Jinrui no Shimpo to Chōwa 人類の進歩と調和 „Fortschritt und Harmonie für die Menschheit“
日本万国博覧会 S U I TA , O S A K A P R E F E C T U R E MAR 15 - SEP 13, 1970
Seminar: Resistance in Japan Japanology, University of Cologne Presenter: T. Schneider #7366328 2021.12.02
CONTENTS: 1. DEFINITION & THE B.I.E. 2. EXPO HISTORY 3. CONCEPT & BRANDING 4. PLANNING & STATISTICS 5. IMPRESSIONS 6. RECEPTION & LEGACY 7. DISCUSSION
WHAT IS BANKOKU HAKURAN-KAI 万国博覧会 Encyclopaedia Britannica: “world’s fair” (US) “universal exposition” (Europe) international exhibition of a wide variety of industrial, scientific and cultural items on display for a period of time … often have an entertainment zone … governed and regulated by the Bureau International des Expositions (BIE), a Paris-based organization established in 1928 […] to bring order to exposition scheduling and to make clear the rights and responsibilities of the host city and participants. English national fairs of the 18th century, which combined trade shows with carnival-like entertainment, were among the forerunners. In addition, the Society for the Arts, established in London in 1754, produced a series of competitive art shows that included industrial arts – various technological innovations ranging from spinning wheels to cider presses. In late 18th and early 19th centuries, the French began hosting industrial exhibitions. These came under the authority of national government, whose aim was to assist French manufacturers in competing against the British in the international marketplace.
THE GREAT EXHIBITION CRYSTAL PALACE HYDE PARK LONDON, 1851
(SYDENHAM 1854-1936)
HISTORY OF THE EXPO 1851 (London): The Great Exhibition of the Works of Industry of All Nations
1855 (Paris): Exposition Universelle des produits de l’agriculture, de l’industrie et des beaux-arts 1862 (London): Interntl. Exhibition of Industry & Art
… 1867 (Paris) … 1873 (Wien) … 1876 (Philadelphia) … 1878 (Paris) … 1880 (Melbourne) … 1888 (Barcelona) … 1889 (Paris) … 1893 (Chicago) … 1897 (Brussels) … 1900 (Paris) … …
INTERNTL. REGISTERED EXHIBITION “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.” (source: BIE Website English home page, 28.11.2021) “Expos are global events dedicated to finding solutions to fundamental challenges facing humanity by offering a journey inside a chosen theme through engaging and immersive activities. Organised and facilitated by governments and bringing together countries and international organisations (Official Participants), these major public events are unrivalled in their ability to gather millions of visitors, create new dynamics and catalyse change in their host cities.” (source: BIE Website « What is an Expo »)
Rationale for establishment of BIE: Multiplication of Expos threatens their image and quality. • Expo 1867 (Paris): memorandum signed by Britain, Austria, Prussia, Italy, Russia & the USA. • 1912: international conference organised by German government • 22.11.1928: 31 countries sign Convention on organisation of international exhibitions • 1988: distinction “General” & “Special” (+ Horticultural, + Triennale di Milano)
NEW YORK 1939/40 WORLD’S FAIR “BUILDING THE WORLD OF TOMORROW”
“Atomium” Brussels World Expo 1958
HISTORY…
(1951 (London): Festival of Britain) 1958 (Brussels) A World View: A New Humanism 1962 (Seattle): Man in the Space Age (2nd cat. Expo)
1967 (Montreal): Man and his World 1970 (Osaka): Progress and Harmony for Mankind 1992 (Seville): The Age of Discovery 2000 (Hannover): Humankind – Nature - Technology 2005 (Aichi): Nature, City, Harmony – Art of Life 2010 (Shanghai): Better City, Better Life 2015 (Milan): Feeding the Planet, Energy for Life
2020 (Dubai): Connecting Minds, Creating the Future 2025 (Osaka): Designing Future Society for Our Lives
Expo 1867 Paris
JAPAN WORLD EXPO: THE LONG MARCH - Tokugawa shogunate and Satsuma domaine participate at 2nd world expo 1867 in Paris - Meiji government participates at world expo 1873 in Vienna - 19th c.: national exhibitions (Tokyo 1877, 1881, 1890, Kyoto 1895) - 1903 5th national industrial exhibition in Osaka, 1st time with overseas exhibitors (153 days, 4.4 million visitors) - 1912 Grand Exhibition of Japan cancelled due to death of Meiji emperor (postponed to 1917, never held). 1914: Taishô Exhibition - 1922: „Peace Exhibition“ in Ueno Park, Tokyo. - 1937: Nagoya Pan-Pacific Peace Exposition - 1940: Grand International Exhibition of Japan (never held)
- 1965: Japan ascends to the B.I.E., requests to host Expo ‘70 (Source: https://en.wikipedia.org/wiki/List_of_world%27s_fairs)
Expo 1873 Vienna
Yushima Seido (Shoheizaka) Exhibition Mar 10 to Apr 30, 1872 (Meiji 5, Ikkei Shosai)
1st National Exhibition (Ueno, 1877)
Directors of the 1872 exhibition, before golden shachi in the Taiseiden courtyard Interior (1877, Hiroshige III)
2nd National Exhibition in Ueno (Hiroshige III, 1881)
National Museum Ueno (before middle façade was destroyed in 1923 earthquake)
Guide map to the 1881 2nd National Exhibition
Nagoya Pan-Pacific Peace Exposition (1937) 名古屋汎太平洋平和博覧会
“THINKING THE EXPO” Traditional inspiration and new ideas: articles on Kansai geography and local culture, anthropology and comparative cultural research relativistic, multi-polar humanism, knowledge or "wisdom" (chie) of Asian and African cultures information concept and "information society" (→ Umesao: "On Information Industries“, Hôsô Asahi, Jan 1963.)
thinking on information systems, computerization, and mediatization of contemporary society (William 0. Gardner: “The 1970 Osaka Expo and/as Science Fiction”. Review Of Japanese Culture And Society. Volume 28 (2011), 26-43.)
NIHON MIRAI GAKKAI: PROPOSITIONS SEP 15, 1965 1. Not simply a "trade show" to feature Japanese products & economic progress. Have clearly articulated themes and serve as a site for exchange of knowledge & information – incl. on complex global problems, e.g.: pollution; material scarcity and distribution; genetic erosion and diversity 2. Should not miss importance as the first Asian world exposition. Emphasize participation of Asian & African countries. 3. Moulding of the expo must not be carried out by conservative bureaucrats. Give cutting-edge artists & architects free rein to realize innovative visions. (William 0. Gardner: “The 1970 Osaka Expo and/as Science Fiction”. Review Of Japanese Culture And Society. Volume 28 (2011), 26-43.)
MASTERPLAN Kenzô Tange 丹下 健三 [chief architect of the 1964 Tokyo Summer Olympics venues, 1913-2005] and Uzô Nishiyama 西山 夘三 (1911-1994) were appointed to produce the master plan for the Expo. Tange invited 12 other architects to elucidate designs for elements in the master plan: “Two main principles informed the idea of the master plan. The first was the idea that the wisdom of all the peoples of the world would come together in this place and stimulate ideas; the second was that it would be less of an exposition and more of a festival. The designers thought that unlike previous expositions they wished to produce a central, unifying, Festival Plaza where people could meet and socialize. They called this the Symbol Zone and covered it and the themed pavilions with a giant space frame roof.”
THEMES / PHILOSOPHY - multimedia
- information society - metabolic buildings and city planning - constructivist architecture for suspended structures
Jinrui no Shimpo to Chōwa 人類の進歩と調和, dt. „Fortschritt und Harmonie für die Menschheit“
- visualizes the theme "Progress and Harmony for Mankind"
EMBLEM
- depicts sakura (cherry blossom), the flower representative of Japan
- five petals of the flower represent the world (the five continents) and express hope the world joins hands and participates in Expo ‘70 - circle at centre symbolizes the hinomaru, the national flag of Japan
- white areas around signify room for development and progress - emblem's overall sense of steadiness indicates dignity and harmony, expressing the ambition of a world class event Creator of the emblem: Mr. Takeshi Otaka, a graphic designer (Note: red, blue and green emblems were used.)
Compare with:
EXPO’70 STAMPS (MAXI POSTCARDS)
EXPO’70 POSTCARDS
FACTS –
ST 1
UNIVERSAL EXHIBITION IN ASIA
Participants (overseas)
76 countries, 1 government (Hong Kong), 4 international organisations, 3 states, 2 cities, 2 US companies, 3 Canadian provinces, 1 German city
Participants (domestic)
32 organizations (Japanese government, Local Govt. Committee for the Japan World Expo, 2 public corporations, 28 private companies
Attendance
64,218,770. Highest single day attendance: 836,000. Avg per day: 350,000 (total 186 days)
Land take
330 ha (about 460 football pitches)
Electricity consumption
900,000 kW (daily avg.) (equivalent to City of Nara)
Garbage disposed
400,000 m³ total (equivalent to city of 600,000)
Economic effect
3.5 Trillion Yen (11 Trillion today) nationally, of which 1.1 Trillion (3 Trillion) in Kansai region 650 Billion Yen for roads, railways & infrastructure 110 km new roads, International flights to Osaka
Construction workers
220,000 (1969 peak), build duration: 18 months
LOCATION EXPO ’70 大阪府 吹田市 の
千里丘陵
Senri Hills Suita City Osaka
Kansai, Japan.
MAP
IMPRESSIONS – OSAKA EXPO ‘70
IMPRESSIONS – JAPANESE SYMBOLS
FOUR FACES:
“TOWER OF THE SUN”
Italian pavilion, Expo ‘70, Osaka, 1970.
Dutch pavilion, Expo ‘70, Osaka, 1970.
More pavilions: https://en.worldfairs.info/expolistepavillons.php?expo_id=18
GERMAN PAVILION
GERMAN PAVILION
“Gardens of Music” (world’s 1st spherical concert hall)
Designer: Fritz Bornemann Artistic direction: Karlheinz Stockhausen
Acoustic Design & Control
Swiss pavilion, Expo ‘70, Osaka, 1970. “The decoration tree is clad entirely with aluminium, and the power of one million Watts illuminates 35,000 lamps of the tree at night and produces an atmosphere of festivity and peace.”
India pavilion, Expo ‘70, Osaka, 1970.
Stamps issued by Emirate of Fujairah (UAE) to commemorate Expo ‘70. Many countries around the world issues stamps: http://masudahp.web.fc2.com/expo70/philately/stamps00.html
Expo ‘70 - Japanese company pavilions
Toshiba-IHI pavilion, Expo ’70, Osaka, 1970. AFFANDI (INDONESIA, 1907-1990) Expo 70 – Toshiba-IHI Pavilion signed with artist’s monogram and dated '1970' (lower right) acrylic on canvas 97 x 130 cm. (38 1/4 x 51 1/8 in.) Painted in 1970 Christie‘s (2018): USD 0.5 Million
Sumitomo pavilion, Expo ’70, Osaka, 1970. „Nine "flying saucers", six of which housed an exhibition. Through the transparent saucers you could have a bird's eye view of the exhibition. 15 different tales and legends from all over the world were told in different ways, all using new electronic techniques. There was also an opportunity to “talk" with the famous characters of the tales of Hans Christian Andersen and Wilhelm Carl Grimm.”
Fuji Group pavilion, Expo ‘70, Osaka, 1970. “Neither iron, steel, cement nor wood have been used to construct the pavilion.”
Barbie at Expo ’70.
Takara beauty pavilion, Expo ’70, Osaka, 1970.
Expo Tower
The monorail system at Expo ‘70.
ÖFFNUNGSZEREMONIE
Opening ceremony Expo ’70 (Mar 14, 1970)
Closing ceremony Expo ’70 (Sep 13, 1970)
ENDZEREMONIE
Expo ’70: friendly robots .
Expo ‘70
OPERATIONS CONTROL
COUNTER-CULTURE?
OPINIONS (1) – THE NEW YORK TIMES, 1970 “Expo ’70 is a landscape of glittering laser beams, clicking computers and clanking robots demonstrating — upon close inspection — that all that glitters, clicks and clanks is not necessarily advanced technology. “As befits a world exposition in the country that made the transistor famous, the 815‐acre fairground is a treasure house of electronic gadgets and gimmicks. Dazzling applications of advanced optical and acoustical techniques and computer‐controlled entertainment beguile the eye and ear.
“The site also contains a variety of improved ways to enclose space and move people. “… At least half a dozen pavilions have works of art incorporating laser beams and reflecting surfaces. “The Mitsubishi Pavilion uses a ‘smoke screen’ – a reflecting screen made of a controlled flow of smoke – to show films. Mitsubishi officials say that the screen will eventually be cheap, clear and easy‐to‐use and will have a wide variety of applications. “The Japanese steel industry pavilion is a concert hall of the future, containing 1,300 loudspeakers for the highest kind of fidelity imaginable. The equipment permits the playing of music on as many as 12 channels simultaneously, compared with the two channels used by the usual stereophonic equipment.” (“Glittering, Clicking, Clanking Expo ’70, in Japan, Emphasizes the Practical Use of Modern Technology”, New York Times, Marc h 22, 1970)
OPINIONS (2) – RUINS OF CULTURE, 1970 “Tange Kenzo’s basic plan for the expo site aimed to create the future city: the Symbol Zone – its information centre – would be the tree-trunk; the monorail that is suspended in the sky and the moving sidewalks, its branches; and the exhibition spaces that lie in between, blooming flowers … The Festival Plaza, which lies north of the tower, was designed by Isozaki Arata’s group to combine the characteristics of the town square, a theatre, and an environment. “… Many of the pavilions soar into the sky and burrow into the underground. The exhibition rooms centre around projected images, are dark and labyrinthine, and the spectators wander up and down the womb-like space, as if in a funhouse. “… Together with the Japanese Pavilion, another exhibit which reveals the ideology of Expo ’70 in its purest form is the Mitsubishi Future Pavilion. Here the image stands not only as a simple mechanism for reproduction. Its large scale manages to pull in the viewers. A belt conveyor crosses the sky, like a hanging bridge, and the images projected on the screens left and right are amplified by mirrors placed above and below, and in back and in front, violently assaulting the viewers.
“The first scenes show a storm at sea, then a volcanic explosion, and are meant to tell the story of how the Japanese people have fought the threats of nature since ancient times. The scene that then follows shows the monitoring of a typhoon from a space station and the fantastic landscape of an underwater city … At the end, the viewer is presented with a scene of nature and technology in perfect harmony; a residence of the future, placed on an ample lawn with a view of Mount Fuji, inside which we find an array of gadgets, starting with an electronic brain.” (Expo ’70 as the Ruins of Culture (1970), by Haryū Ichirō & Ignacio Adriasola, 2011)
THE MITSUBISHI PAVILION – RUINS OF CULTURE?
THE JAPAN TEXTILES PAVILION – AN ANOMALY?
OPINIONS (3) – WILLIAM O. GARTNER, 2011 Expo '70 projected Japan as a simulation-site for a future society. Indeed, many journalistic accounts heralded the expo as "mirai no toshi" (city of the future), just as the 1939-40 New York World's Fair had been cast as the "World of Tomorrow.“ Expo ‘70 enacted an elaborate staging of Japan's relationship with the outside world, through massive "international" events such as the opening ceremony attended by the Showa emperor. Together these national and international elements created a bubble of "progress and harmony" within a nation torn by virulent protests against the U.S.-Japan Security Treaty and the Vietnam War. Yet beyond the apparent optimism of the expo's theme, the futuristic visions elaborated in its architecture and display environments were considerably more complex… a drawing board for visions of a future society poised between utopia and collapse… science fiction (SF) author Komatsu Sakyo as a figure connecting the worlds of academic research, future studies, and science fiction, through several phases of critical engagement, planning, and production of Expo '70. (William 0. Gardner: “The 1970 Osaka Expo and/as Science Fiction”. Review Of Japanese Culture And Society. vol 28 (2011), pp. 26-43.)
INNOVATION
Expo’70 Commemorative Park: https://taiyounotou-expo70.jp/
DISCUSSION: QUESTIONS? 1. According to the B.I.E., building a “national pavilion” at expo is a chance for “nation branding”. Is this sensible? What impression of Japan (and of other nations) are you left with from Expo ‘70?
2. Given today’s sober and environmentally-aware spirit, with the individual spoilt for choice by home-multimedia, online gaming and fun-park options, has expo anything to offer? As a cultural crossroads? On reclaimed land in Osaka 2025? (Lessons from Tokyo 2020/21?) VR tour of the Japan pavilion at Expo 20/21 in Dubai: https://virtualexpodubai.com/al-forsan-park/japan
REFERENCES 1. Betrand, Cyrille-Paul (2012): “The Pepsi-Cola Pavilion, Osaka World’s Fair, 1970”. In: Virtuelle und ideale Welten, KIT Scientific Publishing´, Karlsruhe. 2. Urushima, A. (2011): “The 1970 Osaka Expo: Local Planners, National Planning Processes and Mega Events”, In: Planning Perspectives, vol. 26, pp. 635-47.
3. Gardner, William O. (2011): “The 1970 Osaka Expo and/as Science Fiction”. In: Review Of Japanese Culture And Society. vol 28, pp. 26-43. 4. Hashizume, Shinya (2020): “Expo 1970 Osaka: the story of Japan’s first World Expo”, Bureau International des Expositions (online).
5. Williams, Sean (2015): “Osaka Expo ‘70: The promise and the reality of a spherical sound stage”. In: Insonic, 26-28 Nov 2015, Karlsruhe, Germany. 6. Expo ‘70 and Japanese Art: Dissonant Voices, Review of Japanese Culture & Society, vol 23, Dec 2011, University of Hawaii Press. - Yoshimoto, Midori (2011): “An Introduction and Commentary” - Yoshimoto, Midori: “Textiles Pavilion (2011): An Anomaly and Critique of Expo’70” - Haryû, Ichiro & Adriasola, Ignacio (2011): “Expo’70 as the Ruins of Culture (1970)”
VIDEOS Movietone Newsreel, 30 Mar 1970 (in English, 8m 25s): https://www.youtube.com/watch?v=9ax89j4eXWY
Japan Newsreel, 14 Mar 1970 (in Japanese, 4m 04s): https://www.youtube.com/watch?v=nlwYig-wT90 Expo’72 Pavilions Tour, 1970 (in Japanese, 7m 47s):
https://www.youtube.com/watch?v=FIv6mC4-SEg Japanese Documentary of the Expo (in Japanese, 2h 56m) https://www.youtube.com/watch?v=Rr72kYcgfCA