The Katimavik Ashtray

The 'Katimavik' was a 1000-ton structure, with a hollow steel frame.

One of the things I love about Expo 67 anniversary years is the amount of unearthed information and never-seen-before archives that comes to light.

In the early days of this blog, I wrote about one of my favorite Expo 67 anecdotes: the fact that the Canadian pavilion's Katimavik was, in fact, inspired by an ashtray.

A recent cbc.ca article spoke to Caroline Robbie, daughter of Rod Robbie, one of the architects that worked on the Canada pavilion. Her father's firm Ashworth Robbie Vaughan and Williams won the bid for the pavilion's design; after many late nights, and (ahem) lots of cigarettes... From the article: 

Robbie and his partners were smoking up a storm one night as they grappled with ways to create a visually impressive vantage point for the pavilion without impeding the flow of foot traffic on the ground below.

The overflowing, four-sided ashtray with its sloping, upside-down pyramid design suddenly caught their eye.

"They started looking at the form of this ashtray on the table, and it was perfect," Caroline says. "It would touch the ground as little as possible and therefore not impede the flow of people around it, but it would also offer the greatest amount of vantage point for those who work their way through the pavilion and up to the top."

"You could look out all the way around that pyramid all over the grounds."

A Canadian pavilion hostess next to a scale model.

Caroline Robbie still has the infamous ashtray, tucked away in a box full of her late father's belongings.

Ladies and gentlemen, without further ado... THE ashtray:

"Do you have a light?"

And, finally, from the NFB, what it was like inside the Katimavik:

images: (1) Yvon Desjardins, via Facebook
(2) Gabriel Jacob, via Facebook
(3) Caroline Robbie, via cbc.ca
video: excerpt of 'The Canadian Pavilion', NFB

The CIBC at Expo 67

The Canadian Imperial Bank of Commerce opened on May 15, 1867 in Toronto.  By 1967, both the CIBC and Canada were celebrating their centenaries.

The CIBC had an on-site branch at Expo 67.  It was located on Île Sainte-Hélène, next to an Expo-Services kiosk, and a stone's throw away from Cosmos Walk.  In the days before ATM machines, the branch served as many as 10,000 clients a day.

The staff, which exceeded 100, were trained to handle a variety of transactions and currencies.  Hostesses who cashed traveller's cheques had the most hectic job.  They stood at the front of the branch with trays of envelopes containing the cash equivalent of a $20 US traveller's cheque. In one day, they could cash as many as 4,500 cheques.

And speaking of ATM machines, the CIBC was the first Canadian bank to introduce a 24-hour cash dispenser, but that would only be in 1969...

images: (1) unknown source
(2-3-4) cibc.com

The Ethiopian Pavilion

The Ethiopian pavilion at Expo 67 was a striking 90-foot, tent-like structure, located on Île Notre-Dame near the pavilion of Morocco. The pavilion shone during the day and glowed softly at night, its shape recalling ceremonial umbrellas of the priests of the ancient Ethiopian city of Axum.  A golden lion (the symbol of Ethiopia) topped the scarlet tent, while 12 lion heads anchored its points. Soaring white towers reminiscent of those that marked ancient tomb palaces flanked the entrance.

Upon entering, visitors were led directly to the second level 'Lion Coffee Shop', where hostesses served famed Ethiopian coffee and other specialties. The interior roofing of the pavilion was covered with paintings on canvas that illustrated the history and legends of Ethiopia.

The coffee shop looked down on the main exhibit area, which included a replica of the Church of St. George at Lalibella; its interior contained ancient crowns, jewels, manuscripts, and other treasures.

Another area showed ancient Ethiopian artifacts and tools, some as old as 500,000 years. Other exhibits included modern examples of filigree gold and silver work, seen on military and religious capes, swords, and shields. Animals and birds native to Ethiopia were displayed. Slides showed scenes of Ethiopia.

A 26-minute film entitled 'Man in Ethiopia' was shown continuously in the 'Queen of Sheba' theatre.

The Emperor of Ethiopia, Haile Selassie, presented the city of Montreal with 2 lion cubs, named 'David' and 'Bess'. They took up residence in a cage near the pavilion on May 18, 1967, and were very popular with Expo visitors...

images: (1) Bill Dutfield
(2) unknown source
(3) expo67.ncf.ca
(4) worldsfaircommunity.org
(5) alamedainfo.com

The Brewers of Canada Pavilion

Comprising of more than 50 members, The Brewers Association of Canada presented an elegant pavilion at Expo 67, located on Île-Sainte-Hélène between the pavilions of China and Vermont.

Constructed of concrete, wood and glass, the complex was made up of 3 circular buildings, recalling the curves of a beer barrel.  In them were housed the 3 main sections of the pavilion: the 'La Brasserie' restaurant and terraced beer garden in the first, a historical exhibit and miniature theater in the second, kitchen and service installations in the third.

Beer was the drink of choice in the air-conditioned, 400-seat restaurant, and there were 67 kinds to choose from.  The menu featured an imaginative cross-Canada selection of dishes based on recipes using beer instead of wine: Saskatchewan beef (boeuf bourguignon, but made with beer), Quebec tourtière with an aromatic touch of beer, Yukon salmon trout in beer sauce, beer-infused Manitoba pork chops, Acadian ham, Alberta steaks, etc...

In the historical section, beer drinkers from prehistoric times to modern day were discussed, including ancient beer-drinking cultures such as Greeks and Romans, Gauls and Teutons. Visitors were explained the art of beer-brewing: how barley could be blended with wheat, how ale could be flavored with ginger or hops, etc.  The exhibits all sought to show the good life in Canada, relating the story of Canadian beer to that of Expo 67's overall theme 'Man and his World'.

For children, a circular, 200-seat puppet theatre featured daily performances by the world-famous Canadian Puppet Theatre. Some 50 puppets presented a story called 'Fun Fantasy', a humorous tour of Canada.  The 15-minute bilingual show was performed continuously from 10am to 9:30pm.  

Every visitor to the pavilion was offered a free souvenir book in English or French, featuring unusual entertainment ideas and food recipes using beer.

Am I the only one to find the inclusion of children's activities in a pavilion that was essentially a large Brasserie a bit... awkward?

The official Expo 67 guide book promised that a visit to the Brewers pavilion would provide "relaxation and enjoyment for the whole family". This evidently meant keeping children occupied while parents were at the bar.

  
'The Children's Theatre', 1968

It gets even better in 1968.

The following year for Man and His World, the pavilion was altogether re-baptized 'The Children's Theatre'.  Upon reading the mindful description (above), one would hardly know that the pavilion's original vocation was that of a beer garden...!

According to the guide, children could "cultivate [their] personality and self confidence" through live theatre.  All while Mummy and Daddy cultivated theirs through, *ahem*, the wonders of beer...!

images: (1) expo67.ncf.ca
(2) personal collection (The Expo 67 Memorial Album)
(3 and 4) personal collection (Man and His World 1968 guide)

The Morocco Pavilion

Located on Île-Notre-Dame between the pavilions of Tunisia and Ethiopia, Morocco's participation at Expo 67 was a traditionally-styled pavilion 72 feet in diameter and 14 feet high. Its shape was inspired by a typically Moroccan motif - the 8 point star - with wood and plaster sculptures throughout, and a floor covered in Moroccan mosaics.

Adjoining the main pavilion was a 65-foot minaret, embellished with ornamental arches.

Pillbox hatted hostess (left) ornamental arch (right).

Hostesses dressed in sunny yellow uniforms were on hand to guide visitors through a variety of exhibits that told Morocco's story in 2 parts: its contributions to civilisation prior to its 1956 independance, and its achievements after.

A large cupola in the center of the pavilion featured 2 luminous dioramas, complete with life-sized mannequins in traditional costume. One display showed the southern village of Tinerhir while the other featured the imperial city of Meknès, known as "The Versailles of Morocco". In another nearby exhibit, mannequins costumed as royal guards or as teachers represented the city of Fez, whose university was at least 400 years older than the Sorbonne.

In galleries around the central area, photographs, statues and more costumes reflected a past enriched by Morocco's proximity to other Mediterranean civilizations. Morocco's agricultural contributions to the world were highlighted: the cultivation of rice, buckwheat, sugarcane, ginger, cotton and silk, and fruits such as bananas, cherries, oranges, lemons and grapefruit.

Treasured relics were exhibited in adjacent display cases: a Neolithic vase, a Phoenician sphinx, a Punic lamp, a 14th-century frieze, a Berber bust from the Roman era. Other artifacts included ancient coins and jewels, daggers, ceramics, caskets, embroidery from North Morocco, forged iron from the city of Meknès, etc.

A 12th century Koran was on display in a section devoted to ancient manuscripts, where early Islamic advances in medicine, geometry and astronomy were discussed. A 14th century astrolabe, at once a scientific tool and a work of art, was a typical example of the refinement of the era.

 

The section on modern Morocco showed recent progresses in the country: industrialization, increased school attendance, improved public hygiene and improvements in agriculture. Modern buildings harmonized with traditional architecture in an exhibit on Casablanca. Montages, models and photographs presented the new city of Agadir which had been devastated by an appalling earthquake some years before.

In yet another section, photographs showed Morocco's natural beauty: spectacular mountains and valleys, deserts, coasts and beaches...

The El Mansour restaurant served dishes which captured the lush and refined essence of Morocco's culture. Visitors could sample typical dishes such as mechoui or chicken served with prunes, in a relaxed and voluptuous atmosphere of soft divans and the scent of sandalwood and rose-water...

 

images: (1) personal collection
(2) library and archives Canada
(3) courtesy DC Hillier
(4) alamedainfo.net
(5) personal collection, from the Man and His World 1968 guide
(6) Dixon Slide Collection, with special thanks to DC Hillier for retouching
(7) personal collection, from the Memorial Album

"Design For A Fair"

Much has been said over the years of Buckminster Fuller's iconic design for the exterior of the U.S. pavilion at Expo 67. Perhaps lesser known (but equally as important) were the designers of the pavilion's interior: the American architecture firm Cambridge Seven Associates.

Led by Peter Chermayeff, Terry Rankine and Ivan Chermayeff, the Cambridge Seven Associates were responsible for the overall concept, interior architecture, and exhibits of the United States' pavilion at Expo 67.

The pavilion's interior was a composition of towers and open exhibit platforms, connected by escalators and stairs, all never touching the 250-foot sphere.

 

A celebration of the creative spirit of Americans, the exhibition contained a wide range of objects and artifacts: from NASA's space exploration technology to the movies of Hollywood, pop-art painting and sculpture, as well as a wide range of inventions, musical instruments, and folk art.

 

Interesting to note, it was the Cambridge Seven Associates team that required Expo authorities to route the Minirail through the sphere at the equator, adding another unique experience to the space.

 

Together with Buckminster Fuller's dramatic transparent dome, the overall effect created was an extraordinary experience, allowing different views inwards and outwards, day or night.

Narrated by Cambridge Seven's Peter Chermayeff, "Design for a Fair: The United States Pavilion at Expo '67 Montreal" (top) offers an inside look at the planning of the interior exhibit of the U.S. pavilion.

Check it out, above!

images: (1) expo67.ncf.ca, montage by author
(2) personal collection
(3 & 4) flickr.com
(5) screen capture

The Administration and News Pavilion

The Administration and News pavilion was the nerve center of Expo 67.

Located in the Cité du Havre sector near Place d'accueil and the International Broadcasting Centre, the 3-storey structure housed the offices of Expo 67's administration and news services.

The award-winning building featured a stepped exterior, each floor overhanging the one below, providing maximum protection from direct sunlight.

Expo's 6 different administrative departments shared this space, including the public relations department (directed by Yves Jasmin),  Logexpo - the fair's housing bureau, and Expovox - its information centre. 

The building had 3 wings, each with its own entrance hall; the idea being that each area could be used separately if so desired.

The halls were decorated by large concrete mural sculptures, the work of leading Canadian artists.  Different artists gave each of the entrances its own distinct look. 

Impressive facilities were set aside for international journalists visiting Expo:

A bowl-shaped, 150-seat amphitheatre equipped with 6 television cameras was used for press conferences.  There were 4 studios reserved for filmed interviews, and 9 booths for radio broadcasting. Distinguished guests and newsmen had access to a special reception salon and a completely equipped press room.  Simultaneous translation facilities and interpreters were continually on hand. 

The building also featured a cafeteria, restaurant, bar, and underground parking.

The landscape area between the Administration and News pavilion and the International Broadcasting Centre contained a large reflecting pool and a sculpture.

Unlike most Expo 67 structures, the Administration and News pavilion was designed to be permanent.  The building still exists today, housing the offices of the Montreal Port Authority and the Maritime Employers Association...

images: (1) expo67.ncf.ca
(2-3-4) personal collection (Montréal magazine)

The Atlantic Provinces Pavilion

The Atlantic provinces pavilion at Expo 67 represented the provinces of Nova Scotia, New Brunswick, Prince Edward Island and Newfoundland.

Located on Île-Notre-Dame near the Indians of Canada, the pavilion was a mostly open structure with a wooden, cantilevered roof (claimed to be the world's largest at the time). The blue-line Minirail passed right under a portion of it.

The openness of the pavilion created a breezy, "Maritime" atmosphere which was enhanced by subtle sounds audible throughout the 3 levels of exhibits: roaring waves, the cry of gulls, the man-made noises of docks. Flags snapped in the wind overhead, and smooth pebbles surrounded the displays.

A principal exhibit area displayed the history, ethnic origins and environment of the Atlantic provinces, as well as a confident look towards the future.

Each provinces' unique quality and character was stressed through illustrated panels that represented their way of life and folklore. Spirited displays discussed migrations, local inventions, myths and regional heroes.

The pavilion's presentation was completed by 4 thematic sub-areas:

The Resources section discussed the abundant potential from forests, mines, soil and sea, as well as the abundance of water and the potential for tidal power.

The Industry section showcased people in their occupations, with a focus on new technologies for 1967: automobile assembly, heavy water production, hardboard manufacture and chemical research.

The focus of the Leisure section was on recreation attractions: natural beauty, mild climate, beaches, salt water and fresh water fishing, hunting, sailing, festivals, and above all: an abundance of free space.

The Heritage and Culture section featured regional art and sculpture:

At first glance, a group of drawings by artist Rodger Willis offered a sober look on past events; adjoining texts revealed the subtle humor to visitors.

A series of translucent, fibreglass panels from Halifax artist Marjorie Lorain incorporated actual undersea plant life to provide a colorful portrayal of the ocean's resources.

Anne Roberts and John Corey demonstrated cultural diversity through a collection of dolls in delicately embroidered costumes, suspended above a map made from a variety of textiles.

One of the most striking sculptures at the Atlantic provinces pavilion was the Whale Wall.  Designed and executed by Witold Kuryllowics and John Shreiber, this 30-foot "Viking ship" was made up of giant whale skulls and ribs found at Trinity Bay, Newfoundland.

The Whale Wall was part of a collection of other "found" sculptures which adorned the surrounding area of the pavilion:  chains, cannons, a massive orange and red bell buoy, a huge 8-ton anchor...

During Expo, craftsmen built a 47-foot schooner in front of the pavilion, displaying the ship building tradition that flourished in the Atlantic Provinces.

During the pavilion's special day on October 11, 1967, the Atlantica was launched in the presence of the Atlantic province premiers.  The wife of Montreal-mayor Jean Drapeau cracked the  inaugural bottle of champagne on the ship's bow, to the cheer of the large crowd gathered.

One of the most popular attractions of the Atlantic provinces pavilion was its outstanding seafood restaurant and chowder bar.  The glass-enclosed dining area offered a splendid view of Montreal's skyline. Visitors waited up to 5 hours to sample one of the 90 different seafood dishes being served, which included lobster, sole, crab and other specialties.

images: (1) alamedainfo.com  
(2-10) Bill Dutfield via expo67.ncf.ca
(3) library and archives Canada
(4-5-6-9) personal collection  
(7) Bill Cotter via expo67.ncf.ca
(8) courtesy DC Hillier

The Vienna Kindergarten

During Expo 67, some 3200 children attended the Vienna Kindergarten.

Located on Île-Sainte-Hélène near the China pavilion, the Vienna Kindergarten looked like a collection of giant red, green, yellow and brown building blocks with huge circular or half moon windows and skylights.

Sponsored by the city of Vienna, the building was designed by Karl Schwanzer, who was also responsible for the Austrian pavilion at Expo 67.

Pre-selected groups of 10 children, aged 3 to 6 and spanning all cultures, spent 2-week periods at the kindergarten. On a first-come, first serve basis, another 20 children could be accommodated daily, at an entry fee $2.50 per half-day, from 10 a.m. to 2 p.m. or from 2 p.m. to 6 p.m.

Using the Montessori method, the Vienna Kindergarten at Expo 67 was a replica of one of more than 200 in the Austrian capital. Under discreet supervision by multilingual Austrian teachers, children's creative processes and problem-solving abilities were nurtured through a fascinating variety of activities: painting, drawing, building... whatever struck their fancy.

Most importantly, it was the child who decided what to do and how to do it.

A miniature cooking area in the brightly-lit playroom included a low-heat stove with tiny saucepans where various edible mixtures could be prepared. A large sunken area was devoted to water, where children could happily splash themselves. A spacious grassy playground included a sandbox, swings, and various modern playground equipment.






images: (1-5) personal collection
(2) flickr.com
(3) Dixon Slide Collection (mcgill.ca)
(4) Bill Cotter Collection

The Republic of China Pavilion

The Republic of China (Taiwan) pavilion at Expo 67 was a traditionally-styled 2-storey structure, located on Île Sainte-Hélène near the Iran pavilion.

Simple in design, the pavilion's delicate ornamentation recalled that of a far east palace. A pagoda-style roof of green tiles featured wood carvings under its eaves, framed by wide bands of religious patterns. 3 trellised red arches brightened the facade, the middle arch containing the pavilion's main entrance.

Upon entering the pavilion, a large photograph of the president of the republic, Chiang Kai-shek, welcomed visitors. The pavilion's 2 floors contained 3 exhibit halls each.

The first section of the ground floor discussed agricultural and related industries, emphasizing missions abroad. Pictures and maps, as well as food product and agricultural machinery displays all illustrated Taiwan's rapid progress in this field.

A furnished sitting room and dining room in the second section sought to illustrate daily life in Taiwan. Oriental décor mingled with modern appliances and amenities.

The third section was devoted to sumptuous textiles, with an emphasis on unique patterns and colors. A small stage featured fashion shows with lovely Oriental ladies.

Fine arts, handicrafts and tourism were shown in the second floor's 3 rooms.

Traditional paintings were shown alongside abstract modern art. Visitors were in awe of a remarkable harmonica made of bamboo in a display of musical instruments. Rich folk art was on display: engraved silver, exquisite ceramics, pottery and china, as well as dolls in traditional costume.

In the final hall, little wax models on miniature stages enacted scenes from Chinese operas.

A restaurant serving Cantonese specialties was located behind the pavilion, on a plaza landscaped with Oriental shrubs and plants.

Make sure to get your Expo 67 passport stamped by a lovely hostess...!


Closure signs and scaffolding can be seen in the photo above.

On May 3, 1967, the interior of the Republic of China pavilion was almost entirely destroyed by fire. The pavilion was closed for a month while renovations were under way. The restaurant, untouched, remained open throughout.





images: (1-9-10) expo67.ncf.ca
(2-6-7) personal collection
(3) the Lillian Seymour collection
(4-5-8) Dixon slide collection