Sean Topham

Where's my Space Age

Now that it's getting on for 40 years since the first man on the moon, the era has a strange feeling of unreality. It augered so much for the future, which never happened. In 'Where's my Space Age?' Sean Topham looks back at the how the space program affected society at the time, and in particular how designers created a fitting end to the modernist era.

A principal part of the book is the pictures, both of the space program, and of the many aspects of design which were affected. Sometimes one feels that copyright problems have prevented a particular image from being shown, but there are plenty in the book so this doesn't matter too much. The copy I read had a bright pink cover, highlighting the sense of fun and novelty that the book is presenting.

But as well as the pictures, Topham provides an insightful commentary of some of the aspects of the era. We see the irony of the fact that although space travel appealed to children of the time, with plenty of toys reflecting the fact, the new designs for furniture and architecture were often aimed at the growing numbers of childless couples and singles in casual relationships. The author also looks at how attitudes have changed - how a white male military pilot would be seen as less of a role model today. All in all the book provides a fun reminder of a unique era in our history.

Amazon.com info

Paperback 160 pages
ISBN: 3791328441
Salesrank: 1073927
Weight:1.59 lbs

Published: 2003 Prestel Publishing

Marketplace:New from $10.60:Used from $6.48

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Amazon.co.uk info

Paperback 160 pages
ISBN: 3791328441
Salesrank: 503848
Weight:1.59 lbs

Published: 2003 Prestel Verlag

Marketplace:New from £7.82:Used from £9.40

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Amazon.ca info

Paperback 160 pages
ISBN: 3791328441
Salesrank: 883096
Weight:1.59 lbs

Published: 2003 Prestel

Marketplace:New from CDN$ 15.79:Used from CDN$ 10.47

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Book Description
The author of Blowup goes back to the future to follow the evolution of space-age design: from its optimistic conception in the 1950s to its decline in the 1970s and its retro revival today. The Soviet-American race to the moon ignited a worldwide obsession with outer space and futuristic living that was manifested in the era’s architecture, design, and popular culture—and reflected in everything from furniture to postage stamps, fashion to children's toys. With hundreds of illustrations and a lively text, Sean Topham reveals the countless ways the galactic frontier invaded every aspect of daily life: in household objects and haute couture, advertising and comic books, plastics and interior design, private homes and public buildings. He explains how artists’ conceptions of the future influenced history and were in turn shaped by events for decades to come. As Topham charts the rise and fall of futuristic design through the work of Eero Aarnio, Joe Colombo, Verner Panton, Pierre Cardin, Courrèges, Paco Rabanne, Archigram, Haus-Rucker-Co, Matti Suuronen, John Lautner, Adrian Frutiger, among many others, he reveals how the era’s euphoric energy gave way to a more anxious uncertainty. He also questions whether today’s passion for futuristic design is purely retro-chic—or the dawning of a new fascination with space-age culture. Entertaining and informative, this is a nostalgic look forward to a remarkably inventive era that seems sometimes innocent, sometimes prescient, but always inspiring.

Book Description

The author of Blowup goes back to the future to follow the evolution of space-age design: from its optimistic conception in the 1950s to its decline in the 1970s and its retro revival today.

The Soviet-American race to the moon ignited a worldwide obsession with outer space and futuristic living that was manifested in the era’s architecture, design, and popular culture—and reflected in everything from furniture to postage stamps, fashion to children's toys. With hundreds of illustrations and a lively text, Sean Topham reveals the countless ways the galactic frontier invaded every aspect of daily life: in household objects and haute couture, advertising and comic books, plastics and interior design, private homes and public buildings. He explains how artists’ conceptions of the future influenced history and were in turn shaped by events for decades to come. As Topham charts the rise and fall of futuristic design through the work of Eero Aarnio, Joe Colombo, Verner Panton, Pierre Cardin, Courrèges, Paco Rabanne, Archigram, Haus-Rucker-Co, Matti Suuronen, John Lautner, Adrian Frutiger, among many others, he reveals how the era’s euphoric energy gave way to a more anxious uncertainty. He also questions whether today’s passion for futuristic design is purely retro-chic—or the dawning of a new fascination with space-age culture. Entertaining and informative, this is a nostalgic look forward to a remarkably inventive era that seems sometimes innocent, sometimes prescient, but always inspiring.

Unrealistic representation of futuristic design ***
This book was a bit of a disappointment, in that it takes a very simplistic view of the phrase "futuristic design." It begins with a brief explanation of the advent of the space age, from the history of the first satellites to a basic overview of human flight in space up through the Apollo program and the early establishment of the Soviet space station. The focus then moves to the cultural response, in particular the areas of the arts and fashion. When the author uses the phrase "the rise and fall of futuristic design", the meaning is that so-called "futuristic design" is no longer being used in the arts. In many ways, this is incorrect, futuristic design is still being used in many daily products. The difference is that the klitsch element is largely gone. A great deal of it was minimally functional anyway. What has happened is that what was revolutionary is now commonplace. Modern buildings now incorporate functionally futuristic design and humans now regularly wear permanent press clothing and nothing like the ridiculous items that are featured in this book. Other simple devices such as hearing aids, eyeglasses that automatically tint and cell phones that were once futuristic are now commonplace. Therefore, the futuristic design that the author refers to is almost totally the absurd, mainly dysfunctional and even sometimes bizarre designs that somehow were placed under the "futuristic designs" umbrella. They were really nothing of the sort, and the world is better off that they have been dismissed.

Unrealistic representation of futuristic design ***

This book was a bit of a disappointment, in that it takes a very simplistic view of the phrase "futuristic design." It begins with a brief explanation of the advent of the space age, from the history of the first satellites to a basic overview of human flight in space up through the Apollo program and the early establishment of the Soviet space station.
The focus then moves to the cultural response, in particular the areas of the arts and fashion. When the author uses the phrase "the rise and fall of futuristic design", the meaning is that so-called "futuristic design" is no longer being used in the arts. In many ways, this is incorrect, futuristic design is still being used in many daily products. The difference is that the klitsch element is largely gone. A great deal of it was minimally functional anyway. What has happened is that what was revolutionary is now commonplace.
Modern buildings now incorporate functionally futuristic design and humans now regularly wear permanent press clothing and nothing like the ridiculous items that are featured in this book. Other simple devices such as hearing aids, eyeglasses that automatically tint and cell phones that were once futuristic are now commonplace.
Therefore, the futuristic design that the author refers to is almost totally the absurd, mainly dysfunctional and even sometimes bizarre designs that somehow were placed under the "futuristic designs" umbrella. They were really nothing of the sort, and the world is better off that they have been dismissed.

A bit long-winded, but informative nevertheless ****
"Where's My Space Age," packaged in a kitschy pink vinyl cover (not shown above), opens with a very detailed chapter chronicling the history of early space travel. Although it does drag on a bit, Topham includes enough historic tidbits to keep the reader awake for the pièce de résistance. The section on 60s interior design is the highlight of the book and would be of great interest to fans of mod furniture and futuristic scapes. A host of full-color photos (some of which have been pilfered from "Blowup," another Topham publication) accompany a lengthy listing of notable creations and influential designers. Design-junkies may find Fiell's "Decorative Art 1960's" more visually appealing, but when it comes down to historic fact, I haven't found a more definitive resource than this title. I was also quite pleased by the visual presentation of the book. With at least one photo per page, the kitsch fanatic can get his or her fill of spacey goodness. The final chapter covers the fall of futuristic design. The inclusion of Japanese artist Mariko Mori is, in my opinion, about the only reason to skim through this chapter. It is a necessary conclusion, but nothing we haven't read before. Bottom line: This title is filled with enough content to make it both visually and informationally necessary for the personal library. Skip the history lesson and skim the last chapter, but don't let the meat of the book pass you by. Topham's book, despite its shortcomings, is a must-have for any fan of mid- 20th century design.

A bit long-winded, but informative nevertheless ****

"Where's My Space Age," packaged in a kitschy pink vinyl cover (not shown above), opens with a very detailed chapter chronicling the history of early space travel. Although it does drag on a bit, Topham includes enough historic tidbits to keep the reader awake for the pièce de résistance.

The section on 60s interior design is the highlight of the book and would be of great interest to fans of mod furniture and futuristic scapes. A host of full-color photos (some of which have been pilfered from "Blowup," another Topham publication) accompany a lengthy listing of notable creations and influential designers. Design-junkies may find Fiell's "Decorative Art 1960's" more visually appealing, but when it comes down to historic fact, I haven't found a more definitive resource than this title. I was also quite pleased by the visual presentation of the book. With at least one photo per page, the kitsch fanatic can get his or her fill of spacey goodness.

The final chapter covers the fall of futuristic design. The inclusion of Japanese artist Mariko Mori is, in my opinion, about the only reason to skim through this chapter. It is a necessary conclusion, but nothing we haven't read before.

Bottom line: This title is filled with enough content to make it both visually and informationally necessary for the personal library. Skip the history lesson and skim the last chapter, but don't let the meat of the book pass you by. Topham's book, despite its shortcomings, is a must-have for any fan of mid- 20th century design.