The research for this book was carried out mainly in the Avery Library of Columbia University, the Cooper-Hewitt Library, and the Bibliothèque Nationale. I am grateful to the directors and staffs of these institutions and to the American Research Institute in Turkey, which provided financial support in the early phases. Among my friends and colleagues who helped me in innumerable ways, my special thanks go to Philippe Aigrain, Tosun Aricanli, Tülay Artan, Charles and Christine Burroughs, Suzanne Chun, Ahmet Evin, Mehmet Genç, Mireille Grubert, Richard Ingersoll, Boyd Johnson, Ned Kaufman, Timothy Mitchell, Gülru Necipoglu-Kafadar, Ilber Ortayli, Mary Woods, and Ayse Yönder. To Leila Kinney I owe my greatest intellectual debt: her challenge led me to investigate new avenues, and our collaboration on a related aspect of the world's fairs truly broadened my vision. Spiro Kostof pursued his Interest in my new ventures and inspired me in many ways. My parents, Edip and Nevin Çelik; my brother and sister-in-law, Ibrahim and Sylvie Çelik; and my mother-in-law, Frances Rome, maintained a genuine enthusiasm for the project. I thank them for their vital long-distance support.
I am greatly indebted to my hard-working assistants over the past few years: to Cheryl McQueen, Susan Miller, Kirsten Abrahamson, Ned Lager, and Jeff Gelles for the long hours they spent in the Avery Library; to Peter Tolkin for the care with which he photographed illustrations from books and periodicals, and to Tayeb El-Hibri for his revisions of Arabic terms. My editors at the University of California Press, Lynne Withey, Jeanne Sugiyama, and Stephanie Fay, have been invaluable. Lynne Withey's long-standing interest and belief in the project have been leading forces behind its completion.
My son, Ali Winston, did a lot of growing up while I researched and wrote this book. I know it was not fun for him to have a preoccupied mother, and I cannot thank him enough for being such a good sport at such a young age. As
always, the greatest support came from my husband, Perry Winston, who read my drafts, gave me his intelligent feedback, lent me his keen eye in selecting the visual material, and, most important, believed in my work.