Space Age Electronics

Although the first man-made rocket to breach the boundaries of space was the German made V-2 rocket in 1942 Space Age is considered to have begun with the Soviet Union’s Sputnik satellite in 1957. The fear of the Cold War (1946-1991) and the imaginations of the Western world at the time surrounding the race into space dramatically influenced popular culture. From fashion, product, graphic and interior design to music and technological advances – the world from the mid 50s to the late 70s was fixated on Space Age. Tie in the psychedelic qualities of the 60s and you easily have a revolutionary departure from the calm pastels and utilitarian designs that accompanied the “white flight” of the growing suburban 50s.

Many describe the bright colors, bold and transformative designs of this era commonly as mod, retro, or vintage. Perhaps those descriptions are misnomers as they never quite define Space Age. Astronaut helmets, flying saucers, planetary-referencing orbs, spaceships and satellites all became part of the pop culture landscape of the time. It could be said that few designs since have reflected a more futuristic optimism than these electronic gizmos of the past.

Here we take a look at how the Space Age influenced electronics. A common similarity is the absence of or high saturation of color. Until this point in design history, electronic devices – be that of the radio, telephone, record player, television and later the 8 track and reel-to-reel players etc. – were commonly pretty bland. Occasionally you’d have rouge aluminum-encased Victrolas designed by some early out-of-the-box thinker and great Bakelite radios from the art deco period, but all-in-all your options came in wood grain and black. The 50’s introduced a number of brighter plastic models but the standard corals and avocados were about as daring as the American consumer would or could buy. Space Age electronics were a departure.

It was no mistake that at this time the technological switch was being made from massive, heavy tube and circuit boards to Solid State. Designs from Europe, the Americas and all over Asia trickled into the magazine pages and then onto the department store shelves. That trickle soon turned into a flood as Asian manufacturers worked with willing superpowers to produce the fun objects that were not only design icons but also much more portable. Portability was key in the development and popularity of these items and consumers flocked to these new designs.

Considering collecting Space Age Electronics?

If ever on the hunt for Space Age electronics be sure to look for the following popular brands; Weltron, Aquatron, Philco, Grundig, Panasonic, Magnavox, Brother, Prominent and Wyndford Hall. Many more fantastic designs exist that were specifically sold to the European market. You may find that very similar designs have different brand names on them. This is because patents for the internal works were often sold or copied. Weltron could have produced the iconic 2001 model and then sold the patent to a Korean company who manufactured the same radio system but housed it in a different case.

A few details to keep in mind: The quality and condition of the case, missing knobs, tested working or not working units and most importantly – the condition of the battery compartment (you don’t want corroded and acid-filled units). If the seller of the unit notes that the sound is “scratchy” when adjusting the knobs – don’t worry! These sets are anywhere from 30-50 years old. Dust is normal and a quick trip to the electronics store can solve this problem. On the other hand, you could just enjoy the “sweet spots” on the dial where the sound comes in perfectly. Happy hunting!

The Wire Chair

The birth of the wire chair’s popularity can easily be traced back to Charles and Ray Eames’s wire side chair released in 1951. This iconic object for everyday use fit right along with their fundamental principle for its use of new material. Wire rods were by no means new material in that era although their use as a structure for seating certainly was. As is the case when it comes to iconic forerunners, this simple side chair was not the only one of its kind. Beyond this side chair by the dynamic Eames duo, Harry Bertoia’s 420 side chair is just about the only iconic wire chair recognizable by name to the modern enthusiast.

A designer, engineer or architect has much to think about when concocting a chair from this rigid, yet flexible material. The chair needs to hold up to the weight of the average human body, needs to to be functional as a chair (subsequently, a chair’s many uses), all the while maintaining its shape – must we add it should be comfortable? Designer’s like Russel Woodard, Verner Panton and Harry Bertoia have produced real-life visions that embody all of these aspects and often is the case a cushion is needed to address the matter of comfort.

The contemporary wire chair of today knows only the limit of a designers computer software and the available funds to produce the project. Take Verner Panton’s iconic plastic cantilever chair – a first in its field for being molded from a single mold of plastic, virtually indestructible for daily use and naturally produced in its bold colors. Now, from a CAD computer program’s wireframe rendering those curvaceous lines and shapes of this plastic chair can be produced through the process of meticulously bending each rod of chrome-laden wire to intersect just right – mirroring the chair itself. It is any wonder how the Bertoia and Eames chairs of their day were executed without the aid of a computer. Contemporary masterminds such as Brodie Neill blew the minds of furniture and design lovers in 2011 with the release of his Reverb chair. This spherical vortex of wire mesh reminds one of  a theoretical wormhole – have a seat in the center and take a load off!

For collectors

Reproduction of a Harry Bertoia Side Chair – click to view detail

Wire chairs are hard to make. Production costs can easily outweigh the benefits of selling at an affordable price. Therefore it is usual that the best of the best (and easiest to produce) designs are sent to the open market. Chairs by Warren Planter, Verner Panton and most contemporary designs are a safe bet as far as authenticity are concerned. Chairs by Charles and Ray Eames and by Harry Bertoia don’t have that luxury. To some imitation is the best form of flattery, so it is left to the consumer to decide whether or not to buy authentic or to buy a reproduction. For the most popular Harry Bertoia side and diamond chairs, take a look at their main outermost structural elements. You’ll notice that on the originals there is one wire holding together the structure with the mesh of structural wired welded to this one. Now, take a look at an inexpensive knock-off. The eye instantly sees the two wires holding the structure together around the entire chair and back of the seat. These pieces of lesser quality are designed in this fashion to allow a manufacturer to use a thin gauge of wire – not as Harry Bertoia had originally planned.

The Pantanova and Planter chairs – as with the more complex designs – are usually out of reach for the beginning consumer. A Pantanova Chaise can run between 4000-7500USD with the wormhole-like Reverb chair (created in a very limited production) costing 25,000USD. Our best bets are to find the chair (or chairs) you love and research! Then, stalk! Original Bertoia and Eames wire side chairs can be found at your local mid-century dealer in the 175-400USD range. As always, check the web and eBay. If you miss out on a bargain, never fear, there will always be another chance as millions were produced for the global market. On the higher end if you find what suits you best, never be afraid to ask a dealer if they can come down on the price. Even the most high end of dealers will consider a slight discount if they know they will receive a certain sale. Whatever your choice you’ll find that a wire chair will bring a unique linear openness to your space – making these useful structural objects a great addition.