Scheduled for release on November 1, Norman Bel Geddes Designs America (Abrams) is the first book to explore the entire scope of American stage and industrial designer, urban planner, and futurist Norman Bel Geddes’s life, career, and projects. Edited by Donald Albrecht, an independent curator and curator of architecture and design at the Museum of the City of New York, Norman Bel Geddes Designs America reveals the astonishing breadth of Bel Geddes’s work.
Enjoy a preview of Norman Bel Geddes Designs America through Albrecht’s introduction to the volume, which includes images of Bel Geddes’s varied work, from construction of the stage set for The Eternal Road to his design for an all-weather, all-purpose never-built stadium for the Brooklyn Dodgers.
Essays by more than 15 leading scholars explore Bel Geddes’s work in theater, housing, graphic design, and workplaces, as well as his famous Futurama installation and his working process. More than 400 illustrations from the Bel Geddes archive at the Harry Ransom Center reveal and showcase Bel Geddes’s extensive interests and talents. Essay contributors include Regina Lee Blaszczyk, Christina Cogdell, Christin Essin, Christopher Innes, Sandy Isenstadt, Christopher Long, Jeffrey L. Meikle, Lawrence Speck, and others.
Norman Bel Geddes Designs America is available for purchase at the Ransom Center’s visitor desk during gallery hours, with members receiving a discount.
Forecasting the automobile’s ability to transform society, industrial designer Norman Bel Geddes planned his Futurama exhibition at the 1939–1940 New York World’s Fair around vehicular transportation systems. The Fair’s theme, “Building the World of Tomorrow,” provided an international stage for Bel Geddes to showcase his optimistic and auto-centric vision of the future American landscape. Bel Geddes, along with other modernist pioneers, crafted models, dioramas, and multimedia displays to provide Depression-era Americans with a brighter vision of the future.
Eager to shape national consciousness, Bel Geddes provided attendees of Futurama at the General Motors “Highways and Horizons” pavilion with a choreographed experience on the curvilinear thoroughfares of an imagined 1960 America. One of the World Fair’s most popular attractions, Futurama led exhibit-goers on model highways through a massive model city, complete with miniature buildings, trees, and streamlined automobiles. The holistic urban plan of Futurama borrowed from Bel Geddes’s earlier theater work, in which he created a dynamic and participatory environment for audience members.
Shown here is a 1938 “diagram in relief of city-traffic plan for 1960 showing features of boulevards and location of Highways & Horizons exhibit.” Tear-drop shaped highways bisect the model city and converge at the General Motors Exhibition Buildings, which housed Futurama. Proposing ways to alleviate traffic congestion and increase efficiency, Bel Geddes created imaginative traffic plans to route through-traffic around the city center.
Recognizing the growing importance of automobiles in American society, Bel Geddes modeled his Futurama around an intricate network of streamlined motorways. Futurama’s elevated pedestrian walks and interconnected highway systems would not only accommodate fast and more efficient modes of transportation but would also foster American egalitarianism through the linkage of rural and urban areas. Bel Geddes even fought “to keep large super-billboards off the highways in Futurama.”
With Futurama’s success, Bel Geddes pursued avenues to alter America’s fledgling car culture. Bel Geddes alerted President Franklin D. Roosevelt of Futurama’s “enormous popularity. . . as indicated by the nation-wide press use of the subject matter, and the consequent editorial comment.” In response, Roosevelt appointed Bel Geddes to work on preliminary plans for the National Motorway Planning Authority, which influenced the interstate highway system of the 1950s.
Perhaps best known as the innovative designer of the Futurama exhibition in the General Motors pavilion at the 1939–1940 New York World’s Fair, Norman Bel Geddes was also a noted theater designer, fabricating costumes, sets, lighting, and theaters.
After beginning his career in Los Angeles, Bel Geddes moved to New York City in 1917 where his creative ambitions manifested in producing dynamic theater experiences. Using principles of the European New Stagecraft movement, Bel Geddes brought German director Max Reinhardt’s The Miracle to the American stage. The New Stagecraft movement, which divorced theater from the structures of bourgeois realism, aligned with Bel Geddes’s vision of simplified details and abstract settings and costumes.
Bel Geddes’s work on the 1924 production of The Miracle reveals his talents as a theatrical polymath. The play, a medieval legend about a nun, relied on Bel Geddes’s mechanized scenery and single switchboard. The technical modifications allowed a single electrician to control the focus, direction, and color of the lighting. Audience members sat on pews to watch the play, as Bel Geddes transformed the interior of the theater into a Gothic cathedral, complete with light trickling through stained glass windows and incense wafting through the air. The Miracle fused theater and architecture, creating a participatory environment thatimmersed audience members in the drama thatsurrounded them.
Highlighted here is a series of four costume designs for The Miracle, including “Oriental Gentleman,” “Chief Gypsy or Jester,” “Noble Gentleman,” and “Gypsy Woman.” The watercolors showcase Bel Geddes’s dexterity as an artist.
The innovations of Bel Geddes’s early theatrical career inform his later work as an industrial designer. Indeed, the same mechanical track system used to move scenery in The Miracle also guided model cars along the highway system of Futurama.
Basketball, which began as a game invented to occupy young, energetic boys within the confines of a gymnasium on rainy days, has come to be one of the most popular sports in American culture.
Basketball: Power in Play, a display of sports photographs from the Harry Ransom Center’s New York Journal-American collection, captures some of the key components of the game from the 1940s through the 1960s.
From September 18 through December 9, 2012, visitors will be able to view images depicting various perspectives on the game such as training and technique, women in basketball, wheelchair basketball, the Harlem Globetrotters, and images of incredible shots and blunders.
The 32 black-and-white photographs in the exhibition come from the New York Journal-American, which was published from 1937 to 1968. Soon after the newspaper’s demise, the Ransom Center gained ownership of the paper’s approximately two million prints and one million negatives. Many of the photographs in the display show original crop and edit marks used in the course of publication.
Geared toward sports enthusiasts, the rich history and engaging narratives embodied in the photo captions will be sure to entertain and amuse.
The display is one of several exhibitions and events across The University of Texas at Austin campus this fall capturing the spirit and history of basketball from its beginnings in a Massachusetts YMCA to the modern NBA.
Courtesy of Suzanne Deal Booth and David G. Booth, the University’s Blanton Museum of Art will be presenting James Naismith’s “Original Rules of Basket Ball,” the 1891 document that outlines the 13 original rules of the game. The rules will be exhibited alongside the works of contemporary artist Paul Pfeiffer in The Rules of Basketball: Works by Paul Pfeiffer and James Naismith’s Original Rules of Basket Ball, running through January 13, 2013.
The exhibition I Have Seen the Future: Norman Bel Geddes Designs America opens today at the Harry Ransom Center. Running through January 6, 2013, the exhibition explores the life and career of American stage and industrial designer, futurist, and urban planner Norman Bel Geddes (1893–1958).
More than 300 items in the exhibition reflect the broad range of Bel Geddes’s interests and work and demonstrate how he shaped and continues to influence American culture and lifestyle. A polymath who had little academic or professional training in the areas he mastered, Bel Geddes had the ability to look at trends and the contemporary environment and envision how they could affect and alter the future.
“When you drive on an interstate highway, attend a multimedia Broadway show, dine in a sky-high revolving restaurant or watch a football game in an all-weather stadium, you owe a debt of gratitude to Norman Bel Geddes,” said exhibition organizer Donald Albrecht, an independent curator and curator of architecture and design at the Museum of the City of New York.
All materials in the exhibition except two loaned items come from the Norman Bel Geddes archive at the Ransom Center.
From November 1-3, the Ransom Center will bring together historians, architects, industrial designers, and visionaries in the fields of science fiction, film, theater, and future studies to explore the ways the future has been imagined over time.
Author and curator Phil Patton will moderate one of the symposium panels, “Motorways in the Twentieth Century and Today.”
Patton is the author of Open Road: A Celebration of the American Highway, Autodesign International, and Made in USA: The Secret Histories of the Things that Made America. He has worked on several exhibitions, serving as Curatorial Consultant for Different Roads: Automobiles for the Next Century (The Museum of Modern Art, 1999) and Co-Curator for Cars, Culture, and the City (Museum of the City of New York, 2010). He writes for The New York Times and teaches at the Design Criticism program at the School of Visual Arts.
Below are some of Patton’s reading recommendations relating to the symposium theme. Mentioned authors Paul Daniel Marriott and Tom Vanderbilt are also panel participants for “Motorways in the Twentieth Century and Today.”
In April, Helen Moore, Fellow and Tutor in English at Corpus Christi College, University of Oxford, spoke about the history of the King James translation at the Harry Ransom Center. The talk is now online on YouTube.
Moore was lead curator of Manifold Greatness: Oxford and the Making of the King James Bible, an exhibition held at the Bodleian Library at the University of Oxford in 2011. Her illustrated talk addressed the role played by Oxford in the translation of the King James Bible, the methods used by the translators, and some of the items displayed at the Oxford exhibition.
The event was co-sponsored by Corpus Christi College, University of Oxford and The Wall Street Journal.