#Space age art series#

When Bartlett adopted a new method of applying commercial enamel paint onto enamelled steel plates in 1968, one which she would later employ in Surface Substitution on 36 Plates 1972 (Tate T06637 fig.1), her materials and confined ‘dotting’ process were a distinctive and personal variation on ideas that were circulating as she sought to establish herself in the New York art world. In 1965 critic Lucy Lippard identified a ‘third stream tendency’ in art, involving shaped canvases and painted structures, with artists employing commercial materials to address ‘the assault of commercialism on the American eye’. Judd, along with others including Sol LeWitt, painted his three-dimensional structures using commercial lacquers and enamels. Usually it has been related, closely or distantly, to one or the other.’ 1 As the artist Donald Judd wrote in 1965, ‘Half or more of the best new work in the last few years has been neither painting nor sculpture.

The traditional distinction between painting and sculpture seemed irrelevant to artists interested in pushing the phenomenological and material specificity of their work. From white interiors with vivid pops of color, the period popularized pedestal chairs, white furniture, and vividly colored designs.Painting was up for radical revision by the mid-1960s.

#Space age art series#

As an example in the hit TV Sci-Fi series Space 1999 (1975-77) production design sought to use futuristic features such as the popular Sorella Table lamp by Harvey Guzzini in an effort to appear as contemporary as attainable. Ephemeral and visually captivating pieces that rejected the traditional the rise of plastics to replace wood as the leading material of the moment. Imaginative forms and bright colors captured the spirit of the period, and trendy furniture was bought for its fashionable nature rather than its ability to last. The Space Age aesthetic within the interior design world began to materialize, a reflection of its domineering presence in popular culture. Designed with the intention of being simple and easy to replicate, this golden arch design is one of the earliest and most successful examples of architectural branding.

Designed by architect Stanley C Meston, to capture the attention of those passers-by, the structure features two parabolic arches in yellow, designed to mimic the M within the McDonald's logo. Image © Mary Anne EnriquezĪs the oldest surviving restaurant in the chain, the McDonalds in Downey, California (1953) is another classic example of Googie architecture. Save this picture! The Worlds first McDonalds (1953), California. Influences including car culture and both the space and atomic age offered a basis for these new and outlandish architectural forms. It presents forms symbolic of that of motion, visualizations of flying saucers, atoms etc. Popular in the design of gas stations, motels and coffee houses, the style is characterized by its heavy use of glass, steel, neon, up-swept roofs and geometric shapes. The rise of Googie architecture in the US from the mid-’40s to the '70s originated in California. The Space Age aesthetic completely changed the way designers visualized the new world and left a dramatic impression on architecture and interiors. The era would give way to rapid advancements in technology and huge accomplishments including the moon landing in 1969. Upon the closure of WW2, both the Soviets and the Allies found themselves in a state of antagonism, as they both began to struggle to make advancements in space exploration before the other, a race for space. The dawn of nuclear power, dramatic advances in rocketry, and the desire to be the first to put men into space and on the moon, kick-started an era known as the ‘Space Age’. Sustainability and Performance in Architecture The Future of Architectural Visualization