanded electrical and lighting systems to amplify the "Rainbow City" aesthetic, alongside planning for supplementary attractions like the Hall of Progress and Building to refresh content without full reconstruction. The exposition corporation prioritized operational continuity, retaining core features such as the Sky Ride and Hall of Science to capitalize on proven visitor draw while minimizing capital outlay. The second season commenced on May 26, 1934, and operated through October 31, 1934.

Modifications and New Additions

The 1934 season of the Century of Progress Exposition featured substantial revamping to sustain visitor interest, including the addition of an expansive 11-acre exhibit that showcased industrial demonstrations, automotive innovations, and educational displays on processes. This new Ford exposition, one of the fair's largest structures, drew significant attention for its scale and integration of moving assembly lines and product prototypes, contrasting with smaller corporate displays from the prior year. Another key addition was the Spanish Village, a recreated ensemble of 16th- to 18th-century Spanish castles and streets where artisans demonstrated traditional crafts such as and in operational shops. Complementing these was an Early America display emphasizing historical replicas and artifacts to highlight colonial , integrated into the fair's theme of . Further modifications included the introduction of the Hall of Progress with updated scientific demonstrations and exhibits on , alongside enhancements like the Singing Color Fountain and expanded Rubber Industry displays to promote material innovations. Existing structures underwent refreshes, such as updated lighting and interior layouts in corporate pavilions, while new transportation highlights like the debut of the streamlined diesel train underscored rail advancements during the season. These changes aimed to differentiate the 1934 iteration, rebranded as "A Century of Progress International Exposition: A of Wonders," from the opening.

Health and Safety Incidents

Amoebic Dysentery Outbreak and Response

During the 1933 season of the Century of Progress exposition, an outbreak of amoebic , caused by the protozoan parasite , affected fair visitors primarily lodging in downtown hotels. The infection spread via the fecal-oral route through contaminated , with symptoms including severe , , and fever. Cases emerged as early as June 1, 1933, peaking on dates such as August 22, September 17, October 3, and October 11, before subsiding after the fair's closure on November 12, 1933, though some persisted into 1934. The primary source was faulty plumbing at the Congress Plaza Hotel, where a deteriorated wooden plug permitted sewage leakage from a sewer pipe into the hotel's cooled drinking water tank; this contaminated supply was shared with adjacent facilities like the Auditorium Hotel via interconnected systems. High water demand from the influx of fairgoers exacerbated pressure drops, enabling backflow through inadequate cross-connection protections. Chicago health authorities, including the Board of Health under Commissioner Herman N. Bundesen, identified the pathogen by mid-August 1933, with confirmation via stool examinations revealing E. histolytica trophozoites or cysts. The U.S. Public Health Service assisted in tracing the outbreak to these hotels near the fairgrounds. Official records document a minimum of 1,409 confirmed cases and 98 deaths attributable to the outbreak, though broader estimates cite up to 1,700 illnesses. To safeguard attendance and revenue amid the , public disclosure was delayed until after the fair ended, despite internal awareness; Bundesen announced the epidemic's scope in November 1933. Lawsuits followed, with victims attributing infections to the withheld information. Response efforts included immediate investigations by federal and local engineers, leading to plumbing repairs by February 1934 that eliminated the defects. For itself, control emphasized : boiling or chlorinating water, proper disposal, handwashing, and safe handling to interrupt transmission. Individual cases received supportive care, including fluid replacement and, where available, anti-amebic drugs like for invasive infections. These measures, alongside heightened campaigns for the 1934 season, prevented recurrence at the , while the incident spurred advancements in prevention standards in municipal water systems.

Other Operational Hazards and Mitigation

Aviation-related sightseeing flights posed significant operational hazards due to unpredictable weather and mechanical stresses, exemplified by a June 11, 1933, crash of a large sightseeing departing from the fairgrounds, which killed nine individuals—including seven passengers and the pilot—after a sudden caused the pontoon to smash into , crumpling a wing and igniting a post-crash fire. Investigations hinted at possible in flight operations amid the fair's high demand for aerial tours, though no broader regulatory changes were immediately detailed in contemporary reports. Extensive use of experimental , electrical displays, and combustible materials in modernist exhibits heightened fire risks across the 424-acre site, particularly given the fair's emphasis on nighttime illuminations and temporary structures on reclaimed . To mitigate these, organizers established a dedicated Century of Progress equipped with state-of-the-art apparatus, including a 1933 pumper, and fire-resistant materials like board in key buildings such as the Administration Building. No major conflagrations were recorded, attributable in part to these proactive measures and the department's specialized badges and helmets for rapid response. Crowd management and visitor safety challenges arose from peak daily attendance exceeding 100,000, risking stampedes or injuries in congested areas like the Court of Honor, compounded by attractions such as the elevated Sky Ride spanning 1,850 feet over the lagoon. Mitigation included rigorous pre-opening tests certifying the Sky Ride as safer than automobile travel, on-site emergency hospitals in structures like the Sears-Roebuck Building for prompt medical intervention, and supervised bathing beaches demarcated by submerged protective piles to prevent drownings or collisions. An Enchanted Island area further addressed family-specific risks with enclosed infirmaries and nurseries, allowing parental oversight amid diversions. These provisions, supported by implied safety patrols drawn from local forces, minimized documented non-health incidents despite the exposition's scale.

Economic and Social Impacts

Stimulation of Local Economy Amid Depression

The Century of Progress Exposition provided a critical economic lifeline to amid the , drawing nearly 40 million visitors across its 1933 and 1934 seasons and channeling substantial spending into local hotels, restaurants, transportation, and retail establishments. These out-of-town guests, many traveling by rail or automobile, filled accommodations and patronized eateries, with city promotional materials urging exploration of downtown theaters, sports venues, and industrial tours to maximize ancillary expenditures. The resulting influx generated income that offset the era's high rates, which exceeded 25% nationally and were similarly severe in , offering temporary relief through direct visitor dollars rather than reliance on federal relief programs alone. Construction of the 424-acre fairgrounds on and adjacent landfill sites, costing over $100 million in total development, employed thousands of laborers in building exhibits, pavilions, and during the early slump. Ongoing operations sustained jobs for exhibit operators, concessionaires, security personnel, and maintenance workers, though hiring practices often discriminated against , restricting broader local benefits. The exposition's profitability—yielding surplus funds after recouping investments—further enriched institutions like the Museum of Science and Industry, indirectly bolstering cultural and educational sectors tied to the local economy. Beyond immediate spending, the fair stimulated consumer demand for durable goods showcased in corporate exhibits, fostering optimism in industrial progress and aligning with nascent initiatives to revive purchasing power. Local businesses, including suppliers of food, merchandise, and services to fair vendors, reported heightened activity, with the event's extension into justified by its demonstrated capacity to sustain economic momentum in a city reeling from bank failures and factory closures. This localized infusion of activity contrasted with the national contraction, highlighting the exposition's role as a Depression-era catalyst for targeted recovery through spectacle and commerce.

Promotion of Innovation and Future-Oriented Optimism


The Century of Progress International Exposition adopted a central theme of scientific and technological advancement from Chicago's founding in 1833 to 1933, deliberately crafted to foster optimism during the Great Depression by envisioning a future propelled by innovation. Organizers structured over 82 miles of exhibits across 427 acres to highlight modern and futuristic developments, including the arrival of the Graf Zeppelin to underscore aviation progress and displays of "dream cars" alongside the debut of streamlined trains like the Pioneer Zephyr. This emphasis on empirical achievements in science and industry aimed to counter economic despair by demonstrating tangible pathways to prosperity through human ingenuity. Prominent features such as the Hall of Science presented exhibits on foundational disciplines including , chemistry, , and physics, illustrating the building blocks of technological evolution in an architectural framework that itself symbolized modernity. Adjacent structures like the Travel and Transport Building showcased advancements in mobility, from automobiles to emerging rail technologies, while the Homes of Tomorrow section displayed prototype residences equipped with central , mechanical dishwashers, and novel materials such as , linking industrial progress directly to improved daily life. Corporate contributions reinforced this narrative; for instance, operated a live producing 25 vehicles daily, and Sinclair Refining employed a to trace petroleum's role in lubrication innovations. Exhibition strategies further amplified future-oriented through dynamic, narrative-driven displays that contrasted historical methods with contemporary efficiencies, such as model kitchens evolving from wood-fired stoves to electric appliances, and promotional in brochures framing these as a "Parade of Progress." The Ford Motor Company's 11-acre pavilion exemplified industrial scale by highlighting manufacturing techniques and automotive breakthroughs, aligning corporate self-interest with the fair's broader message of relentless advancement. President commended the exposition for stimulating and economic recovery, crediting its vision of scientific promise with drawing over 39 million visitors across both seasons and extending operations into 1934. These elements collectively positioned the fair as a causal agent in redirecting public focus from present hardships toward verifiable potentials of innovation-driven growth.

Controversies and Criticisms

Political and Ideological Influences

The Century of Progress Exposition was organized by a coalition of Chicago business leaders, reflecting a pro-industry that emphasized private enterprise and technological advancement as drivers of economic recovery during the . Rufus C. Dawes, an oil executive and president of the exposition corporation from 1927, played a central role in defining its focus on science and industry, drawing on his Republican family ties—his brother , former U.S. Vice President under , chaired the finance committee and helped secure $12 million in bonds from private investors. This structure underscored a faith in corporate-led innovation over government intervention, contrasting with the emerging federal relief programs of the era. The fair's unofficial motto, "Science Finds, Industry Applies, Man Conforms," encapsulated a technocratic worldview where scientific discovery and industrial application propelled human , with individuals adapting to these forces rather than directing them. This promoted cooperation among , business, and roles to foster and modernization, aiming to restore public confidence in the American economic and political systems amid widespread exceeding 25% in 1933. Exhibits sponsored by corporations like and highlighted futuristic technologies, such as streamlined trains and household appliances, to instill optimism in market-driven solutions. Politically, the exposition received federal endorsement through congressional authorization of a U.S. Building, but remained a nonprofit venture funded primarily by private bonds and exhibitor fees totaling over $100 million. President advocated for its 1934 extension on May 26, viewing it as a stimulus for job creation and , with attendance reaching 48.7 million visitors across both seasons. However, ideological tensions surfaced internationally; local German-American groups organized resistance against in the German pavilion, including efforts to prevent the display of flags following in January 1933, reflecting anti-fascist sentiments within Chicago's ethnic communities.

Social Exclusions and Public Critiques

The Century of Progress International Exposition faced significant criticism for , with frequent instances of exclusion and segregation affecting African American visitors and participants. The Chicago branch of the National Association for the Advancement of Colored People () documented multiple cases of discrimination against people of color at the fairgrounds, including barriers to equal access and representation in exhibits. Despite management efforts to mitigate overt segregation—uncommon for the era—the fair still perpetuated exclusions, prompting protests such as those surrounding "Negro Day" on August 12, 1933, where debates over segregated celebrations led to disarray and backlash from Black leaders like Chandler Owen. African American organizations encountered resistance in securing dedicated spaces; for instance, clubwomen from the Illinois Association of Colored Women's Clubs faced overt discrimination from fair officials while constructing the Hall of Social Science exhibit, a log cabin highlighting Black contributions, which they completed after five years of advocacy amid Depression-era hardships. This exclusionary pattern contributed to broader discontent, culminating in the conception of the separate American Negro Exposition in 1940 as a direct response to the 1933 fair's shortcomings in representing Black achievements. Labor critiques emerged early, with unions accusing the fair of violating pledges to hire organized workers and maintain fair labor standards. By April 1933, labor leaders declared the exposition "unfair to organized labor" ahead of its opening, citing broken commitments on wage scales and union recognition during and operations. These disputes reflected tensions in a Depression-ravaged , where the fair's rapid build-out prioritized speed over worker protections, though such criticisms garnered limited public traction amid widespread appreciation for the it generated—over 10,000 jobs at peak. Public discourse also highlighted ideological clashes, portraying the fair as a site of contested power dynamics involving race and class, yet empirical accounts indicate that while exclusions persisted, the exposition's focus on technological progress overshadowed deeper social reforms in contemporary critiques.

Post-Exposition Fate

Demolition Process and Material Reuse

The Century of Progress International Exposition concluded on October 31, 1934, after which demolition of its temporary structures commenced promptly to reclaim the 424-acre site along Chicago's lakefront for public parkland. Most pavilions and exhibits, engineered for short-term use with lightweight components including board, composites, framing, and prefabricated panels, were razed within months using manual and mechanical methods. Workers employed tools such as pickaxes to dismantle roofs and facades, as evidenced by contemporaneous photographs of partial on the grounds. Salvage operations prioritized reusable elements amid the Great Depression's resource scarcity, though comprehensive records of material recovery are limited. , metal fixtures, and from non-exhibit buildings were extracted for potential resale or scrap, aligning with standard practices for temporary expositions. Select artifacts, including neon signage and exhibit machinery, were preserved for museums or private collections, but bulk demolition prioritized site clearance over systematic recycling. Notable exceptions involved the relocation of prototype homes from the "Homes of Tomorrow" exhibit. Developer Robert Bartlett acquired and transported five structures—the Cypress Log Cabin, Wieboldt-Rostone House, Armco-Ferro House, House of Tomorrow, and Florida Tropical House—to his Beverly Shores subdivision in the Dunes, utilizing barges for four and a truck for one, to demonstrate modern residential innovations. Additional replicas, such as a Colonial Village church modeled after Boston's Old North Church, were similarly moved but later deteriorated or were demolished due to exposure. By mid-1935, the cleared became an airfield and park, with remnants like the serving as anchors for ongoing development.

Preservation Efforts and Surviving Artifacts

Most temporary structures from the Century of Progress Exposition were demolished between late 1934 and 1935 to restore and adjacent landfill sites for public use, with materials largely scrapped or repurposed. Preservation initiatives primarily targeted innovative exhibit homes from the "Homes of Tomorrow" section, which demonstrated prefabricated construction, modern materials, and futuristic designs. Private buyers acquired five such houses post-fair, disassembling and transporting them by barge across to , for reassembly as residential properties between 1935 and 1936. These relocated homes, including the House of Tomorrow—a circular structure with extensive glass walls and a rooftop landing pad for aircraft—and the Armco-Ferro House, which utilized enameled steel panels, endured weather exposure and neglect for decades. By the 1960s, threats prompted advocacy for their protection, leading to their incorporation into the Dunes National Lakeshore (established 1966, later redesignated a in 2019). Restoration efforts in the 1990s and 2000s, supported by the and Landmarks, preserved four surviving examples as interpretive sites showcasing architectural experimentation. Portable artifacts, including souvenirs like spoons, pins, and ashtrays, along with official guides, maps, postcards, and scrapbooks, have been systematically archived. The Public Library's Century of Progress Collection encompasses thousands of such items, photographs, and , acquired through donations and reflecting fairgoer experiences. Commemorative U.S. postage stamps depicting fair landmarks, issued on October 9, 1933, in 1-cent and 3-cent denominations, remain widely collected. The also holds such as brochures and promotional materials, preserving documentary evidence of the exposition's operations and exhibits.

Long-Term Legacy

Architectural and Urban Planning Influences

The Century of Progress Exposition showcased a departure from the neoclassical Beaux-Arts style of the 1893 World's Columbian Exposition, embracing and aesthetics characterized by geometric forms, vibrant colors, and futuristic motifs to symbolize industrial progress. Under chief consulting architect , the fair's buildings featured innovative materials such as prefabricated steel, glass curtain walls, and synthetic stones like Rostone, demonstrated in prototype homes including the House of Tomorrow by George Fred Keck, which integrated advanced technologies like built-in appliances and radiant heating. These designs, including the colorful "Rainbow City" pavilions with deep greens and reds illuminated by novel lighting like and mercury vapor tubes, promoted a vision of architecture as functional, optimistic, and adaptable to scientific advancements amid the . The exposition's urban layout on —a man-made extending into —exemplified modernist planning principles with low-rise structures, open green spaces, and axial arrangements that integrated the site with the waterfront, aligning with Daniel Burnham's 1909 Plan of Chicago's emphasis on public lakefront access. This temporary urban intervention, spanning 424 acres and accommodating over 48 million visitors across two seasons from May 1933 to October 1934, highlighted horizontal massing and vehicular circulation, foreshadowing automobile-oriented suburban planning. Post-exposition, the site's reuse as airport from 1948 to 2003 and subsequent transformation into Northerly Island park in 2005 reinforced Chicago's lakefront as a dynamic public asset, influencing adjacent developments like the and convention complex by prioritizing adaptable, multi-use zoning over permanent monumentalism. While the fair's prefabricated homes and material experiments inspired mid-20th-century residential innovations, such as post-war tract housing with modular components, its broader architectural legacy lay in popularizing diverse interpretations of in the American Midwest, though most structures were demolished by 1935, limiting direct built-environment persistence. Urban planning influences were more conceptual, advancing ideas of temporary, technology-driven landscapes that informed later expositions like the and Chicago's evolving approach to waterfront reclamation.

Cultural Representations and Modern Commemorations

The Century of Progress Exposition appears in Nelson Algren's 1935 novel Somebody in Boots, where protagonist Cass McKay encounters the fairgrounds as a beacon of technological promise contrasting the era's poverty, with vivid descriptions of its illuminated pavilions and crowds drawing over 48 million visitors across two seasons. Home movies and early color films, such as those captured in Kodacolor lenticular format by fairgoers in 1933, document nightly illuminations and exhibits like the Hall of Science, preserving firsthand visual narratives of the event's futuristic aesthetic. Short documentaries, including Burton Holmes' 1933-1934 monographs, highlight attractions like the fan dances of , which drew controversy for their sensuality while symbolizing the fair's blend of entertainment and modernity. Modern commemorations emphasize preserved artifacts and educational exhibits. The Museum of Science and Industry in displays the streamlined train, which debuted at the exposition on , 1934, completing a record dawn-to-dusk run from to and exemplifying diesel innovation. The features films and archival footage, including a 2018 reconstruction presentation funded by the , recreating the fair's architectural spectacles. For the 90th anniversary in 2023, the Modern Architecture Alliance hosted digital lectures on the fair's influence, while architectural blogs noted surviving Century of Progress demonstration homes in Beverly Shores, , relocated post-fair and maintained as exemplars despite original intent as non-residential prototypes. In 2025, the Elmhurst History Museum opened "World of Tomorrow: A Century of Progress," an exploring the fair's themes of innovation through artifacts and panels, tying them to contemporary technological optimism amid economic recovery parallels. The maintains a dedicated collection of fair-related prints and posters, underscoring its role in disseminating modernist design to midwestern audiences. These efforts, often supported by local historical societies, counter narrative omissions in mainstream retrospectives by prioritizing empirical records over idealized depictions.

References

  1. http://www.encyclopedia.chicagohistory.org/pages/225.html
  2. https://archivesspace.uic.edu/repositories/2/resources/1410
  3. https://www.lib.uchicago.edu/e/scrc/findingaids/view.php?eadid=ICU.SPCL.CRMS226
  4. https://www.artic.edu/artworks/262170/century-of-progress-collection
  5. https://explore.chicagocollections.org/ead/uic/25/097x/
  6. https://www.pbs.org/wgbh/americanexperience/features/chicago-timeline/
  7. https://www.ilsos.gov/departments/archives/teaching-packages/early-chicago.html
  8. http://chicagology.com/centuryprogress/history/
  9. https://www.chicago.gov/city/en/about/history.html
  10. https://story.illinoisstatemuseum.org/content/century-progress-international-exposition-1933-1934
  11. https://www.lib.uchicago.edu/collex/exhibits/expma/century-progress/
  12. https://www.pbs.org/wgbh/americanexperience/features/streamliners-worldsfair/
  13. https://omeka-s.library.illinois.edu/s/idhh/page/century-progress-vision-of-progress
  14. https://beta.medallicartcollector.com/glossary/events/century-of-progress-expo
  15. https://www.wttw.com/a/main.taf-p=1%2C7%2C1%2C1%2C56.html
  16. https://libsysdigi.library.illinois.edu/oca/Books2008-09/officialbookoffa00century/officialbookoffa00century.pdf
  17. https://explore.chicagocollections.org/ead/uic/25/409t/
  18. https://www.chipublib.org/fa-century-of-progress-records/
  19. https://www.nytimes.com/1940/01/09/archives/rufus-dawes-dies-chicago-leader-72-head-of-century-of-progress-was.html
  20. https://www.nytimes.com/1929/06/09/archives/chicago-enlarges-1933-fairs-scope-century-of-progress-is-new-name.html
  21. https://findingaids.library.northwestern.edu/agents/people/2059
  22. https://omeka-s.library.illinois.edu/s/idhh/page/century-progress-organization-and-planning
  23. https://explore.chicagocollections.org/ead/uic/25/3w2t/
  24. http://chicagology.com/centuryprogress/
  25. https://www.so-calleddollars.com/Events/Century_of_Progress.html
  26. https://www.nytimes.com/1933/11/17/archives/chicago-fairs-profits-put-at-6861888-4867950-of-investment-still-to.html
  27. https://futurliner.org/fair.htm
  28. https://www.architecture.org/online-resources/architecture-encyclopedia/1933-1934-century-of-progress-exposition
  29. http://www.encyclopedia.chicagohistory.org/pages/10843.html
  30. https://www.architecture.org/online-resources/buildings-of-chicago/northerly-island
  31. https://libsysdigi.library.illinois.edu/oca/Books2008-08/officialguideboo331cent/officialguideboo331cent.pdf
  32. https://www.usmodernist.org/AB/AB-1933-06.pdf
  33. https://www.lib.uchicago.edu/ead/pdf/century0013.pdf
  34. https://info.mysticstamp.com/this-day-in-history-may-27-1933-2_tdih/
  35. https://archive.org/details/59884ACenturyOfProgress1933To1934Vwr
  36. https://collections.carli.illinois.edu/digital/collection/uic_cop/id/45/
  37. https://savingplaces.org/stories/photo-essay-forward-looking-architecture-century-of-progress-exposition
  38. https://en.worldfairs.info/expopavillondetails.php?expo_id=11&pavillon_id=1339
  39. https://www.facs.org/about-acs/archives/past-highlights/acs-exhibit-at-chicago-worlds-fair-1933-34/
  40. https://www.lib.uchicago.edu/collex/collections/yerkes-plates/women-at-yerkes/capturing-the-stars-digital-cases/yerkes-observatory-at-the-century-of-progress-1933-worlds-fair/
  41. http://chicagology.com/centuryprogress/1933fair12/
  42. http://www.lindsayfullerton.com/blog/record-breaking-burlington-pioneer-zephyr
  43. https://www.nps.gov/indu/learn/historyculture/centuryofprogress.htm
  44. https://discoverindianahistory.org/items/show/200
  45. https://dcc.newberry.org/?p=14406
  46. https://en.worldfairs.info/expolistepavillons.php?expo_id=11
  47. http://chicagology.com/centuryprogress/1933fair51/
  48. https://americasbesthistory.com/wfchicago1933.html
  49. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/371518
  50. http://chicagology.com/centuryprogress/1933fair09/
  51. https://www.chicagohistory.org/the-rand-is-quicker-than-the-eye/
  52. https://www.vintagechicagopostcards.com/2021/04/burlesque-dancer-sally-rand-took.html
  53. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/370511
  54. https://cso.org/experience/article/8592/125-moments-059-a-century-of-progress
  55. https://cso.org/experience/article/8636/125-moments-072-prices-symphony-in-e-minor
  56. https://csoarchives.wordpress.com/tag/century-of-progress-international-exposition/
  57. https://airandspace.si.edu/stories/editorial/airplane-and-streamlined-design
  58. https://muse.jhu.edu/pub/6/article/238970/summary
  59. http://chicagology.com/centuryprogress/1933fair05/
  60. https://www.jbachrach.com/blog/2018/4/30/the-bright-city-chicagos-second-worlds-fair
  61. https://www.restless-viking.com/2025/02/18/1933-worlds-fair-homes-of-the-future-stand-proudly-on-lake-michigans-shoreline/
  62. https://savingplaces.org/stories/edge-of-tomorrow-the-unexpected-path-of-five-houses-of-the-future-from-the-1933-worlds-fair
  63. https://www.encyclopedia.chicagohistory.org/pages/225.html
  64. https://explore.chicagocollections.org/ead/uic/25/wh59/
  65. https://collections.carli.illinois.edu/digital/collection/uic_cop/id/1363/
  66. https://www.reddit.com/r/chicago/comments/1c8ep3o/1933_chicago_worlds_fair_century_of_progress/
  67. http://chicagology.com/centuryprogress/1933fair71/
  68. https://omeka-s.library.illinois.edu/s/idhh/page/century-progress-legacy-of-fair
  69. https://www.chipublib.org/blogs/post/remembering-the-future-chicagos-century-of-progress-worlds-fair/
  70. https://www.nytimes.com/1934/04/01/archives/1934-worlds-fair-largely-revamped-new-elevenacre-ford-exhibit-and.html
  71. https://www.thehenryford.org/collections-and-research/digital-collections/artifact/93979/
  72. https://butkus.org/information/worlds_fair_1934/world_fair_1934-3.pdf
  73. https://libsysdigi.library.uiuc.edu/OCA/Books2009-06/officialguideboo00cent/officialguideboo00cent.pdf
  74. https://explore.chicagocollections.org/ead/uic/25/rt1n/
  75. https://www.edmcdevitt.org/the-plague-at-the-chicago-1933-century-of-progress/
  76. https://collections.carli.illinois.edu/digital/collection/uic_cop/id/1733/
  77. http://www.idph.state.il.us/timeline/history1930.htm
  78. https://www.nytimes.com/1933/06/12/archives/chicago-fair-plane-kills-nine-in-crash-at-least-3-new-yorkers-are.html
  79. https://www.nytimes.com/1933/06/13/archives/negligence-hinted-in-crash-at-fair-prosecutor-talks-of-criminal.html
  80. https://my.firefighternation.com/forum/topics/my-grandfathers-lost-fire-badges
  81. https://rbm.acrl.org/index.php/rbm/article/download/297/297
  82. https://www.thehenryford.org/collections-and-research/digital-collections/expert-sets/7203
  83. https://onlinelibrary.wiley.com/doi/abs/10.1111/johs.12269
  84. https://omeka-s.library.illinois.edu/s/idhh/page/century-progress-shadow-of-1893
  85. https://www.jstor.org/stable/40190377
  86. https://www.wttw.com/dusable-to-obama/1933-worlds-fair
  87. https://aaregistry.org/story/the-american-negro-exposition-a-story/
  88. https://cdnc.ucr.edu/?a=d&d=OLSF19330408.2.14
  89. https://go.gale.com/ps/i.do?id=GALE%257CA443887356&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00221953&p=AONE&sw=w
  90. https://digital.tcl.sc.edu/digital/collection/birch/id/1120/
  91. https://libguides.chicagohistory.org/worldsfairs/centuryprogress
  92. https://beltmag.com/1933-century-progress-homes/
  93. https://www.indianalandmarks.org/our-work/house-of-tomorrow/
  94. https://archives.newberry.org/repositories/2/resources/1139/collection_organization
  95. https://burnhamplan100.lib.uchicago.edu/files/content/documents/Plan_of_Chicago_booklet.pdf
  96. https://www.nps.gov/places/century-of-progress-district.htm
  97. https://muse.jhu.edu/pub/1/article/236992/pdf
  98. https://www.press.uillinois.edu/books/?id=p078521
  99. https://archive.org/details/58114-centuryof-progess-chic-wolrd-fair-1933-mos
  100. https://www.youtube.com/watch?v=DdAbpWM3w5I
  101. https://www.youtube.com/watch?v=b2QPWTZ7bwQ
  102. https://www.youtube.com/watch?v=0ZaKUEp5_ps
  103. https://www.nwitimes.com/news/local/century-of-progress-homes-from-chicago-worlds-fair-never-meant-to-be-lived-in-but/article_a1e278e6-6495-11ee-9e64-ef9e95eeae51.html
  104. https://www.elmhursthistory.org/articles/post/elmhurst-history-museum-presents-world-of-tomorrow-a-century-of-progress-exhibition/
Add your contribution
Related Hubs
User Avatar
No comments yet.