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No Little Plans: Making and Breaking the 1992 Chicago

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No Little Plans: Making and Breaking the 1992 Chicago NO LITTLE PLANS: MAKING AND BREAKING THE 1992 CHICAGO WORLD’S FAIR by Sarah Louise Coletta A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in American Studies MONTANA STATE UNIVERSITY Bozeman, Montana April 2017 ©COPYRIGHT by Sarah Louise Coletta 2017 All Rights Reserved ii ACKNOWLEDGEMENTS Many thanks to everyone at Montana State University who made the completion of this project possible: my advisor, Robert Rydell, and committee, Mary Murphy, William Wyckoff, and Robert Bennett. Thanks also to faculty in the departments of history and English, including Billy Smith, Susan Kollin, Michael Sexson, and Sara Waller. A travel grant and the Dissertation Completion Fellowship from the Montana State University Graduate School were indispensable. Many thanks as well to my friends and colleagues at MSU, including Deborah Blanchard, Angie Keesee, Natalie Scheidler, Mary Biehl, and everyone else who made going to class interesting, engaging, and, most of all, fun. Infinite thanks to my writing partner and friend Cheryl Hendry. The librarians and staff at the institutions where I conducted research were infallibly helpful. Lastly, infinite thanks for the unwavering support of my family, and Ryan Lawrence Flynn. iii TABLE OF CONTENTS 1. INTRODUCTION ...........................................................................................................1 2. PAST IS PROLOGUE: PLANNING THE FAIR .........................................................23 Private Citizens Doing Public Good ...............................................................................26 The Chairmen of the Boards Gather Data Making Decisions Regarding Site and Theme ................................................................36 The Red Tape: Getting Approval from the Public and Bureaucratic Bodies ......................................................................................41 Women’s Committee and Fair Review Council .............................................................52 Turning of the Tide: The New Government ...................................................................62 The Fair Falls Apart ........................................................................................................76 3. DESIGNING THE AGE OF DISCOVERY ..................................................................85 History, Discovery, and the Fair ...................................................................................85 Theme Catalogues and the Age of Discovery ...............................................................87 The Future and the Fair ...............................................................................................104 Fair Designs and City Planning ...................................................................................109 4. PROTESTING THE FAIR ..........................................................................................147 The Chicago 1992 Committee .....................................................................................149 Communication: Flyers, Pamphlets, and Meetings .....................................................155 Interactions with Local Government and the City Council Wars ...............................165 Environmental Impact Statement ................................................................................175 Harold Washington’s Advisory Committee ................................................................183 Intergovernmental Agreement .....................................................................................189 Counter-reports ............................................................................................................193 The Fair is Dead…Chicago’s Alive! ...........................................................................194 5. POWER OF THE ARCHIVES ....................................................................................199 My Archive Story ........................................................................................................199 Evelyn Rivers Wilbanks’ Archive Story .....................................................................202 iv TABLE OF CONTENTS – CONTINUED 6. CONCLUSION ............................................................................................................220 7. BIBLIOGRAPHY ........................................................................................................225 v LIST OF FIGURES Figure Page 1: The Midway Plaisance .......................................................................................22 2: The Lake Michigan Shore and Chicago ............................................................81 3: The First Image for the Public: The Fair Site, 1981 ..........................................82 4: A More Detailed Site Plan: The Fair Site, 1981 ................................................83 5: An Economy Model: The Fair Site, 1984 ..........................................................84 6: 1992 Chicago World’s Fair Logo ....................................................................138 7: Calm and Friendly Site Plans...........................................................................139 8: An Insouciant Balloon .....................................................................................140 9: Architectural Model .........................................................................................141 10: Tom Ayers and Jane Byrne ............................................................................141 11: A Speculator’s Playground ............................................................................142 12: New Master Plan: Drawing from Chicago21 ................................................143 13: Beeby Sketches for the Fair ...........................................................................144 14: Architectural Projections ...............................................................................145 15: A Floating Fair ...............................................................................................146 16: The Fair is Dead…Chicago’s Alive! .............................................................198 vi ABSTRACT This dissertation analyzes the failed 1992 Chicago World’s Fair through several lenses in order to explore four separate but connected processes: planning and designing a large urban fair, protesting that fair, and creating an archive. In doing so, I highlight the fact that all events are historically contingent, undermining the idea that events are the result of inexorable historical processes. The case of the 1992 Chicago Fair provides an opportunity to glimpse a historical process suspended in time: there is not a satisfying conclusion to a fair that didn’t happen, but there are both memories and a sizable archive. The planning and design chapters focus on how the fair planners made decisions, and on how they worked both with and against city and state governments as well as the Bureau of International Expositions. Using newspapers and documents culled from several archives as well as the official depository for fair materials, the Chicago History Museum, this narrative reveals the many missteps of the fair planners, and points to several specific factors that contributed to the fair’s failure. The protest chapter adds to the growing analysis of protest movements in the 1980s, and situates the protestors’ strategies in the social and political contexts of Chicago. The last chapter looks at the archive of the archivist. Archivist Evelyn Wilbanks’ personal papers regarding the fair are also housed at the Chicago History Museum, and reading them leads to an investigation of the place of the archivist in the production of history. 1 INTRODUCTION The Chicago 1992 World’s Fair didn’t happen. There have been, however, over 100 large world’s fairs (as these international expositions are usually called in the United States) that have happened since the London Crystal Palace Exposition in 1851, and many more minor ones.1 Each of these large fairs has been studied (some more than others), and professional and amateur historians and cultural critics have produced seemingly countless books, articles, and monographs about them. From these texts, one can glean the many things that a world’s fair is: a celebration to which the whole world is invited, a showcase for cutting edge technologies and art, a venue in which to re-affirm national values, a money-making scheme for the host city. The Bureau of International Expositions (BIE) doesn’t define what a fair is as much as it describes what a fair does. An Expo is a global event that aims at educating the public, promoting progress and fostering cooperation. It is the world’s largest meeting place, bringing together countries, the private sector, the civil society and the general public around interactive exhibitions, live shows, workshops, conferences, and much more.2 BIE General Director Vicente Gonzalez Loscertales adds to the BIE’s definition that, “[a]t its most successful, an expo projects a vision for the future of mankind.” The choice of theme must be of global interest…be a major issue for the future of civilization, be a top priority for national governments and on the policy agendas of key international organization…be future-oriented and project a powerful fascination for exchange, dialogue and cooperation…[and] should relate to 1 John E. Findling and Kimberly D. Pelle, Encyclopedia of World’s Fairs and Expositions,
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