Donald Albrecht, exhibition organizer and curator of architecture and design at the Museum of the City of New York, discusses industrial designer Norman Bel Geddes’s influence on the American landscape. Albrecht—editor of Norman Bel Geddes Designs America (Abrams)—emphasizes the breadth of the Bel Geddes collection at the Ransom Center, which includes Bel Geddes’s plans and sketches of his futurist visions.
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 work place design, as well as his famous Futurama installation and his working process. More than 400 illustrations from the Bel Geddes archive at the 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 and online. Members receive a discount.
Norman Bel Geddes’s Futurama exhibit, dedicated to “building the world of tomorrow,” proved to be a step into Bob Hesdorfer’s future before he’d even arrived.
“I was probably 14,” says Hesdorfer, referring to the spring day in 1939 that he and a classmate spent at the New York World’s Fair. The exhibit, which took place at Flushing Meadows-Corona Park, marked one of his first ventures into adulthood. Hesdorfer recalls, “For the very first time, I was allowed to take the Long Island Railroad and the New York City Subway on my own.” Nearly three-quarters of a century later, he still remembers it fondly.
Upon arriving, Hesdorfer recounts, “We hit many of the pavilions, but we couldn’t begin to cover the whole fair in one day. I think the General Motors [Futurama exhibit] was the one we headed for first.” They weren’t alone in their eager enthusiasm. “As I recall, there were long lines waiting to get in.” When asked whether he thought the other guests were as excited as he was, Hesdorfer responded, “Oh, you could just tell.”
Simply entering Futurama proved arresting: “We were overwhelmed. It was really something that I had never seen before… We were curious about what it was all about,” says Hesdorfer. More than just a collection of sleek predictions, the exhibit represented an entirely new way of viewing a world shaped by humans. It allowed viewers a departure from temporal technological constraints, offering a tangible example of a delightful but elusive concept: the potential of the future. For Hesdorfer, who grew up to be a graphic designer, the experience was particularly inspiring. “Everything was smooth and clean and rounded and pristine… I appreciated the concept and the design work that went into it… I thought I could have been an automobile designer… I would have liked to have been an industrial designer as Bel Geddes was.”
Hesdorfer describes the experience: “When we got to the Futurama model, they had these chairs on a conveyor belt, and we got in a couple chairs and rode around the whole thing. The model was in the middle below us and we could look down on it.”
“There was a voice describing what we were seeing, and it was just mindboggling… The traffic was below ground, or at least below the sidewalk level, and the sidewalks were above and around. There was no direct contact with the traffic, so it was safer and easier. You didn’t have to wait to cross the street or for the light to change.”
Some of Bel Geddes’s predictions, nearly inconceivable at the time, now seem believable. Hesdorfer recalls, “One of the things that they predicted was keeping automatic distance between vehicles on the highway, and now I guess it’s just about ready for use in the cars.”
The fair made a lasting impression on the boys. When asked whether Hesdorfer knew at that age who Norman Bel Geddes was, he responded, “Probably not before [Futurama].” He’s certainly known about him ever since.
By the end of the 1930s, Depression-weary Americans were confronted with a housing shortage and skyrocketing prices. Norman Bel Geddes, perpetually optimistic, viewed the precarious geopolitical climate as a ripe opportunity to reshape domestic architecture. With a housing crisis, economic depression, and looming entrance into a world war, Bel Geddes believed Americans faced a defining moment in which they could forge “new beginnings.”
In 1939, Bel Geddes was commissioned by the Housing Corporation of America (HCA) to design and develop an affordable, prefabricated single–family dwelling. By the time of completion in 1941, Bel Geddes’s mass–produced house model included 27 separate building modules complete with doors, windows, utility units, and the kitchen and bathroom, “ready for connection to service lines.” The low–cost prefabricated panel system provided an economic alternative to traditional domestic building techniques.
To meet the needs of low–income families, each four–room home was to be erected for a cost of $2,500 under a “controlled co-operative” system. Licensed by the HCA, the co-operative system would provide former Works Progress Administration laborers with salaries and shares, thus keeping thousands of Americans off of government assistance. Bel Geddes sought to modernize the assembly and marketing of houses in anticipation of a postwar housing crisis.
Although the modular home project was never realized, Bel Geddes’s prefabricated dwelling system displays his ingenuity not only in building techniques but also in his promotional strategies. As a part of Revere Copper and Brass’s “Better Living Campaign” of 1941, Bel Geddes’s prefabricated home occupied full-page advertisements in the Saturday Evening Post. By 1945 the Revere Copper and Brass Company had distributed more than 800,000 copies of a 12-page booklet describing Bel Geddes’s plan for “tomorrow’s homes for the many.”
Bel Geddes had explored ways to effectively configure space into cost-effective designs since the late 1930s. Ultimately, his interest in prefabrication waned after a proposed prefabricated “Expand-a-House” franchise in the mid-1950s failed to launch.
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.
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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.
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.
Come relax in the Design Within Reach outdoor lounge, sip on refreshments from Austin Wine Merchant and Dripping Springs Texas Vodka, and escape the heat with architecturally-inspired ice cream sandwiches from Coolhaus. Bring your vision of the future to life with Toy Joy’s interactive “City of the Future” and pose in a photo booth with one of Bel Geddes’s famous streamlined cars.
You’ll also get a first look at the exhibition, have the opportunity to enter a drawing for a Bel Geddes-inspired prize package, and learn more about the life and career of this influential industrial designer who, more than any designer of his era, created and promoted a dynamic vision of the future.
The Ransom Center is giving away a pair of tickets to “FutureLand.” Email firstname.lastname@example.org with “Norman Bel Geddes” in the subject line by midnight CST tonight to be entered in a drawing for two “tickets to the future.”