1964 New York World’s Fair
Indonesia’s inaugural participation in an international exposition, the 1964 New York World’s Fair, marked a significant moment in the nation’s history. The Indonesian Pavilion, a grand house designed for this occasion, stands as a testament to the nation-building aspirations of its founding father, Sukarno.
Constructed between 1957 and the early 1960s, this luxurious structure was one of many monumental projects undertaken during this era that included Monumen Nasional (started construction in 1961, completed in 1975), Masjid Istiqlal (started construction in 1961, completed in 1978), Tugu Selamat Datang (1962), Senayan Main Stadium (1962 – now known as Stadion Utama Gelora Bung Karno), Hotel Indonesia (1962), Wisma Nusantara (1964), CONEFO building (1965 – now known as Gedung Nusantara or ‘Gedung DPR/MPR’), Ambarrukmo Hotel (1965 – now known as the Royal Ambarrukmo Yogyakarta), Sarinah (1966), and Bali Beach Hotel (1966) amongst other. While Sukarno’s ambitious projects, fueled by geopolitical motivations, have been extensively documented, the story of the Indonesian Pavilion at the 1964 New York World’s Fair remains largely untold. This short story aims to shed light on this lesser-known chapter of Indonesia’s history.
The official description of the Indonesian Pavilion reads as follows:
The cultural heritage of this nation of more than 3,000 islands and many diverse people is displayed in a graceful pavilion designed by R. M. Sudarsono, architect of the Palace of State in Bali. A temple gat and a shrine stand outside the main building. Inside, photographs illustrate the country’s history, natural resources and current social programs, and various aspects of life on the major islands of Bali, Java and Sumatra are also shown. There are works of art (including a large collection of puppets), demonstrations of handicrafts, a souvenir shop and a restaurant with entertainment.
GATEWAYS OF FAITH. The gate leading into the pavilion is a “split temple” – an intricately carved sculpture, constructed as if it had been sliced down the middle and move apart to enable people to walk between the halves. To the right of the gate is a seven-roofed shrine with four dragon-like stone lions at its base.
DIP-DYED BATIK. An Indonesian woman draws on cotton cloth with was, showing how the colorful patterns of batiks are created. Other craftsmen carve wood and stone, and work in silver. Handicrafts are for sale in the exhibit area.
PUPPET SHOW. More than a hundred stylized puppets used in religious plays are on display. Some are fabricated of elaborately painted leather, others are made of wood. There are demonstrations of puppetry in the pavilion from time to time.
RESTAURANT. Utensils of bamboo and coconut shell help create an Oriental atmosphere in the restaurant and cocktail lounge. Specialties include sliced abalone in chicken broth. A gamelan, an orchestra peculiar to Indonesia, accompanies dancers and singers.
The Indonesian Pavilion
The pavilion, inspired by a sketch from Indonesia’s President Sukarno, was brought to life by a talented team of designers: Indonesian R.M. Sudarsono served as the principal architect, while Max O. Urbahn and Abel Sorensen are listed as ‘designers’. Sudarsono is renowned for his work on Monumen Nasional and the Istana Tampak Siring in Bali—Indonesia’s first presidential palace post-independence, while Sorensen, a Danish-born American architect, designed the iconic Hotel Indonesia, Indonesia’s first modern hotel. Not much is known about Urbahn’s portfolio in Indonesia.
Indonesia was among the earliest nations to commit to the 1964 New York World’s Fair, responding only four days after receiving the invitation in 1961. According to the official announcement by the Indonesian Information Minister, “the participation of Indonesia… is in the course of the realization of the ideals of the Indonesian Revolution in the international field with the purpose for concluding good friendships between the Republic of Indonesia and all world nations…”
Sukarno’s vision for Indonesia’s presence at the Fair extended beyond mere participation. He sought a strategically significant location, requesting that the Indonesian Pavilion be positioned between the United States and Soviet Union pavilions to symbolise the nation’s neutral stance in the Cold War. For six months, Indonesia declined proposed sites that did not align with this geopolitical aspiration. Finally, during a visit to the United States to attend the Belgrade Conference of Non-Aligned Nations in 1961, Sukarno personally selected a 40,000-square-foot plot, making Indonesia the first nation to finalise its lease agreement with the Fair. He supervised the participation through an interdepartmental organiser body, named The Indonesian New York World’s Fair Committee, which was directly under the control of Dr. Chairul Saleh, Deputy Prime Minister III and Ahem Erningpradja, Minister of State. Sukarno also appointed Sri Sultan Hamengku Buwono IX—the Sultan of Yogyakarta—as Commissioner General for the Pavilion of Indonesia.
The Design
The Indonesian Pavilion was more than just a building; it was a political statement. Indonesia’s policy and vision on world peace in its Pavilion, in more detail, could refer to the speech delivered by President Sukarno at the 880th Plenary Meeting of the United Nations General Assembly four years earlier on Friday, 30 September 1960. The speech, titled ‘Build a World Anew’, seemed selected to be adopted as the political theme of the Pavilion and as guidance for the design. Sukarno, in this speech, explained that ‘to Build the World Anew’ is meant to build it solid, strong, and sane; build the world in which all nations exist in peace and brotherhood; build the world fit for the dreams and the ideals of humanity; break now with the past, for the day is at its dawning; break now with the past, so that we can justify ourselves with the future.
The design, a fusion of Mid-Century Modern architecture and traditional Balinese elements like the seven-layered Meru and Candi Bentar, embodied Sukarno’s vision of a nation that synthesised Eastern and Western ideologies. This architectural expression was intended to reflect Indonesia’s distinct identity as well as its active and independent foreign policy – a symbol of post-colonial independence. Sukarno’s engineering acumen was evident in his active involvement in the Pavilion’s design. His aides often found him engrossed in blueprints, prioritising the Fair project over other pressing matters. Inside the Pavilion, Indonesia as a nation was narrated and picturised by four themes: politics, culture, trade, and tourism.
As an art enthusiast and collector himself, Sukarno also personally curated a display of his prized possessions for the Fair which included one of his own paintings from 1958. Sukarno asked for the installation of the Pancasila tower on top of the roof to symbolise the value of Pancasila for Indonesia and for the world—as he proposed it as an alternative ideology for the world countries. The renowned Balinese artist and art-dealer Pande Wayan Suteja Neka contributed a majestic three-meter-tall Garuda statue that adorned the interior entrance.
The Indonesian Pavilion ultimately took USD 2,5 million in construction cost. And all this effort got a lot of appreciation from the media and visitors, as it hit newspaper headlines several times and became one of the Fair’s most popular during the 1964 season with a daily average of close to 9,000 visitors and reached quarter of a million visitors in May 1964. Sadly, Sukarno did not live to witness the realisation of his ambitious vision.
Dissolution
The diplomatic relationship between the United States and Indonesia began to sour as the Fair progressed. Despite the Fair’s designation of 16 May 1964, as “Indonesia Day,” President Sukarno declined the invitation to attend due to growing tensions between the two nations. Citing the ongoing Malaysia-Indonesia dispute, Sukarno chose to send a deputy in his place.
Indonesia’s withdrawal from the United Nations in January 1965 initially did not impact its participation in the Fair. However, escalating anti-American sentiment in Indonesia, including attacks on USIA libraries and the boycott of American ships, strained the relationship further. The Johnson administration, increasingly frustrated, considered punitive measures, including the potential closure of the Indonesian Pavilion.
In March 1965, Sukarno officially announced Indonesia’s withdrawal from the Fair’s second season, protesting US support for the “neo-colonialist project of Malaysia.” The US government’s USD 4 million credit to Malaysia for weapons was seen as a direct affront to the Fair’s theme of “Peace through Understanding”. The Fair’s organiser responded by seizing the Indonesian Pavilion and barring Indonesian officials from the grounds. The abrupt change in relations left the Pavilion’s manager, S. Haditirto, perplexed. The once-vibrant pavilion stood vacant and barricaded for the remainder of the Fair’s second season, a stark reminder of the deteriorating diplomatic ties between the two nations.