Chapman and Lotus formed a complex dynamic. Innovation drove competition success at the highest international level. Success brought publicity, acceptance, a desire to be associated with [identification] it additionally brought significant engineering and related income to British and particularly motor sport.<\/p>\n

It is through this virtuous cycle that Chapman and Lotus entered the cultural dimension and currency. This must never be misunderstood or underestimated.<\/p>\n

It was deserved and contributed financially and morale along with esteem to Britain only a short time after the Second World War.<\/p>\n

Lotus was the chosen vehicle of celebrities and pop stars. Lotus radiated symbolism and was deeply emblematic. It possessed aura, mystique and renown. It conferred status, prestige trendiness [cool] on its owner \/drivers. Lotus had entered a Parthenon from which it was recognized and had a distinct perception and consciousness.<\/p>\n

Born of these powerful qualities it earned a certain indelible factor and contributed to cognition. The decade of the 1960\u2019s ushered in a cultural renaissance in Britain. Lotus engendered a pride and a powerful identification with rationality, modernity and aesthetics. Chapman Lotus were of the moment and captured the creativity of a youthful generation. Chapman\u2019s products possessed a certain genius loci.<\/p>\n

It was probably all these qualities of idealism, optimism and wellbeing that the Pop Artists like Laing picked up on.<\/p>\n

Laing\u2019s painting of the Lotus single seat racing car was therefore not so much a representation of machinery he chose to capture a totality and expresses the Lotus as a powerful token and cultural totem of the era. He rendered it thus allegorical and metaphorical and possibly most holistic and beautiful interpretation.<\/p>\n

The Proposed CCM&EC<\/strong><\/p>\n

The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives.<\/p>\n

For these reasons our Business Plan includes provision for promoting products and services which share Chapman\u2019s ideals of mechanical efficiency and sustainability. In addition we propose merchandising that explain and interprets the social and cultural context of Chapman\u2019s designs in period. It\u2019s suggested there will be catalogue for on line purchasing.<\/p>\n

In particular it\u2019s recommended that a range of exhibitions can be delivered exploring the interaction of engineering and art, art and culture along with art and technology through history. The London dimension is an important factor than can be exploited with great opportunity for interactive interpretation and reenactment and not least access to our foremost Modern Art Galleries… To engender and interpret the cultural pulse of the nation during the Pop Art era exhibitions can call on a host of support materials not least fashion, photography, music and poetry.<\/p>\n

Conclusion<\/strong><\/p>\n

The editors believe it extremely important to chart the cultural dimension and impact of Colin Chapman and Lotus. We shall continue to do this with diverse interpretation.<\/p>\n

The decade of the 1960\u2019s is considered a Renaissance by the editors [see A&R article \u2013Design Decades: 1960\u2019s] throughout the world it produced some incredible leaders, thinkers artists and musicians. These include John F Kennedy, Martin Luther King, Joan Baez and Bob Dylan, Bertram Russell, and the feminist movement. In Britain we produced style icons and artists\/ musicians that included John Lennon\/The Beatles, The Who, George Best, and in fashion Mary Quant, the models like Twiggy provided the high fashion celebrity chic and the photograph that gave them international status like David Bailey and Terrence Donovan. In the cinema films from Alfred Hitchcock, Michael Caine and Sean Connery won international acclaim.<\/p>\n

The 1960\u2019s were technologically driven ranging from the space race, to health science including birth control and the first heart transplant and electronics<\/p>\n

In 1963 the Labour leader Harold Wilson delivered his \u201cwhite heat\u201d speech. In this he postulated if the country was to prosper a \u201cNew Britain\u201d would need to be forged in the \u201cwhite heat\u201d of this scientific revolution. He was not able to deliver entirely on this and has been criticized for inconsistency. However there were the entrepreneurs and engineers who seized the moment and these included Mary Quant, Jimmy Laker [airline entrepreneur] and Sir Terrence Conran [Habitat etc.].The engineers designed and built the Mini [Alec Issigonis], A.Moulton, the Jaguar E Type and Concorde.<\/p>\n

Colin Chapman was one of the foremost entrepreneurs of the era. As both manufacturer and team owner he was driving innovation. Achieving international race success and influencing taste through fashion and image [ see A&R article \u201cThe Avengers\u201d].The editors therefore believe he\u00a0 compares favorably in many respects with some of the greatest icons of the 1960\u2019s [ see also A&R article 20^{th<\/sup> Century Motoring Icons]<\/p>\n}

To underestimate this fact does the nation and extreme disservice both culturally, with regard to Industrial Design and the implications extend into wealth creation and tourism. As in the 1960\u2019s its considered necessary that the nation not to rest on its laurels ; the present requires the energy ,vision ,innovation and urgency that Chapman galvanized and was able to permeate so much into a virtuous circle that helped Britain establish an international reputation beyond motor racing.<\/p>\n

To be enshrined in popular art is an indication of the magnitude of the impact and relevance.<\/p>\n

Reference:<\/strong><\/p>\n