Världsutställningen 1964

In the land of the Fair which covers 646 acres on Flushing Meadows, film is king. All along the 40 miles of sidewalks, exhibitors are showing pictures that surround the viewer, project on sky-domes overhead, poke their light, shadow and substance through obscuring veils and provide a multitude of ideas and wares on a thousandfold screens. There is 70mm, 35mm, 16mm, 8mm, stereo and monaural sound and a virtual army was enlisted to operate and maintain the complex as well as the simplest, means of projection. There are 65 projectors in the Bell System Pavilion and 159 are required for The American Journey show in the United States Pavilion.

The 300 exhibiting companies and 66 nations at the Fair are joined by religious exhibits of many faiths in this kaleidoscopic exposition of man’s material accomplishments. His future aspirations and his spiritual yearnings. The Fair is colorful and chaotic. It has areas of rare beauty in architectural design and an equal portion of garish.

Notable is the repeated use of circular theater designs. Fair exhibitors are learning fast that their guests have come to be entertained or, at least, bemused. They also want action and they get it in the innumerable exhibit “rides” which are Robert Moses’ answer to Coney Island. The president of the Fair corporation has rare courage. His show is doing without fan-dancers and has practically exiled the paid amusement area. Instead, visitors are looking into the Futurama at General Motors, at the dinosaurs in Ford convertibles and at Michelangelo’s Pieta in the Vatican pavilion.

Are the films at the Fair equal to the multitude and complexity of the projection systems? One of these has drawn widespread critical praise for the sheer joy which abounds on the three screens showing To Be Alive! in the Johnson pavilion. The Searching Eye is a cinematic, imaginative treat for visitors to the Kodak exhibit. Audiences feel they are literally in the action of the 360-degree tour A-Round New York.

The Moody science films are familiar fare in our field but wondrous to behold again in the Sermons from Science theater. The “People Wall” in the IBM pavilion is a show itself but there are also nine screens in action all at once as this exhibitor illuminates the science of the computer. Smaller but imaginative techniques are found in the “well” of the Patterns in Sports film and in the spherical projection globe of the Berlin pavilion.


A scene from the Tower of Light show exemplifies participation at the Fair of many of these leading U.S. industrial companies.


Fairgoers wait on the colonnaded porch” of the Du Pont Pavilion for their turn to see “The Wonderful World of Chemistry” musical revue.


Many leading companies with exhibits at the Fair are sponsoring five-minute motion pictures for showing exclusively on RCA’s closed-circuit color television network on the Fairgrounds. All the sponsored films to be shown on the network are institutional in nature — Fair-oriented and non-commercial. “It might take as much as three weeks for a visitor to see everything at the Fair,” says James M. Toney, director of RCA’s World’s Fair Operations, “The closed-circuit network will help visitors see many things they might otherwise have missed.”


Everywhere you look at the fair there are friendy faces and all kinds of exotic costumes. These boys from Guatemala have been taking in sights at the Hong Kong exhibit in the background.


The Bell System pavilion is a 400-foot floating wing which offers a chair ride and a series of demonstrations.

The ride in the Bell Systern Pavilion is one of the most complex and interesting film experiences of the Fair. The 1,000 moving armchairs with built-in speakers in two continuous loops of 500 each on two levels carry spectators through a 15-minute program which involves 65 motion pictures on individual screens. Titled From Drumbeat to Telstar, the program takes us from man’s first efforts to communicate with voice, drumbeats, smoke signals — on through the discovery of symbols, numbers, the written word and modern developments — the telephone and Telstar. The story is told by speakers synchronized to the action on the screen for each individual chair. The ride was conceived by the Pavilion’s designer, Jo Mielziner, working with architects Harrison & Abramovitch, motion picture engineers, the Reevesound Company, and the film producers, Owen Murphy Productions. On the 65 screens — which cannot be seen as screens at all since they are veiled in various thicknesses of gauze curtains are short pieces of action performed by Hal Holbrook, noted stage actor. Mr. Holbrook will be seen calling “hello” in an early part of the ride, sending smoke signals, in-venting the printing press or the telephone. It takes an average of six seconds for each chair to pass each individual screen (although many of the screens are grouped in a single tableau). On the screens are endlessly repeated actions on looped films which run from six to 15 seconds. What is amazing about this is that there is no point at which the action can be seen to obviously stop and repeat itself — no jerks at the splices to spoil the smoothness. Director Paul Cohen, of Owen Murphy Productions, achieved this by working with Mr. Holbrook until he was able to perform an action “forward” and then smoothly continue “backward” to the point of origination of the action. In other words, he would pick up a pen, write a few words, fold the paper, and lay it aside. Then he would continue right on doing the same thing, but backwards. With this forward and backward action on film, editors could then print the “forward” portion straight, reverse print the “back-ward” portion, and splice almost anywhere in the action without it being noticeable on the screen. If this sounds complicated, it most assuredly is, but it works. To achieve the effect of having none of the screens visible, the designer has used multiple scrims before each one, and the figures in the film are performing entirely with limbo backgrounds. There are no frame lines anywhere visible. This was accomplished by photographing the action on a blue cyclorama set. Then, by printing this through a blue filter, a matte exactly matching the action is obtained. Printing both together produces a film with no background, no frame lines, and the character entirely in limbo. Each of the 65 loops in the pro-gram is changed daily. It is estimated that an average loop goes through 5,000 runs during the 12-hour day before it is discarded. For the producer, this means a regular editing staff constantly preparing new loops for the projectors.

Design and engineering installation in the Bell System Pavilion was a major task in it-self, primarily centering on the 1,000 chair “sound” ride which occupies a mobile ramp in the “floating wing of the wide structure. Produced by Jo Mielziner, this unusual theatrical presentation has projection and sound systems of unique capability which were created by Reevesound. A monaural sound system of special two-ear design is built into each of the 1,000 upholstered lounge-type chairs. This sound system utilizes two tracks on Reevesound’s four-track, sixteen-millimeter reproducing system, with like programs being fed through right and left car speakers, positioned at the upper inside of the chairs. Individuals are provided with a sound program that is synchronized with the ride. Projectors, lamps, rectifiers and loop racks are located on long platforms behind a series of rear projection screens. A first-surface mirror placed at the front of each projector mechanism receives light from the projector, redirects it to similar, larger mirrors positioned overhead, which transfer light to rear projection screens ahead. This system of mirror optics is used to increase projection distance and image size. This combination of continuous 16mm film loops, synchronous motors and Xenon lamps gives the Reevesound system long operating life with minimum maintenance requirements on film and projection equipment.




Sound-equipped upholstered chairs carry visitors along the ride.



The Chrysler Corporation exhibit is dominated by a giant engine model which typifies this “autofare” with its landscaped islands of displays and mockups. But the focal center is the theater in which a Max Liebman Show-Go-Round production is presented on a 70-foot revolving stage serving four pentagon-shaped auditoriums housing some 2,500 persons in their comfortable bucket-shaped seats. Through this unique design, a four-phased performance is in continuous action offering a 24-minute interlude of music and whimsy, featuring a film story introduced on the screen by Bob Hope, the marionettes and a finale in which a Chrysler experimental car (designed by the puppets) closes the entertainment. In the introductory, first phase of the show, the master-of-ceremonies talks to puppet hero “Bob Bolt” against a backdrop of auto-motive parts. As the stage revolves to a big-screen, rear-projection setup, Hope (on film) introduces the rest of the little film play about an eager auto designer which starts out on the screen. This Group Productions’ film is followed by Phase Three. In this phase, the marionette creations of Bill and Cora Baird take over the action. Singing and dancing gaskets, dancing spark plugs, animated carburetors and jiving seat belts perform under the skillful hands of four rotating crews of five puppeteers each. The villain, “Monkey Wrench,” gives way to a dancing line of 15 girl motor blocks as the stage turns to Phase Four, the finale. Before the final curtain falls, a completely-assembled puppet-built “experimental car” appears on stage, designed by the young genius with the help of his friends. Max Liebman’s talent, the genius of the Bairds, air-conditioned comfort and the attention-holding film and “live” segments on the revolving stage add up to full houses for these Show-Go-Round performances.


Sketch shows 70-foot revolving stage which serves four pentagon-shaped theaters for the Chrysler Show-Go-Round.



Girls on screens and boys on stage perform the flower-passing sequence.

The Du Pont Pavillion show “Wonderful World of Chemistry,” is a musical revue in which singers and dancers onstage join in musical interplay with other performers on motion picture film. It’s startling fare, which requires perfect timing, especially when a girl on film passes a rose to a boy onstage, who in turn, hands it to another girl on film. Three circular theaters uphold a N. Y. Fair tradition. In the Blue and Gold Rooms, audiences are viewing the same musical show; then they move to a dazzling Red Room for science demonstrations. Michael Brown wrote, produced and directed “Wonderful World”. Animation was by Ernest Pintoff; special effects were by Film Effects of Hollywood. Scientific concepts and design of the Red Room show were by Jonathan Karas with a spectacular finale in Mobilcolor.


In this animated film sequence, audiences learn that all Greek philosophers did was just sit around and think. Film sequences continue the interplay between live talent onstage, events on screen.


Sketch of the Du Pont circular theater arrangement all elements are stationary. Both Blue and Gold Rooms offer same musical show. Below: huge circular pavilion which houses Du Pont’s exhibit.



The artistry of visualization expected of a leader in photographic equipment and materials has been achieved in the imaginative and exciting free-form build-ing of the Kodak Pavilion. Picture-making opportunities abound on its “Moondeck” roof; the world’s largest outdoor color prints illuminate the dominant “Picture Tower.” Within, a pair of round theaters each present 70mm motion pictures. Dozens of small kiosks around the exhibit areas offer rear-projected slides and motion pictures on Kodak products and a good part of the pavilion is devoted to examples of the best in modern picture-taking; aerial photography, weather pictures, and the like. And throughout the Fair-grounds, Kodak signs point out good picture possibilities, including correct exposures and even sample prints for the camera fan!

Working closely with producers, architects, technical representatives of Eastman Kodak Company and Eastman Chemical Products, Inc. from earliest planning stages, Reevesound provided more than two dozen motion picture technical systems for the Kodak Pavilion. These include projection, sound and control devices located in two theaters and in a number of individual displays strategically located throughout the Pavilion. Reevesound’s projection, sound and control system in the Dome Theater includes one Norelco 35/70mm projector operating at 70mm, equipped with a 2500 watt Zeiss Xenosol II light source. Shown daily in the circular Tower Theater, the 20-minute color motion picture, The Searching Eye, is one of the focal points of the Kodak Pavilion. Produced by Saul Bass, the film dramatizes the heights of sensitivity to which vision may be honed on a motion picture screen. Reevesound’s unusual motion picture system in the Tower Theater includes two 35/70mm Norel projectors equipped with 2500 watt Zeiss Xenosol II lighting sources. Reevesound’s selsyn system electrically interlocks the two Norelco projectors. One presents a 35mm film while its mate shows a 70mm film. Screen images resulting from this interlock operation of 35mm and 70mm projection give the film producer a dual format capability which he needs to develop his theme and story. This special system allows the up the story, showing composite prints all made from intermediates. Transitions from one machine to another are timed with great accuracy.

Special motion picture systems arc located in ground-level kiosks at Eastman Kodak Pavilion, displaying uses of photography in science. Systems include Eastman Model 25-13 16mm arc projector mechanism, two projectors to show alternate segments of film. The 35mm ma-chine opens the show, projecting first-generation prints from original camera film. An unusual Reevesound system in the Astronaut Bubble is design-ed to activate an animated astronaut in sync with optical sound track on 16mm film and motion picture display. The sound track carries narration, as well as a subsonic signal to activate the astronaut. The system includes a Reeve-sound-modified Eastman 16mm mechanism equipped with a 900-watt Xenon arc lamp.



Visible all over the Fairgrounds, the Kodak Picture Tower dominates the free-form Pavilion building with its multitude of visual shows.


At entrance to pavilion’s Tower ‘Theater, this lighted panel proclaims “The Searching Eye” 70mm film feature, gives credits for production.


One, of company’s many well-trained “hosts” greets visitors at entrance to Dome Theater where Eastman Chemical film is shown.



Fair visitors hear narrated story on car speakers as they watch two Audio-Animatronic triceratops during hatching of prehistoric babies.


Sights unseen for millions of years on earth are recreated in animated dioramas along a ride which is the feature of the Ford Rotunda at the Fair. Taped sound is fed through speakers of Ford convertibles in which visitors are towed past the dinosaurs, through the Birth of Man, emergence of the cave man and the invention of the wheel. Walt Disney “Audio-Animatronic” figures make it all pretty realistic. Henry Ford II does the introductory talk; a professional narrator carries on during the ride.

General Electric “Progress-Land” show ends up with an actual demonstration of controlled nuclear fusion. The Pavilion features a Carousel of Progress ride on which six audiences of 250 visitors apiece move along ramps and into theaters. The show opens with figures in reenactions of life-at-home in the 1890’s, through the 1920’s, 40’s and the up-to-the-minute all-electric home of today! Groups are moved out of the nostalgic past into a Time Tube” which opens on the third floor `Galaxy of Science and Engineering” with its dramatized examples of G-E scientists working on contemporary research projects and kaleidoscopic mirror effects are a feature of this sequence. Inexorably, visitors find themselves in the top-level “Skydome” with its “Spectacular,” a projected and narrated dramatization of the power of nature’s energy and man’s efforts to harness it. It ends with an explanation of nuclear fusion as audiences then descend the central well of Progressland for the nuclear fusion “bang.” The Carousel returns visitors to “Medallion City” on the first floor. This model, all-electric community features the latest innovations in home living, electronics and space exploration.

Highlight of the General Motors Exhibit, the Futurama Ride permits visitors to see, hear and feel the world as it may be known in the future, a lunar outpost, a permanent community in once-lifeless Antarctica, a vacation playground amid the strange beauty of the ocean floor, Metropolis of Tomorrow, U.S.A., where an extensive freeway net-work speeds traffic to a park-like industrial sector or recreational and cultural areas, while moving sidewalks whisk shoppers from store to store. A unique system, designed, manufactured and installed by Reevesound, provides stereophonic sound for the 1,389-passenger ride which consists of 463 three-chair cars. Each chair is equipped with a special Reevesound two-ear listening system. The speech program, originating on ever third car from a multi-track sound film reproducer. feeds the succeeding two cars for a total of nine passengers per individual sound unit. Reevesound created the multi-channel photographic sound track reproducing system for those high-reliability, low-maintenance appli-cations in which a single program has to be repeated continually, and where it is possible to have that program doubled up on a single recording medium and run back and forth, as contrasted with endless loop systems, which run continually in a single direction. The four-track, 16mm reproducing system is based upon existing motion picture industry dimensional standards, formerly used only on 35mm film. The system uses existing production facilities, recorders, printing machines and conventional methods for making release prints. The 16mm photographic sound print has two pairs of tracks, one pair in the right-going direction, and one pair in the left-going direction. Each pair of tracks provides separate right-ear and left-ear programs. resulting in a full binaural reproducing system free from cross talk between adjacent channels. Forward and reverse running capability of the transport provides a unique solution to the long running time requirement. Reevesound malfunction detectors are placed in fixed locations along the ride’s route, while others are mounted on the ride itself to as-sure maximum reliability. Interspersed among the dioramic Futurama displays are a number of 16mm motion picture images projected by professional Norelco units.


Behind the wide facade of the Greyhound Pavilion, lobby film showings of travel pictures entertain waiting bus riders but the main attraction is in the turn-table “Circle Theater” which alternates illuminated transparencies, an animated map and synchronized slide showings on multiple screens with the main feature: a four-minute 35mm CinemaScope film journey from coast-to-coast, produced by Fred Niles Communications Centers, Inc. The film carries its viewers from the Golden Gate to the Grand Canyon (spectacular shots) — through the Midwest and on to the towers of Manhattan. The turntable show is fast-paced, there’s no long wait as four synchronized projectors show slides of travel history. But the “big show” is the four-minute CinemaScope film.

Showcase of the Gas Industry at the Fair in New York is the Festival of Gas with exhibits nestling beneath the octagonal white “umbrella” roof that shelters the cool interiors. Pleasantly landscaped pools reflect the foliage and the area provides a comfortable retreat for the travel-weary. Pleasant, too, is the screen fare which provides two main attractions in this pavilion. The puppet picture, Tale of Truthful George, is followed (in the Theater of Food area) by a Heinz Magic of Food picture, a “live” magic show put on film, featuring H. J. Heinz’ food products. A third and very well-conceived use of films is represented in the use of rear-projections at pipe ends of the huge natural gas pipelines, within a “sculpt.” Audiences sit on the carpeted floor of the modest, curve-shaped theater where they watch those amusing puppets as they move about the three screens of Owen Murphy’s film production, The Tale of Truthful George. In this fantasy, Tom Therm is the puppet creation of the film;s magician. Tom symbolizes gas en-ergy as he solves the problems of a loveable puppet family. Bauer 16mm sound projectors put the images bright and sharp on the three screens of the Gas Industry theater.

The multiple screen presentation inside the big white egg-shaped pavilion which houses the IBM exhibit at the Fair is called an ‘Information Machine.” Its purpose, to explain how methods used by computer systems are similar to those used in solving human problems in a variety of everyday situations. One of the Fair’s mechanical marvels carries groups of 500 visitors at a time into the 90-foot high ovoid theater. Seated along 12 steeply-rising tiers of this “People Wall” the audience slowly rises into the darkened loft to await the action. And so begins one of the most complex visual presentations to be seen on the grounds: a 13-minute synchronized presentation which takes place on 15 motion picture and slide screens spread over the front wall of the big dome. The films, designed and produced by Charles Eames, interact on a variety of shapes and sizes of screens. The program’s intention is to show how data is stored and sort-ed by a computer; how the conclusions reached by these machines are not unlike those reached by the human mind when it compiles everyday data. For instance, one sequence shows a woman planning a party and drawing a seating plan while people pop on — and off — as she decides whom to invite and who should sit next to whom. The viewer is taken “inside” the lady’s mind as the considerations of the party take place on the 15 screens all around him. Elsewhere in the pavilion are little “theaters” where mechanical puppets act out playlets on such topics as speed, logic and information handling systems. In one of these Sherlock Holmes unravels “The Singular Case of the Plural Green Moustache” using the same kind of logic as a computer and the logic which you use to solve your problems. “Cast of Characters” and “Computer Day at Midvale” are the other playlets.

The multi-image motion picture, To Be Alive, is the undisputed highlight of the Johnson Pavilion. Produced by Francis Thompson
and Alexander Hammid, veteran documentary film makers, the picture, depicting the joy and delights of simply being alive, is projected onto three 18-foot wide Hurley matte white screens engineered and operated by Reevesound who created the projection and control systems and advised on sight lines and acoustics for the 500-seat Golden Rondelle Theatre, main feature of the Johnson Pavilion. Reevesound’s special technical facilities include three Century 35mm motion picture projectors equipped with sync interlock drive and 78 amp Xetron light sources. To Be Alive! is said to have taken its creators nearly 18 months to produce on location throughout the world. Its message, reminding all who see it of the sheer joy of living, was worth every second of their creative effort.

Rocketing viewers into outer space, past the moon and into the far galaxies. the Cinerama film To the Moon and Beyond projects exploration of space against the 80-foot dome of a Spacearium on top of the Transportation and Travel Pavilion at the Fair. Presently sponsored by the Royal Dutch Airlines, the film is shown to paid admissions. It was produced by Graphic Films Corporation for Cinerama and Rod Serling narrates the film. The audience is taken within the action which generally occurs in darkness to free the viewer from conventional ideas of size and time. Speeding up the events known to astronomers. the picture shows through animation how clouds of gas whirl into great galaxies, expanding outward from one another, with old generations of stars exploding to distribute the gaseous components of subse-quent stellar generations. visible in our time. Returning to earth, the film takes us to a great rocky canyon to illustrate the shape of matter on the stirs to the middle of a great forest and to the bottom of the sea. In one sequence the audience finds itself at the bottom of an anthole, watching the insects crawling in and out above. But the intricate workings of molecular and atomic space are the film’s true goal. From a broad view of the cosmos, attention shifts to the familiar building processes that we call the chemistry of the planets: the relation of liquid water to the diverse manifestations of life.

ABRAHAM LINCOLN stands, speaks and gestures with amazing realism in the Disney-created Audio-Animatronic feature of Illinois’ Fair pavilion. The simplicity of the stage setting and the expressive excerpts from six of Lincoln’s speeches are drawing appreciative audiences to the 12-minute performances. State exhibit also has an adjacent theater for promotional film showings.

Resort promotion is understandably a primary motif within the large circular Florida Pavilion. Various tourist areas, such as Miami. Orlando and Palm Beach, are using sight; sound media to show visitors the delights awaiting them. Transparencies are shown on a revolving ride in the Palm Beach booth; the Miami show uses slide boxes turning on a center core.





Mankind’s hope of the future is expressed in “Futurama” which takes Fair visitors past models showing how the world, and outer space are yet to be conquered.


This Fair is unique in exposition history in its emphasis on these religious pavilions.At the Vatican Pavilion, the most important work of art of the Fair is on display. the 465-year-old Pieta, carved in marble by Michelangelo and generally considered the finest example of Christian art in any medium. It was sent to New York by special permission of the late Pope John. Theme of the Vatican pavilion exhibit is “The Church is Christ Living in the World” and a multiple screen wall carries ten one-minute films which reflect various aspects of Christ’s love and the Church as an instrument thereof. Each of these films contributes its own separate images to the theme.

Billy Graham’s Pavilion is a showcase for the noted evangelist’s 70mm motion picture, Man in the 5th Dimension, showing daily on the hour. Rev. Graham’s prologue notes: “You are about to embark on a breathtaking journey through the four-dimensional world of space and time, into the realm of the fifth dimension, the dimension of the spirit” Scenes taken at Mount Palomar show our own galaxy and the galactic systems millions of light years away. The story of creation is told in the setting of the Earth’s “oldest living things,” the giant redwoods of California. Billy Graham demonstrates the continuity of Christian witness down through ancient and modern times to the present day. An imported 70mm projection system is used to beam images to a wrap-around screen.

THE Pepsi-Cola Fair Exhibit transports the magic of Disneyland to Flushing Meadow as it takes visitors on a water-jet voy-age titled “It’s a Small World,” a Salute to UNICEF. Once again, Audio-Animatronic figures of the world’s children sing and dance in full-color fantasy settings of their native countries. Canals wind through 26 lands, past a Very Leaning Tower of Pisa, a confetti-draped Eiffel Tower, miniature Swiss Alps and a Disneyesque Taj Mahal. Great fun for the small fry as the Irish “wee folk” sing. a Swiss yodels and Dickens-inspired Britains carol atop a Cockney moon. Within the two-acre Pepsi-Cola area, the U. S. Committee for UNICEF is operating its own pavilion, dramatizing its role in helping meet the needs of children in over 100 developing countries. The cruise is housed in a 47,-000-foot air-conditioned building. It can handle some 55.000 passengers along its waterway. This combination of enter-tainment and international welfare is one of the Fair’s best!

West Berliners going about their daily chores are pictured in the cartoon film projected on a novel, spherical globe in the City’s Pavilion at the Fair. Another short film takes up technological productivity; maps with special lighting effects portray the Berlin of the future.


Under the light, airy white umbrella roof of the Gas Pavilion, there’s a puppet film, a “food magic” show, also on film, cooking demonstrations and clever use of rear-projection images within the ends of huge natural gas pipelines, set up in a “sculpt” design.


Rear-projected pictures are cleverly drsilzned into pipe ends along the Pipe Labyrinth within the Gas Pavilion. This sculptured display uses actual pipe which carries natural gas cross-country. Relevant projected visuals tie -in the story of the gas industry, its cross-country pipelines and industrial applications.








Fair visitors in this shaded waiting line will soon be rewarded when they enter the Golden Rondelle Theater for showing of “To Be Alive!”




You’re watching the “big game” from a hovering helicopter as you look down this picture well to see the “round” movie produced for the General Cigar exhibit area by editors of Sports Illustrated.




Housed in a domed stone struc-ture designed to resemble its red umbrella symbol of insurance protection, the Travelers Exhibit presents a dioramic portrayal of man’s struggles and growth through the ages. Beginning in prehistoric times, the dioramas trace human exist-ence through more than two bil-lion years from the dawn of man to the present. This story, “The Triumph of Man,” culminates in an unusual motion picture depict-ing man’s current explorations in-to the reaches of outer space, his current searching for the basis of life itself. Produced by Robert P. Davis of Little Movies, Inc., the film is pro-jected by a specially designed Reevesound motion picture sys-tem. The picture images and ultra-violet stars are received by a dark blue screen wall and ceiling shaped like a half-sphere. Reevesound’s projection system consists of a 35mm Norelco FP-20 projector with conventional shut-ter. a 2500 watt Zeiss Xenosol II light source, and a Reevesound-designed continuous 35mm film looping rack. The Reevesound-modified projector has intermit-tent start-stop operation, triggered every four minutes by a sensing de-vice signalling the conclusion of the dioramic display one floor be-low. Two first-surface mirrors, one mounted at the front of the pro-jector mechanism and another lo-cated overhead, receive light beams leaving the machine, redirect them to the screen wall, thereby increas-ing projector distance and image size. The system operates with a 50 watt Fairchild power amplifier. Donald Deskey and Associates were architects for the Travelers Pavilion, which was constructed by the George A. Fuller Company. Designers were Lippincott & Margulies.




























pic3weuse v8xW6zd755xK7J7neBW1Eg












As finishing touches were being given to the World’s Fair, F&M Schaefer commercial series was being location-taped at brew firm’s long-length bar by Videotape Productions’ mobile unit and TV crew.


Leave a Reply

Your email address will not be published. Required fields are marked *