For this month’s EYA Architecture theme, Arantza Barrutia from the National Fairground and Circus Archive takes us on a rollercoaster ride through the evolution of fairground architecture.
Waltzers spin. Rollercoasters twist and turn. Helter skelters swerve.
Have you ever wondered how all the fun of the fair actually works? No, it’s not magic – despite what the adults told you when you were young.
In reality, the fairground has always been influenced by the world around it. Particularly, borrowing from sophisticated advances in science, technology, and architectural styles. In this blog, we explore the unique and under-recognised evolution of fairground architecture.
Transient towns
Unlike a skyscraper or stone monument, fairground structures aren’t built to be a permanent part of the landscape. Rides, stalls and shows might only stand for a few days or weeks, before moving on to somewhere new.
But their placement on the landscape still requires a keen strategic approach.
Consider the frontages of rides and shows. For example, the faux saloon you’d see at a Wild West show, or the haunted house that holds the Ghost Train. For their decoration, showmen historically adopted architectural features to simulate fantasy towns.
Each had their own streets, junctions, squares, eateries and points of interest. In essence, creating their own small-scale, transient towns – all within an existing urban landscape.
Shufflebottom Family Texas Jack Wild West Show, Shufflebottom Family collection, 178C20.3(xxii). Early 1900s. Held by the National Fairground and Circus Archive, University of Sheffield Library. Copies may be supplied or produced at the discretion of the National Fairground and Circus Archive, subject to copyright law and condition of the material.
The planning required was not all that different to permanent buildings. The movement of heavy equipment, and building of large structures. Careful crowd management, with safe entry and exit points. Organised public access to facilities, such as transport and toilets. All, with an assessment of the suitability of the grounds, their proximity to nearby towns, and even the climate.
This made each ground a unique challenge. Every site required tailored planning and logistical expertise. As a result, the showmen turned into unlikely town planners, and experts in transient architecture.
Getting organised
The showmen’s expertise was vital as fairground layouts were transformed by the technological revolution.
The fair as it is today can be traced mainly to the turn of the 20th century. During this period, society saw major changes in the technological landscape. Previously, people relied on limited forms of power.
New mechanical developments would affect every aspect of the fairground, and provide new challenges for the showmen. As numbers grew, so did the physical footprint of the grounds.
Demand grew for a new organised, logistical approach to manage its architectural landscape. That is, balancing the increasing popularity of the fair with practical considerations, provision, and profitability.
At first, as trading fairs grew in size, their layout became more sophisticated. The centre evolved from random to organised rows of stalls, set by trade type. Stalls were then surrounded by shows. This created a neat border that defined the physical boundaries of the ground.
The rides, however, were confined to areas outside of this centre, secondary in importance. As seen in this lithograph from 1833, earlier structures were initially smaller, simpler, and powered by a person or naturally occurring forces. To begin with, amusement rides were not the focus of the fairground.
Rides reign supreme
This hierarchy was about to change. With the introduction of steam power, rides became bigger, faster, and more exciting. Their evolution fundamentally changed the layout of the fair.
As the trade disappeared and the shows dwindled, the rides moved to the centre of the grounds. In turn, impacting its entire look, feel and navigation.
First, in what you would see. Strategic placement was crucial, to ensure rides were prominent and profitable. Not just for the ride owner, but also the overall success of the event. In this newly created landscape, the biggest, most sophisticated, and beautiful rides took prime spots. These served as landmarks around which smaller rides, shows, and stalls were placed.
Carefully designed floorplans of symmetrical paths also created clear sightlines. Key focal points would attract a visitor’s attention from afar. For example, towering Big Wheels or Switchbacks. Visitors could see these landmarks, and navigate across the site.
Secondly, in how you would move around. Unlike the trade fairs, the funfairs’ objective was not ordered navigation. Instead, it offered an immersive and orchestrated journey of discovery. Visitors were led to come across the delights of the fair as if by chance. The empty spaces in between the rides formed avenues, cleverly planned to funnel customers from one area to another.
Thirdly, in how you would feel, as you end up immersed in an all-surrounding landscape of sensation. At every turn, the space was occupied by light, movement, sound, and colour. Enchanting scenes and smells enveloped visitors and inebriated their senses. Entertainment was inevitable.
The fair became an interactive space in constant motion, fuelled by technological prowess. The pace only accelerated with the introduction of electricity and the internal combustion engine.
With these tools, fairs could offer increasingly faster and more thrilling environments. Ever-evolving engineering, architecture, and technology were essential ingredients to the experience of the fair. Now, you can recognise these incredible innovations in the fair as we know and love it today.
Want to explore more of the National Fairground and Circus Archive?
Find information about our collections by searching our online catalogue . Or, discover over 80,000 images online .
Book a visit to our Reading Room at the University of Sheffield to consult items in-person. Get in touch with any queries: lib-special@sheffield.ac.uk
Further information
Rope Women, 20 July – 13 December 2026: An exhibition on the contribution of Skinning the Cat troupe to the history of aerial performance and the role of women in circus. Free entry. Open to the public.
Women in Circus Symposium, Wednesday 08 August 2026: A one-day research symposium to celebrate the role of women in circus through history. Book your free place, in-person or online [Booking closes on 17th July].
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Written by Arantza Barrutia (Senior Archivist, NFCA)
Edited by Abby Boon (Digital Engagement Officer, NFCA) and Isabel Lauterjung (Blog Coordinator, EYA)
