Home-style and Lifestyle \u2013Form and Function \u2013 Welfare and Mass Production<\/strong><\/p>\n

Marsh provides a well assessed pertinent observation and generalization of the era based on fact:
\n\u201cAfter WWII there was a pressing need to house newly married couples, families who had been bombed out and those still living in slums\u2026\u2026\u2026As towns and apartments were built around the world manufacturers catered for the new often smaller post war home. Furniture became lighter and moveable, chairs stacked, sofas folded out into beds\u2026 The television became the focal point of the living room. Labour saving devices replaced servants in the kitchen. After dull and drab wartime furnishing lust for colour and patterns expressed it self\u2026\u2026\u2026designers experimented with the latest technology to creative innovative forms: chairs floated on spidery metal legs, table tops were shaped like amoebae, and lights looked like flying saucers\u2026\u201d<\/p>\n

We have noted the relationship between lifestyle and mass production. Product names such as Formica, Ewbank, Prestcold, NewWorld, Addis and English Electric, Pye were all making significant contributions and each became more heavily dependant on design.<\/p>\n

The other major consumer goods were TV\u2019s, refrigerators and music systems. It has been suggested that between 1951 and 1961 car ownership increased by 250% and average weekly wages by 34%<\/p>\n

During the fifties two strong markets emerged to which designers responded. The family and home became more informal. This might have been an interactive function of societal change but also small more economic family accommodation. As populations grew dramatically so did furnishing requirements particularly for newly weds.
\nAt the other end of the scale the welfare state was being born along with corporate expansion. Size, volume and economy of scale and mass production \/ consumption\/ delivery drove considerations not only in architecture but service and designers by necessity would need to conceive products for mass manufacture and benefit from the major government contacts on offer.<\/p>\n

Affluence and greater sophistication evolved together and shaped the designers environment. Some observers comment that affluence transforms consumption into life style choices.<\/p>\n

An unfortunate side effect of increased disposable income was that mass production also generated a lot of kitsch in this period. Poor taste was evident in many commodities and was very evident in excessive of styling in the motorcar.<\/p>\n

Price Relativity and Comparison<\/strong><\/p>\n\n\n\n\n\n\n\n\n

CAR PRICES IN THE DECADE<\/td>\n	1948-59<\/td>\n<\/tr>\n
Year<\/td>\n	Marque<\/td>\n	Model<\/td>\n	Price<\/td>\n<\/tr>\n
\n 1948<\/p>\n<\/td>\n	Land Rover<\/td>\n	<\/td>\n	\u00a3450<\/td>\n<\/tr>\n
\n 1949<\/p>\n<\/td>\n	Citroen<\/td>\n	2CV<\/td>\n	\u00a3564<\/td>\n<\/tr>\n
\n 1955<\/p>\n<\/td>\n	Citroen<\/td>\n	DS<\/td>\n	\u00a31726<\/td>\n<\/tr>\n
\n 1959<\/p>\n<\/td>\n	Austin<\/td>\n	Mini<\/td>\n	\u00a3497<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n In 1951 the following estimated prices applied:<\/em><\/strong><\/p>\n Petrol 3\/4d gallon [3.5p litre] \nLarge white loaf 6d[2.5p] \nSeaside hotel [1 week] \u00a36\/6\/0d[\u00a36.30] \nSemi detached house \u00a31450 \nPint of Beer 1\/3d[6.25p] \nAverage weekly wage for full time workers \nMen: \u00a38\/6\/0[\u00a38.30] \nWomen: \u00a34\/9\/10d[\u00a3\u00a34.49] \n50 cigarettes 2\/3d[11.25p]<\/p>\n Major Social<\/em>, Technical<\/em> Cultural Events and Design<\/em> Icons of the Decade.<\/strong><\/p>\n The following bullet list provides an \u201cat a glance\u201d overview and analysis of the major events of the period in question. These might be better appreciated within the context of the observations relating to the war, its technologies and consequences.<\/p>\n 1948<\/strong><\/p>\n \n \n Us congress passes Marshall Aid bill<\/div>\n<\/li>\n \n Austerity Olympics, London, UK<\/div>\n<\/li>\n \n British Railway nationalized<\/div>\n<\/li>\n \n M. Gandhi assassinated<\/div>\n<\/li>\n \n US tests new type of atom bomb<\/div>\n<\/li>\n \n Jackson Pollock\u2019s Composition No.9<\/div>\n<\/li>\n \n Invention of transistor<\/em><\/div>\n<\/li>\n \n F.M.Rogallo \u2013 prototype delta wing aircraft<\/em><\/div>\n<\/li>\n \n E.H.Land introduces Polaroid 95<\/em><\/div>\n<\/li>\n \n Cisitiala 202 designed by Pininfarina<\/em><\/div>\n<\/li>\n \n R.Buckminster Fuller- geodesic domes<\/em><\/div>\n<\/li>\n<\/ul>\n 1949<\/strong><\/p>\n \n \n Peter and Alison Smithson \u2013 Brutalism Architecture, UK<\/em><\/div>\n<\/li>\n \n Jean Prouve designs prefabricated house in France<\/em><\/div>\n<\/li>\n \n George Orwell.\u201d1984\u201d<\/div>\n<\/li>\n \n Clothes ration ends<\/div>\n<\/li>\n \n Comet\u2019s first flight<\/em><\/div>\n<\/li>\n \n UK pound devalued<\/div>\n<\/li>\n \n Mao forms Republic of China<\/div>\n<\/li>\n \n Einstein\u2019s theory of Relativity<\/em><\/div>\n<\/li>\n \n Carol reed\u2019s film \u201cThe Third Man\u201d<\/div>\n<\/li>\n<\/ul>\n 1950<\/strong><\/p>\n \n \n End of petrol and soap rationing<\/div>\n<\/li>\n \n First kidney transplant .USA<\/div>\n<\/li>\n \n Outbreak of Korean War<\/div>\n<\/li>\n \n Diners Club first credit card, by Scheider?<\/div>\n<\/li>\n \n ICI launch Terylene<\/em><\/div>\n<\/li>\n \n Atlee forms Labour government in UK<\/div>\n<\/li>\n \n Salvador Dali\u2019s painting \u201c The Madonna of Port lligat<\/div>\n<\/li>\n<\/ul>\n 1951<\/strong><\/p>\n \n \n Festival of Britain<\/em><\/div>\n<\/li>\n \n British films\u201d The Dam Busters and the Cruel Sea\u201d<\/div>\n<\/li>\n \n Fangio won first of five Drivers Championships<\/div>\n<\/li>\n \n Jaguar won at Le Mans<\/div>\n<\/li>\n \n First International Congress on Industrial Design.London.UK<\/em><\/div>\n<\/li>\n \n First commercial computers<\/em><\/div>\n<\/li>\n \n Vickers Valliant jet bomber makes maiden flight and Hawker Hunter aircraft, UK<\/em><\/div>\n<\/li>\n \n Braun electric razor<\/em><\/div>\n<\/li>\n \n Arne Jacobson \u201cAnt Chair\u201d<\/em><\/div>\n<\/li>\n \n \u201cLady Chair\u201d by Marco Zanuso for Airflex [Pirelli]<\/em><\/div>\n<\/li>\n \n John Huston\u2019s film\u201d African Queen\u201d<\/div>\n<\/li>\n \n R.Loewy publishes \u201cNever Leave Well Enough Done\u201d<\/div>\n<\/li>\n<\/ul>\n 1952<\/strong><\/p>\n \n \n Britain tests first atomic bomb<\/div>\n<\/li>\n \n Worlds first jet airline service- London to Johannesburg<\/div>\n<\/li>\n \n De Havilland 110 jet breaks sound barrier<\/em><\/div>\n<\/li>\n \n Contraceptive pill manufactured<\/div>\n<\/li>\n \n Radio- carbon dating<\/em><\/div>\n<\/li>\n \n \u201cDiamond Chair\u201d by Bertoia<\/em><\/div>\n<\/li>\n \n Ernest Hemmingway \u201cThe Old man and the Sea\u201d<\/div>\n<\/li>\n<\/ul>\n 1953<\/strong><\/p>\n \n \n Dylan Thomas \u2018s \u201cUnder Milkwood\u201d<\/div>\n<\/li>\n \n Coronation of Queen.UK<\/div>\n<\/li>\n \n Everest conquered<\/div>\n<\/li>\n \n Colour TV demonstrated in USA<\/em><\/div>\n<\/li>\n \n Samsonite suitcase<\/em><\/div>\n<\/li>\n \n IBM 701 computer<\/em><\/div>\n<\/li>\n \n Boeing 707<\/em><\/div>\n<\/li>\n \n DNA molecular structure discovered<\/em><\/div>\n<\/li>\n \n Stalin dies and Khrushchev appointed<\/div>\n<\/li>\n \n Ian Fleming\u2019s \u201cCasino Royale<\/div>\n<\/li>\n \n Comet crash<\/em><\/div>\n<\/li>\n<\/ul>\n 1954<\/strong><\/p>\n \n \n Food rationing ends. UK<\/div>\n<\/li>\n \n K.Amis\u201dLucky Jim\u201d<\/div>\n<\/li>\n \n First fibre-glass bodied car \u2013 Chevrolet \u2013USA<\/em><\/div>\n<\/li>\n \n Nautilus First nuclear submarine. US<\/em><\/div>\n<\/li>\n \n DNA<\/em><\/div>\n<\/li>\n \n Roger Banister record breaking<\/div>\n<\/li>\n \n Maiden flight of Boeing 707<\/em><\/div>\n<\/li>\n \n Elia Kazan\u2019s film \u201c On the Water Front\u201d<\/div>\n<\/li>\n \n \u201cFlying bedstead\u201d UK testing vertical take off with Rolls Royce engines<\/em><\/div>\n<\/li>\n \n Osvaldo Borsani \u201cP40\u201d chaise longue for Tecno<\/em><\/div>\n<\/li>\n<\/ul>\n 1955<\/strong><\/p>\n \n \n Beatnik movement and Teddy boys.<\/div>\n<\/li>\n \n Le Mans car crash<\/div>\n<\/li>\n \n Donald Campbell breaks water speed record<\/div>\n<\/li>\n \n Ruth Ellis hanged for murder in UK<\/div>\n<\/li>\n \n T.Williams play \u201dCat on a hot tin roof\u201d<\/div>\n<\/li>\n \n Commercial TV launched, UK<\/div>\n<\/li>\n \n Fibre optics invented, UK<\/em><\/div>\n<\/li>\n \n Hans Gugelot introduces new Braun design<\/em><\/div>\n<\/li>\n \n First McDonalds restaurant, US<\/div>\n<\/li>\n<\/ul>\n 1956<\/strong><\/p>\n \n \n Mary Quant opens first shop, UK<\/div>\n<\/li>\n \n Atomic Power Station, Calder Hall.UK<\/div>\n<\/li>\n \n Suez War<\/div>\n<\/li>\n \n John Osborne\u2019s \u201cLook Back in Anger\u201d<\/div>\n<\/li>\n \n Barbara Hepworth\u2019s sculpture \u201cOrpheus\u201d<\/div>\n<\/li>\n \n Elvis<\/div>\n<\/li>\n \n First video recorder manufactured<\/em><\/div>\n<\/li>\n \n Eero Saarinen\u2019s furniture design for Knoll<\/em><\/div>\n<\/li>\n \n Charles Eames – chair design<\/em><\/div>\n<\/li>\n \n Jorn Utzon and Ove Arup design for Sydney opera House<\/em><\/div>\n<\/li>\n \n Lionel Schein experimental plastic house<\/em><\/div>\n<\/li>\n \n Premium bonds launched in UK<\/div>\n<\/li>\n<\/ul>\n 1957<\/strong><\/p>\n \n \n Treaty of Rome, start of the EEC<\/div>\n<\/li>\n \n Ghana becomes independent<\/div>\n<\/li>\n \n Britain explodes first H bomb<\/div>\n<\/li>\n \n USSR launches space satellite\/Sputnik<\/em><\/div>\n<\/li>\n \n David Lean’s film\u201d Bridge over the river Kwai<\/div>\n<\/li>\n \n Harold Macmillan becomes PM, UK<\/div>\n<\/li>\n \n Jodrell Bank telescope<\/em><\/div>\n<\/li>\n \n Sony Markey first pocket size transistor radio<\/em><\/div>\n<\/li>\n \n R.Loewy contributes to design of Alouette helicopter<\/em><\/div>\n<\/li>\n<\/ul>\n 1958<\/strong><\/p>\n \n \n CND movement<\/div>\n<\/li>\n \n First IKEA shop<\/div>\n<\/li>\n \n Hovercraft .UK<\/em><\/div>\n<\/li>\n \n Boeing 707<\/em><\/div>\n<\/li>\n \n Invention of micro wave<\/em><\/div>\n<\/li>\n \n Race riots in London.UK<\/div>\n<\/li>\n \n Manned space flight test<\/em><\/div>\n<\/li>\n \n Gould invents laser<\/em><\/div>\n<\/li>\n \n Pacemaker invented<\/em><\/div>\n<\/li>\n<\/ul>\n 1959<\/strong><\/p>\n \n \n Mini launched. UK<\/em><\/div>\n<\/li>\n \n Fiat 500<\/em><\/div>\n<\/li>\n \n Henry Moore<\/div>\n<\/li>\n \n First section of M1 completed. UK<\/em><\/div>\n<\/li>\n \n Frank Lloyd Wrights building; Guggenheim Art museum<\/em><\/div>\n<\/li>\n \n Revolution in Cuba<\/div>\n<\/li>\n \n Tony Richardson\u2019s film\u201d Look Back in Anger\u201d<\/div>\n<\/li>\n \n Hovercraft makes maiden voyage<\/em><\/div>\n<\/li>\n<\/ul>\n Contemporary Post War Design<\/strong><\/p>\n Post war design was exciting and cosmopolitan. It was also complex in that it contained expectations, some social responsibility and an increasing role of supporting industrial manufacturing\/ consumption and associated democracy. Some facets of post war design included;<\/p>\n \n \n A cosmopolitan character with strong influences from America, Britain, Italy, Scandinavia and France.<\/li>\n Many designers still held to the European and Modernist agenda of the Bauhaus and Le Corbusier traditions with its social responsibility ethic but modified to express greater choice, personality and humanism<\/li>\n A new market place with a strong influence towards the youth market, home and related products and an associated urgency<\/li>\n Addressing and overcoming materials shortages and using new materials like plastics and synthetics<\/li>\n Making designs compatible with mass production.<\/li>\n<\/ul>\n<\/div>\n There was considerable urgency for reconstruction and industrial expansion allied to consumption. It was not easy with aspects of rationing remaining. Many observers noted it was not an auspicious start. \nBritain might have been slower to move on. There might have been a greater conservatism. If this was related to home design. There were conflicts. Whereas possibly in America and Europe with more \/ cheaper land availability larger open plan design was compatible with modernism<\/p>\n In the fifties the most successful designers were feted as celebrities. The Eames in America and the Day\u2019s in Britain were the model of progressive contemporary modernity.<\/p>\n Some of the most significant designers of the period are:<\/p>\n \n \n American: Harley Earl, Charles and Ray Eames, Eliot Noyes, Raymond Loewy, Henry Dreyfuss, George Nelson Russel Wright, George Nelson<\/li>\n<\/ul>\n<\/div>\n \n \n British: FRS Yorke, Berthold Lubetkin, Serge Chermayeff, Wells Coates, Jack Pritchard [ISOKON], Ernest Race, Robin and Lucienne Day, Douglas Scott, Terence Conran, Malcolm Sayer, Alec Issogonis, Frank Costin, Robert Welch, David Mellor, Enid Seeney, Roy Midwinter, Misha Black, Brian Lister, Sir Sydney Camm, Ronald Bishop. [In future articles we will explore these in more detail. There are existing A&R articles on Car and Industrial Designers<\/li>\n<\/ul>\n<\/div>\n \n \n Italian: Pininfarina, Marco Zanuso, Marcello Nizzoli, Carlo Mollino, Enzo Ferrari, Gio Ponti, Osvaldo Bosani, Dante Giacosa, Coradino d\u2019Ascani<\/li>\n<\/ul>\n<\/div>\n \n \n Scandinavian: Arne Jacobson, Hans Wegner, Eero Saarinen, Verner Panton [much work designed in Italy] Tapio Wirkkala, Kaj Fran<\/li>\n<\/ul>\n<\/div>\n \n \n French: P.Boulanger &F.Bertoni [Citroen DS19] Jean Prouve, Christian Dior<\/li>\n<\/ul>\n<\/div>\n \n \n Japan: Sony Corporation<\/li>\n Germany: Dieter Rams, Hans Gugelot<\/li>\n<\/ul>\n<\/div>\n Many of the designers took philosophical inspiration from and were required to adapt to: –<\/p>\n \n \n The Modernist and Bauhaus school of social responsibility [i.e. modern high quality objects available to wide social circle]; but post war they were to humanize design and an \u201corganic\u201d motif was preferred. This school saw them selves as problem solvers and adding value to products through quality design. [In particular the better functioning an object was the longer its life and the quality of like it would deliver to its owner]<\/li>\n To identify social progress and democracy with production and free markets. Contemporary with this was reconstruction, economic, political, cultural rebirth. Growth with stability were priorities. Others considered that designers would serve society by creating new products.<\/li>\n Synthesize and deploy Wartime technologies production and newly created materials in mass production to satisfy the new mass private and public market place.<\/li>\n To consider mass production and volume in relation to exports and in part an International style consistent with mass production<\/li>\n<\/ul>\n<\/div>\n Design motif of the era tended to be light, organic, often abstract, expressive colour and playful on surface patterns. Bold shapes, bright colours, brave patterns, exuberant and extravagant with a hint of whimsy and occasionally flippant \u2013 perhaps the reaction against the war we have noted. Some observers have suggested the 1950\u2019s design was characterized by a neo-functionalism. The era was heavily influenced by technology and the atom emerged as design motif and was incorporated in many products.<\/p>\n The new materials that emerged have been enumerated above. Most had demonstrated their capacity for mass production in the machinery of war. The designer\u2019s role was to borrow and extrapolate this into peacetime requirements. This was fundamentally homes, offices, welfare institutions education and cars. For example laminated timber and plywood had been used in the Mosquito this could be adapted for chairs. Aluminum had been a primary metal in aircraft construction and this too was ideal for casting and furniture on mass production scale.<\/p>\n But there was also a more anonymous range that perhaps appealed to customers who aspired but could not afford designer pieces and Ercol [e.g. reputed to have contracted to produce 100,000 chairs in 1944] and G Plan may have catered for this market in Britain. They used timber in the Contemporary style. Their designs looked and felt light and were intended to be interchangeable and compatible with new lifestyle which it self adapted to new smaller accommodation and \u201cservice\u201d employment<\/p>\n In order to help galvanize recovery, production and democracy many of the leading nations held exhibitions of Industrial Design. The editor believes that the American example is very powerful and significant. Eliot Noyes as curator at the Museum of Modern Art, New York arranged a competition and exhibition which promoted good design. Examples are \u201cLow cost Furniture Design\u201d and \u201cOrganic Design in Home Furnishing\u201d. Italy held the Milan Triennales and Britain kick started post war recovery with \u201cBritain Can make It \u201c 1948 and in quick succession The Festival of Britain 1951.<\/p>\n  <\/p>\n \u201cBRITAIN CAN MAKE IT\u201d AND THE FESTIVAL OF BRITAIN.<\/strong><\/p>\n During the War there was perhaps a growing awareness that Britain\u2019s World position, its Empire and socio-economic base would need change and updating. Victorian infrastructure was approximately 100 years old and in need of upgrading .In 1941 Picture Post recommended a \u201cPlan for Britain\u201d this was soon followed by the Beveridge Report. In 1944 Hugh Dalton at the board of Trade set up the Council of Industrial Design. The first chairman was Sir Thomas Barlow. The purpose of the Council was \u201cto promote by all practical means the improvement of design in the products of British Industry.\u201d<\/p>\n One of the first opportunities to mark a return to peacetime production was the major exhibition of consumer goods; \u201cBritain Can Make It\u201d in 1946. The purpose and objective was:<\/p>\n \n \n Demonstrate to the world the quality of British design,<\/li>\n Raise morale and perhaps influence taste and market design. An organisation called Mass Observation had an important role in conducting what is now known as market research or to evaluate public taste.<\/li>\n Arouse interest in design [this might have been a very complex motive perhaps some realizing the world not be the same again]<\/li>\n There may have also been undertones and agenda towards the<\/li>\n<\/ul>\n<\/div>\n Imperative to export, mass production allied to mass consumption, international competition, levels of capital investment and a bolster to free market with democracy.<\/p>\n \n \n Make the best of enforced scarcity.<\/li>\n<\/ul>\n<\/div>\n The exhibition was a success a displayed approximately 5000 assorted items. Included were:<\/p>\n \n \n A super streamlined cycle by Allen\/Ben? Bowden<\/li>\n The \u201cFuture Taxicab\u201d by Milner Gray.<\/li>\n The \u201cWingsail Catamaran\u201d by Wells Coates.<\/li>\n Light weight portable sowing machine by FHK Henrion &JW Woods<\/li>\n Interplanetary spaceship<\/li>\n<\/ul>\n<\/div>\n It\u2019s believed that 1,432546 visitors attended. \nThere was a circular route and some of the now famous war time \u201ccommandments were present in themes of \u201cWar to Peace, \u201cDig For Victory\u201d and \u201cMake Do and Mend\u201d. A central feature was women\u2019s fashion and to promote this was a complex revolving stage 25feet high. \nGordon Russell and Utility Furniture were also given prominence. \nSpace was devoted to:<\/p>\n \n \n Great British Designers<\/li>\n The Council of Industrial Design<\/li>\n What Industrial Design Means<\/li>\n The Designer Looks Ahead. [Anticipating projects 5-25 years ahead.]<\/li>\n<\/ul>\n<\/div>\n Mass Observation analysis deducted that the main interest had been furnished rooms, women\u2019s fashion and fabrics and furniture.<\/p>\n Individually Ernest Race made a considerable impact with his Race Cast Aluminum Chair BA\/3. \n\u201cBritain Can Make It\u201d succeeded in planting new ideas.<\/p>\n \u201cBritain Can Make It\u201d was followed and reinforced five years later with the Festival of Britain [see A&R article].<\/p>\n Britain was still struggling rationing still existed but there were more positive signs of recovery.<\/p>\n Of the 1951 Festival of Britain it was hoped would promote a spirit of optimism and act as a catalyst. It was to be a bright space age funfair cum expo.<\/p>\n In fact it was a considerable success. 8.5 million people are believed to have attended paying 4 shillings entry and 15% of visitors were foreign tourists. It was a considerable achievement in difficult times.<\/p>\n It was extremely popular and offered frivolity, freedom, whimsy, a sense of humour, freedom of expression, gaiety, excitement and steel bands from the West Indies. The Festival and the accompanying fun fair at Festival Pleasure Gardens at Battersea Park were extremely romantic when lit at night and accompanied by couples dancing [Dance Pavilion and people had a choice of food to eat at the Crescent Restaurant etc]<\/p>\n The exhibition was a Universal International Exhibition held in London. Its objective was to demonstrate to the world the UK recovery from the effects of war, morale cultural, spiritual and in material fields. \nThis was approached by examining themes:<\/p>\n \n \n Britain\u2019s contribution to Civilization; past present future in arts science, technology and industrial design.<\/li>\n Land of Britain<\/li>\n People of Britain<\/li>\n Britain\u2019s contribution to discovery.<\/li>\n<\/ul>\n<\/div>\n These were addressed and displayed with Festival ship, Land Traveling Exhibition and an Exhibition of Industrial Power.<\/p>\n The Exhibition site on the Southbank featured the:<\/p>\n \n \n Royal Festival Hall<\/li>\n Lion and Unicorn Pavilion<\/li>\n Dome of Discovery [designed by Ralph Tubbs]. At the time the largest dome in existence.<\/li>\n Skylon [300 feet landmark and futuristic sculpture]<\/li>\n Power and Production Pavilion<\/li>\n Transport Pavilion<\/li>\n Sea and Ships Pavilion<\/li>\n<\/ul>\n<\/div>\n In fact it was very inclusive and affectionately recorded \u201cfrom lipstick to locomotives\u201d<\/p>\n A hardback book accompanied the exhibition and was titled \u201cDesign in the Festival\u201d<\/p>\n For many of the design professionals the Festival was the Brave New World and a significant turning point. Wartime destruction would need to be made good and there was a mood demanding social change. For many science, engineering, technology, scientific management and skills of wartime planning were required for reconstruction. The social housing estate in Popular, East London that accompanied the exhibition was to be a model and blue print. For all the idealism and social momentum many of our current problems might have been sown in the attempts to rebuild too quickly.<\/p>\n Critical Examination of Post War Designers<\/strong><\/p>\n The editor considers this to be an important exercise, as textbooks have tended to ignore the achievements of Chapman and his colleagues who helped establish Lotus. \nThrough careful analysis and benchmarking its hoped to establish that Chapman was truly in the vanguard.<\/p>\n We have noted the imperatives that defined the merging society and its requirements. The best designers were often those able to extrapolate technologies. Many believed in scientific optimism and the harnessing of science for societal advancement. \nSome of the best design emerged in America and Italy particularly relating to consumer goods. Charles and Ray Eames were influential in furniture, interior design and corporate style. Eliot Noyes was design consultant and designed for IBM but perhaps most significantly promoted the best design practice through the M.o.M.A. Here was the potential for International designers to establish their credentials to receptive audience. \nRaymond Lowey and Henry Dreyfuss made significant contributions not just in increased sales but also in thoughtful and objective analysis of requirements as illustrated in \u201cDesigning for People\u201d Russel Wright was fellow American designer and author who with his wife published \u201cA Guide to modern Living\u201d and designed consumer goods for mass production in new materials. George Nelson designed some of the more iconic pieces of the decade. America post war is renowned for its motorcar production and through these means of transport impacted on world culture of the 20 c. \nPost War Italy produced some excellent gifted and inspired industrial designers. These were often engineer\/ architect- designers. Examples are Marco Zanuso; Osvaldo Bosani [P40 chair for Tecno, c 1954] Gio Ponti was an author and journalist who promoted good design in magazine \u201cDomus\u201d. One of the most incredulous designers was Carlo Mollino whose range and style were enormous as it was distinctive, original and idiosyncratic ranging as did over fashion, film, furniture, cars and photography. Marcello Nizzoli is another world-renowned industrial designer possibly most noted for his typewriters and sewing machines [he may have been assisted by other engineers].<\/p>\n Italy\u2019s engineers in motoring and coach building were the vanguard. Particularly Pininfarina whos Cisitalia coupe was recognized as piece of sculpture [again reference MoMA] and whos concept of enclosure, lightness and aerodynamics would influence and direct car body design until the advent of he mid rear engine.<\/p>\n Post War Scandinavian design was influential and continued a tradition of refined design of organic humanist appearance [particularly in furniture, glass and ceramics. Arne Jacobson is famous particularly for furniture [Ant and Swan chairs] Hans Wegner continued the momentum of working in pressure formed plywood and designed many influential pieces of furniture through the 1950\u2019s. Amongst the other design leaders were Kaj Frank, Tapio Wirkkala and Verner Panton [who might have gravitated to Italy [in this period] is noted for his Cone chair. Eero Saarinen relocated to America and his range of \u201cTulip\u201d furniture captures the spirit of the era. Scandinavia also produced the aeronautically and advanced Saab.<\/p>\n Germany post war is attributed with a design rooted in a scientific -rationalist aesthetic of high-tech products. Some critics have defined this as neo-functionalism. The designers Dieter Rams and Hans Gugelot are identified with a design echoing a visual minimalism and reinforcing the technical virtuosity of the product many of which were for Braun. Germany too was world leader in automotive design. The early to mid decade was shaped by Mercedes \u2013Benz and of which its 300 SL coupe has become one of the most distinctive, technically advanced and admired designs of the 1950\u2019s.<\/p>\n We cannot overlook the contribution of France. In the Post War period they embraced industrial design. Furniture is perhaps less well known but Jean Prouve was a versatile and competent designer for whom the A&R editors have considerable respect. Much of his furniture design was borrowed from good practice in the motor and aviation industries. He also committed to prefabricated houses that were also attempted in Britain and America with various degrees of success. Dior ok course needs little introduction here [covered in paragraph devoted to fashion below]. Citroen produced some revolutionary cars in the decade. Both the 2CV and the DS are almost polarized but each has carved a reputation that remains today. The 2CV ranks amongst the Morris Minor, the Mini, the Fiat 500 and the Beetle for its utility and functional correctness. The editor has always thought that the 2CV is somehow indebted to a Bauhaus tradition of functionality and rigid simplicity. Of course the DS needs little explanation of its breathtaking aesthetic and specification. Sixty years after its launch it still shapes and remains high in recognition and respect.<\/p>\n An objective assessment of Post War design cannot overlook Japan. From devastation she was to become one of the greatest manufactures of quality products. Although he motor car was not is primary product during the fifties it contributed significantly to consumer products such as radios. Japanese design is renown for technical excellence, efficiency, rationality, originality and beauty. In fact a certain aesthetic minimalism.<\/p>\n British Designers<\/em><\/strong><\/p>\n British post war design is sometimes thought of as traditional conservative and tinged with certain amateurism. There may be a small element of truth in this. There are explanations and also contradictions. \nBritain had fought two World Wars within the first half of the 20c. It was also in the 1950\u2019s at the late stage of its Industrial Revolution. The restrictions of land space and property ownership rights impacting on price determined much along with a history of democracy and freedoms. Through much of the decade British designers took inspiration from America and Europe. \nAgainst this background emerged urgency for design and manufacture balanced with a commitment to social welfare. Britain had a heritage of industrial Designers not least in civil and transport engineering but in craft furniture too. We have noted that early after the War the Council for Industrial Design was established. This along with two major exhibitions [see above strove to publish best proactive provide and agenda and galvanize deign for mass production.<\/p>\n Gordon Russell had remarked philosophically that design was omnipresent in a civilized society. From the late 1950\u2019s The Design Centre at the Haymarket would award the best designs formal recognition.<\/div>\n Several notable British designers emerged. Some of these would become minor celebrities as we have noted in America. In the post war period design became something of a cult. \nErnest Race was foremost a furniture designer who had an engineering\/ architectural background. He owned his own company. From just after the war his BA chairs had used aluminum. His \u201cAntelope\u201d chairs were designed for the Fob and complemented the architecture. They bear all the evidence of practicality, reflecting manufacturing capacity whilst being modern i.e. they were highly a realistic concept to execute. [Steel rod and foam] Race translated the technological breakthrough of WWII into new furniture style to suit he contemporary mood. His Neptune chair of 1953 for P&O was a real statement. \nRobin and Lucienne Day were young talented and ambitious. With Latimer they had won a prize at the MoMA and they would take this momentum to make them the leading designers of the 1950\u2019s. They were very much the Style \u2013Leaders\u2019 of the new life-style vogue. Their work and design tended to radiate optimism and youth. Hille manufactured many of their designs. A typical example is the Hillestack chair of 1950. This couple embraced modernism in service of social ideals. Robin Day during his early career would be awarded several Design Council Awards. They were realists in the market place and were attuned to the social welfare reconstruction plans, large government contacts and the opportunity for mass production this would permit.<\/p>\n Wells Coates is perhaps more thought of as a designer of the 1930; s and with recognition for the Ekco \u201cAD 65\u201d radio. However he was in the forefront of technology and designed the \u201cTelekinema\u201d for the FoB and a recording studio for the BBC. He was talented and versatile. One of his designs was for a catamaran. It\u2019s believed later in his career he was a consultant to de Havilland and BOAC.<\/p>\n Sir Terence Conran commenced his design career in the 1950\u2019s. He designed plates and furniture and later in the decade would support Mary Quant. Douglas Scott assisted by other engineers contributed the Route Master in 1953.He would continue to provide innovative solutions into the next decade.<\/p>\n Misha Black is another major contributor to design in the 1950\u2019s. He formed Design Research Unit [DRU] with Milner Gray. He went on to become Professor of Industrial Design at the Royal college of Art. He did much to break down the barriers between design and engineering in education and we owe him a debt.<\/p>\n We noted that British design contained some polarization. British engineers and scientists were the vanguard in some disciplines. Examples are aeronautics, the Hovercraft and in many respects automobiles.<\/p>\n Mason suggests: – \n\u201c When the Second world War ended\u2026\u2026.. Great Britain emerged \u2026..The third most powerful nation on earth\u2026\u2026\u2026In the field of technology \u2013 other than the application of nuclear physics to warfare \u2013Britain still led the world, particularly in aeronautical science. Evidence\u2026\u2026\u2026in the development of the gas turbine and its associated advanced metallurgy\u2026\u2026\u2026.Already she was preparing plans for jet \u2013powered commercial air travel \u2013plans that would mature one day in the magnificent Comet\u201d<\/p>\n Some of the greatest designs such as the Hawker Hunter were designed by Sir Sydney Carr and Ronald Bishop [Comet] and a host of gifted engineers at de Havilland. The V bombers were another British tour de force<\/p>\n In our time line we record the emergence of the jet and its application to both military and civil applications. De Havilland embraced both. Many of these talented designers would gravitate towards Chapman and Lotus where they would be received and given rein to develop ideas. E.g. Frank Costin, The civil aviation expansion was a very democratic progression and it allowed for affordable mass holidays on the continent. The British would return with a greater cultural awareness and perhaps an appreciation of the best continental culture, aesthetics and modern design.<\/p>\n Britain had a long and distinguished motor racing tradition. Pre War this was partly as a result of Brooklands where this might have placed a greater emphasis on speed and power. Post war a new regime and competition culture would result. Competition was soon resumed not least at club level. The 750 Motor Club would play a very significant role not least democratizing the sport, making it affordable and perhaps creating diversification and competition in the wake. \nAlongside this the British had competed at Le Mans. In the immediate post war Jaguar with their XK120 made a revolutionary design that was essentially affordable. It would also be exported. Jaguar continued and reinforced sales by their success at Le Mans. This was achieved as a result of the C Type and the D type. Both cars employing advanced aerodynamic design, reliability and the innovation of disc brakes. The D type also incorporated the aircraft construction partial monococque construction. Sir William Lyons sponsored these designs and his engineer craftsmen executed them. Malcolm Sayer made significant contributions to aerodynamic body design. Amongst the larger engine sports \/ sports racing cars of distinction in the 1950\u2019s are Lister, Aston Martin and Bristol.<\/p>\n The 1950\u2019s were an exiting time in motor sport where amateurism very quickly evolved into professionalism. Cooper, Mallock, Kieft, Elva, Ginetta and Lola are amongst some of those names that would rise to international stardom from a localized British club base. \nHowever of all these small concerns Colin Chapman Lotus would emerge as possibly the most dominant and technologically driven \/ indebted of marques. We now need to examine Chapman in greater depth to prove that he was amongst the foremost industrial designers of the epoch.<\/p>\n We can commence the exercise by quick examination of the peers. When assessing other manufactures it is useful to take into consideration the following:<\/p>\n \n \n Whether the company was a large manufacturing corporation [perhaps with pre-war history]<\/li>\n Whether it received state backing formal or informal i.e. subsidy<\/li>\n Did they produce salon cars or diversify into other manufacturing that might have been able to cross subsidize their sports cars or racing programme<\/li>\n What their racing and development budget was<\/li>\n<\/ul>\n<\/div>\n International Car Comparisons 1948-1959<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Car comparisons 1948-1959<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1948<\/strong><\/p>\n<\/td>\n \n 1949<\/strong><\/p>\n<\/td>\n \n 1950<\/strong><\/p>\n<\/td>\n \n 1951<\/strong><\/p>\n<\/td>\n \n 1952<\/strong><\/p>\n<\/td>\n \n 1953<\/strong><\/p>\n<\/td>\n<\/tr>\n AM DB1<\/td>\n MG TC<\/td>\n AM DB2<\/td>\n PegasoZ102<\/td>\n Allard J2X<\/td>\n A.C.Ace<\/td>\n<\/tr>\n Riley RMC<\/td>\n Healey Silv’<\/td>\n Alvis TB 21<\/td>\n Allard J2<\/td>\n Cunn’ C-4R<\/td>\n Austin H 100<\/td>\n<\/tr>\n Citroen 2CV<\/td>\n Bristol 401<\/td>\n F Nash MM<\/td>\n Jaguar C<\/td>\n Austin A30<\/td>\n Bristol 404<\/td>\n<\/tr>\n Cisitalia<\/td>\n Buckler<\/td>\n Lea F Sports<\/td>\n Singer SM<\/td>\n Fiat 8V<\/td>\n M.G.TF<\/td>\n<\/tr>\n Land Rover<\/td>\n Dellow Mk.I<\/td>\n Jowett J<\/td>\n Turner Sport<\/td>\n Vauxhall W’<\/td>\n Sunbeam A<\/td>\n<\/tr>\n Ferrari 166<\/td>\n Fiat 500C<\/td>\n Morgan+4<\/td>\n <\/td>\n <\/td>\n Triumph TR2<\/td>\n<\/tr>\n Morris Minor<\/td>\n Ford E93A<\/td>\n Porsche 356<\/td>\n <\/td>\n <\/td>\n A-R B.A.T<\/td>\n<\/tr>\n Triumph18TR<\/td>\n Hillman Minx<\/td>\n F-Nash LM’<\/td>\n <\/td>\n <\/td>\n M-B 300SLR<\/td>\n<\/tr>\n HRG 1500<\/td>\n Jaguar XK120<\/td>\n <\/td>\n <\/td>\n <\/td>\n Lancia A ‘GT<\/td>\n<\/tr>\n Allard KI<\/td>\n Morgan 4\/4<\/td>\n <\/td>\n <\/td>\n <\/td>\n Arnolt-Brist’<\/td>\n<\/tr>\n Aston M DBI<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n A-R Disco-V<\/td>\n<\/tr>\n Frazer Nash<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n Standard V’<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n VW 1100 std<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n Wolesley 12<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1954<\/strong><\/p>\n<\/td>\n \n 1955<\/strong><\/p>\n<\/td>\n \n 1956<\/strong><\/p>\n<\/td>\n \n 1957<\/strong><\/p>\n<\/td>\n \n 1958<\/strong><\/p>\n<\/td>\n \n 1959<\/strong><\/p>\n<\/td>\n<\/tr>\n Jensen 541<\/td>\n M.G.A<\/td>\n BMW 507<\/td>\n JaguarXk150<\/td>\n Elva Courier<\/td>\n A.H. 3000<\/td>\n<\/tr>\n Swallow D<\/td>\n Morgan 4\/4<\/td>\n Berkley B60<\/td>\n Jaguar XKSS<\/td>\n AM DB4<\/td>\n Daimler SP<\/td>\n<\/tr>\n Dodge Fair’<\/td>\n Triumph TR3<\/td>\n Fairthorpe E<\/td>\n Abarth 750<\/td>\n A.H.Sprite<\/td>\n Ferrari 250<\/td>\n<\/tr>\n Kaiser<\/td>\n Cooper Bob’<\/td>\n <\/td>\n Lister-Jaguar<\/td>\n TVR Gant’<\/td>\n Morris Mini<\/td>\n<\/tr>\n A-R Giuli’ Sp<\/td>\n Fiat Multi’<\/td>\n <\/td>\n <\/td>\n Chev’Corv.<\/td>\n Cadillac Cyc”<\/td>\n<\/tr>\n Lancia A B24<\/td>\n Citroen DS<\/td>\n <\/td>\n <\/td>\n AlfaR 2000<\/td>\n Jaguar MkII<\/td>\n<\/tr>\n M-B 300SL<\/td>\n Lancia B24<\/td>\n <\/td>\n <\/td>\n Britannia GT<\/td>\n Gilbern GT<\/td>\n<\/tr>\n Jaguar D<\/td>\n Sunb’ MkIII<\/td>\n <\/td>\n <\/td>\n Mas’350GT<\/td>\n <\/td>\n<\/tr>\n Ford 100E<\/td>\n <\/td>\n <\/td>\n <\/td>\n Tornado T’<\/td>\n <\/td>\n<\/tr>\n Kieft 1100<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n Rover 90<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n *Dates are taken from various sources and there may be small inaccuracies but they are felt to be generally accurate and reflective.<\/p>\n Lotus Models and Production 1948-1959<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Lotus models 1948-1959<\/strong><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n Year<\/td>\n Models<\/td>\n Year of Introduction.<\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1948<\/p>\n<\/td>\n Special\/Trial<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1949<\/p>\n<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1950<\/p>\n<\/td>\n Mk.II<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1951<\/p>\n<\/td>\n Mk.III<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1952<\/p>\n<\/td>\n Mk.IV<\/td>\n Mk.VI<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1953<\/p>\n<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1954<\/p>\n<\/td>\n Mk,VIII<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1955<\/p>\n<\/td>\n Mk.IX<\/td>\n Mk.X<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1956<\/p>\n<\/td>\n Eleven<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1957<\/p>\n<\/td>\n Seven<\/td>\n Mk.XII<\/td>\n Elite<\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1958<\/p>\n<\/td>\n Mk.XV<\/td>\n Mk.XVI<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1959<\/p>\n<\/td>\n Mk.XVII<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n Estimated Total Production in period- 1099<\/strong><\/td>\n <\/td>\n <\/td>\n<\/tr>\n Figures extracted and extrapolated from “The Lotus Book”<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n Colin Chapman and Lotus\u2019s Contribution <\/strong><\/p>\n This article has set out the major determinates of the era. \nColin Chapman, his peers and helpers more than most were in the spirit of their time and the vanguard of technological driven motor sport. They delivered. \nWithin a brief ten years they had risen from backyard amateur trials competitor to International Motor-sport dominating national club level sport on the way. \nFrom modest beginnings with minimum of capital or plant they innovated, improvised and extrapolated technology in a free thinking scientific methodical approach. \nThey:<\/p>\n \n \n Build and raced a succession of brilliantly engineered cars; including the revolutionary tour de force of the Elite [which Bridget Bishop captured in photographs *<\/li>\n They won National and International Competition including Le Mans [i.e. at group category]<\/li>\n They employed men including mainly British drivers and acknowledged the contribution of craft skills like those of Williams & Pritchard. Lotus earned significant income for the nation.<\/li>\n They exported cars and towards the end of the decade were on the brink of mass production.<\/li>\n The lifted the moral of the nation<\/li>\n They became a byword for technological innovation and success<\/li>\n They were a significant role model and were copied internationally.<\/li>\n They were particularly British in their \u201ccraftsmanship\u201d This was about playing to strength and tradition. A combination of determination ruthless competitiveness balanced with aesthetic appreciation.<\/li>\n Despite all the limitations and strength and resources of the competition their products were world beaters and still recognized as such today,<\/li>\n<\/ol>\n<\/div>\n It ought be noted that Lotus were: –<\/p>\n \n \n A small business [see production numbers]<\/li>\n They were not manufacturing in a mass market initially and therefore had no economies of scale<\/li>\n Their product was not cheap as it required considerable input of skilled craftsmen e.g. Progress Chassis and Williams &Pritchard, but in relative terms they were democratic and affordable allowing entry into the first rungs of motor sport via the 750 Motor club.<\/li>\n They were not producing inexpensive items that could be afforded by every home in the land.<\/li>\n They operated on a limited budget and staff demonstrating their organizational effectiveness. There was not an R&D budget as now known but the activity was wrapped up in the intellectual growth and development of the owner and his helpers.<\/li>\n<\/ul>\n<\/div>\n Overall Lotus helped within a decade raise a nation that had been on its knees into a \u201cworld leader in motor sport. Lotus would further extend and enlarge their contribution in the 1960\u2019s.<\/p>\n Colin Chapman and his helpers at Lotus including the Allen brothers, Costin brothers and Williams &Prichard represented the very best of British design. In fact they concur with Misha Blacks design philosophy<\/p>\n \u201cWe should approach each new problem from the base of practicality- how can it most economically be made, how will it function most effectively, how can maintenance be simplified, how can the use of scare materials be minimized? An absolute concern with practicalities will produce new formal solutions as technology constantly develops: when alternatives present then selves during the design process, the aesthetic sensitivity of the designer will determine his selective decisions but this should remain a searching process and not be seen as the opportunity for imposing a preconception of formal appropriateness. The difference between an arrogant conscious aesthetic and a conscientious searching for the most elegant solution is fundamental to my argument\u201d<\/em><\/strong><\/p>\n This was published in a paper \u201cFitness for What Purpose \u201c written in 1975 shortly before his death. [Quoted from British Design since 1880]<\/p>\n When seen in the wider a context Colin Chapman is far more advanced than generally accepted. They too more than most mutated technologies and did so in hard ruthless competition against continental competition. They experimented with materials and overcame shortages and rationing. They used almost every devise available to then, remorselessly. If Chapman is considered slightly dubious there should be do doubt about he exact circumstances in which he operated and despite the obstacles he overcame and established one the greatest marques in the history of Motor sport. \nThis was essentially achieved in the first decade of their existence with a capital base not amounting to much more than a month\u2019s wages.<\/p>\n *The photographs of Bridget Bishop record both a watershed and transition. It\u2019s believed that Bridget may have undertaken her photographic assignment on two occasions [possibly October 1956 through March 1957 and October 1957]. However the greater likelihood that the pictures taken may have been in September or October 1957.<\/p>\n Fifties Fashion<\/strong><\/p>\n Femininity was the key look accentuated with stiletto heels.<\/p>\n It is possibly Christian Dior who dictated fashion in the era. However Coco Chanel, Balanciaga and others including victor Stiebel made a significant contribution. This is possible related to the explanation we have offered reference the reaction and pendulum against war, utility, rationing and drab appearance and that men too hoped for a softer more feminine appearance in contrast to a uniform. In 1947 Dior launched his couture collection \u201cCorolle Line\u201d which was soon dubbed the New Look. The shape it gave women was voluptuous and feminine if although some thought the excessive use of fabric decadent when so many had suffered rationing. However it offered optimism, a sense of affluence and plenty after deprivation and was certainly the anthesis of the masculine workday overalls and clothing of war. \nFashion also responded to the new materials such as Terylene and nylons. Fashion was disseminated through a large ranch of magazines devoted to women. These included: Vogue, Woman &Home, Housewife, and Vanity Fare etc. \nIn the mid to late fifties increasing affluence and mass production witnessed mass produced clothes off the peg. Hand knitted jumpers were still popular and perhaps a continuation of \u201cmake do and mend\u201d<\/p>\n Within a decade there was a considerable polarization. The early fifties commenced with a still quite formal dress code. Women mostly wore skirts, a hat, gloves, headscarf and a smart handbag. The princess line and sheath dresses were popular. However this changed quite dramatically towards the end of the decade perhaps coinciding with rock\u2019n\u2019role. . As Marsh observes \n\u201c 1950 style from haute couture to high street. \u2026\u2026Elegant ladies fashion and the casual look adopted by the new generation of trouser-clad teenage girls. \u2026\u2026With the growing influence of the United States, the emergence of street style, and the introduction of denim as the international uniform of youth\u201d<\/p>\n For men suits were the norm. American suits were popular if you could afford it. The fashion changed in the later decade as we have noted. Anti establishment look was deliberately and cultivated informal transforming working clothes into street style.<\/p>\n Film, TV, Literature and Posters and Illustration<\/strong><\/p>\n We have made reference to film within our time line. Broadly TV substituted for film in this decade although Hollywood attempted to rally with large budget film. Technology advanced attempting to entice new audiences with 3D, Cinerama and widescreen. Film celebrities included Doris Day, Marilyn Munroe, Audrey Heburn, and Grace Kelly. Once again we note the pendulum swing and witness the early anti-hero emerge in the characters portrayed by Marlon Brando and James Dean. The advent of commercial TV was complementary with the growing consumer society.<\/p>\n It\u2019s worth noting how the car that played such an important role in the period began to emerge in film. British sports cars were well represented. We tend to associate the sixties with permissiveness but there was some early evidence of this in the mid \/late fifties. Examples are \u201c Room at the Top\u201d and \u201cBaby Doll\u201d. Britain remained perhaps more prudish and the Ealing comedies expressed the British sense of humour. An example is \u201cThe Lavender Hill Mob\u201d.<\/p>\n In our time line we record some of the literature of the era. Possibly best known in UK was John Osborne\u2019s \u201cLook Back in Anger\u201d of 1956. Also characteristic was Orwell\u2019s \u201c1984\u201d and \u201cLucky Jim\u201d by Kinglsy Amis. Writers may have expressed more of the underlying social tensions and perhaps pretensions in relationships. Critics noted a tendency towards dystopian and satirical themes. Some of the permissiveness emerging in film was also evident in works like \u201cPeyton Place\u201d. Perhaps it was natural that science fiction ought be popular as result of the space race. Authors who developed the theme included Isaac Asimov. The Cold War was very real and had many facets .It was perhaps given a fictional twist by Ian Fleming who created James Bond. \u201cCasino Royale\u201d was published in 1953,\u201dLive and Let Die\u201d 1954. \nPerhaps in \u201cAbsolute Beginners\u201d by Colin MacInnes we can trace threads leading to \u201cClockwork Orange \u201c in the following decade. \nMagazines and comics were popular in period and America was the source of comic heroes and pulp fiction.<\/p>\n The fifties was perhaps the last era of commercial illustration before being replaced by photography. The editor feels that it produced some remarkable work. The necessity for branding marketing and sales produced some very graphic imagery. For example the front covers of magazines such as \u201cThe Areoplane\u201d and \u201cThe Motor\u201d produced some very striking and memorable imagery. Motor manufacturers used graphic artists to illustrate their sales brochures and often images could be accentuated and slightly stylized. Within the Areoplane manufacturers like Lockheed often commissioned very attractive technical illustration that had a romantic and technically idealized content. The de Havilland Gazette of 1955 was very much in this vein. Many of the trade directories within the A&R library are the source of handsome graphic illustration. Picture Post in another source of consumer products relating to food and cosmetics etc. \nIn this period the elegant women\u2019s fashion was also often illustrated. We note the interest in DIY \/self build and many of the period magazines were graphically illustrated e.g. \u201cPractical householder\u201d and \u201cDaily Mirror Book of House Plans\u201d<\/p>\n Abram Games designed significant posters at the start of the decade and certainly for the Festival of Britain and Army Recruitment. Other memorable artists \/ illustrators of he period were Jaeger, Tom Eckerssley and Brian Cook [Batsford] whom painted many extremely redolent and traditional images of the British Isles. These although perhaps not guide books nonetheless were an invitation to travel and explore which became a significant leisure pursuit of the 1950\u2019s and contributed to the demand for personal transport.<\/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. \nFor 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. Its suggested there will be catalogue for on line purchasing. \nIn particular exhibitions have a dual education and commercial role. Exhibitions provide the opportunity for merchandising in the widest context. This article has been developed with thought to maximizing merchandising.<\/p>\n Conclusion<\/strong><\/p>\n This article has been deliberately lengthy. It was felt that the subject was worth it. Colin Chapman and Lotus have somewhat been the subject of denigration since DeLorean and this is unfortunate as it distorts the facts and achievement. This article has been written to achieve an objective balance and to explain wider cultural concepts and how Chapman and Lotus made a dynamic interaction.<\/p>\n It is hoped that our subscribers and particularly those not privileged to have lived through the era will better understand the profound forces of change that occurred and how Chapman succeeded in dictating the speed of change.<\/p>\n Chapman and his engineering supporters designed and constructed in an extremely difficult medium. It was not passive and performing on a single or limited range of functions. The requirement of the motorcar through its range as result of physical forces is enormous. They increase with speed, as does the need for safety. Not only was Chapman an engineer he was cultured man with finely developed aesthetic that would not allow him to produce ugliness .He would only accept elegance and functionalism harmonized.<\/p>\n When we assess his achievements against others this should never be overlooked. \nIn the A&R editors minds there is little doubt that Chapman was one of the foremost engineers and Industrial designers of the second half of the 20c. This achievement has been possibly masked by the fact that he was too busy in the process of creation and allowed winning to be his judge. It\u2019s possible too those arbitrators of taste have struggled with an understanding of engineering and have preferred to elevate more modest and less complex pieces of machinery. \nThis article has also been constructed with the view to a thorough and detailed exhibition that is felt long overdue. \nAchievement and status like many things are capable of manipulation. To ignore or denigrate Chapman\u2019s achievement is counterproductive in Britain today desperately needing to produce engineers capable of providing innovation and employment.<\/p>\n In future issues we will explore the remaining decades. The A&R feels that one of the greatest omissions of authors writing about Lotus is the lack of the financial and economic analysis of the operation. The A&R will commit to this and if needed will make constructive models or projections and extrapolations based on known facts to better understand and interpret Lotus achievements. Not least will be that of exports. The analysis in the form of forensic accounting will enable analysis of profitability, productivity and Chapman as the entrepreneur; responding to changing markets and times; and not least on many occasions fighting for survival.<\/p>\n <\/strong>Reference:<\/strong> \nCollecting the 1950\u2019s.Madeleine Marsh. Chancellor Press.2005.<\/em> \nISBN:0753707667<\/em> \nBritish Design Since 1880.Fiona MacCarthy.Lund Humphries.1982 \nSBN: 853314470 \nThe Style of the Century. Bevis Hillier. Herbert Press.1998 \nISBN: 1871569931 \nDesign Since 1945. Thames and Hudson.1983 \nISBN:0500013241 \nIndustrial Design \nDavid Mellor \u2013Design.Teleri Lloyd-Jones. Antiques Collectors Club .2009 \nISBN: 9781851496037 \nThe New Look Design in the Fifties. Lesley Jackson. Thames and Hudson.1998. \nISBN:0500276447 \nRobin & Lucienne Day. Lesley Jackson. Mitchell Beasley.2001. \nISBN: 1840002395 \nA Century of Design. Penny Sparke.Mitchell Beasley.1998. \nISBN: 1840000007 \nThe Lotus Book<\/em> \nBritish Auto Legends.M.Zumbrunn.Merrell.2007.<\/em> \nISBN: 9781858944944<\/em> \nLotus: The Early Years. Peter Ross. Coterie .2004.<\/em> \nISBN: 978190235114<\/em> \nLotus: The First Ten Years. Ian Smith<\/em> \nGreat Cars of the 20th Century.Brown.Langworth.Publications International.1991 \nISBN:0831739355 \nThe Car Book. Dorling Kindersley.2012<\/em> \nISBN: 9781409378716 \nArchitecture.K.Richter.Prestel.2001. \nISBN: 3791325868 \n70 Wonders of the Modern World. Readers digest. \nISBN: 02764223801 \nArchitecture Source Book. Vernon Gibberd.Grange .1997 \nISBN: 184013822X \nArchitecture.Borden, Taylor etc. Herbert press.2008 \nISBN: 9780713688399 \n100 houses.Taschen.2004. \nISBN: 3822863122 \nAviation Video Library- Farnborough The golden Years 1949-1959<\/em> \nClassic Farnborough the 1960\u2019s .DD video. Barcode 5019322005469<\/em> \nSpecialist Sports Cars. Richard Heseltine.Haynes.2001.<\/em> \nISBN: 1859606903<\/em> \nHawker Hunter.F.K.Mason.Patrick Stephens.1985.<\/em> \nISBN:0850597846<\/em> \nBridget Bishop [Corry Bevington] website \nArchive and Resource Articles \u201cFestival of Britain\u201d and GPO Film and Documentary, Price Relativities and the Reconstruction of the Road Trip from Hornsey to Goodwood. \nThe A&R articles on Industrial Designers. \nThe National Archives Kew: The Rural Industries Bureau records \nHand and Machine in the Country. [The Annual Report of the R.I.B. April 1955-March 1956. *<\/em> \nBBC.2 Programme: The 1951 Festival of Britain: A Brave New World [shown 8.15pm 24th September 2011] \nRalph Tubbs \u201cLiving in Cities \u201c 1942 and \u201cThe Englishman Builds\u201d 1945 both published by Penguin. *<\/em> \nPicture Post 1938-1957. [Photographers including: Kurt Hutton, Francis Reiss, Thurston Hopkins, and Grace Robertson]. \nDesign of British Industry by Richard Stewart. Published by John Murray 1987 \nISBN :071954294 \nThe 1950\u2019s Scrapbook, complied by Robert Opie.New Cavendish Books 1998 *<\/em> \nColin Chapman :Inside the Innovator by Karl Ludvigsen*<\/em> \nThe Lotus Book by William Taylor*. Coterie .1999.<\/em> \nISBN: 1902351002<\/em> \nClassic and Sports Car. A-Z of Cars 1945-1970.Haymarket Publishing.1989. \nISBN: 1870979095<\/p>\n * And italics copies in Archive and Resource library.<\/em><\/p>\n 5. “Car\u201d Survey. October 2012.<\/strong><\/p>\n Introduction<\/strong><\/p>\n Assessment possesses a very human desire to debate and evaluate .It can be an important method of self-criticism and placement. It is a reasonably scientific approach. In simple terms its an elementary benchmarking and or measure of relativity. Best to worst. Almost any subject person \/object can be graded in this fashion. In some cases the assessment subject might be marked or scored. By taking a wide cross section there is reasonable expectation of fair representation. \nThe exercise might be performed and samples taken by one of many organizations or individuals\/ specialists. The outcomes might be seen as broader representation and have commercial overtones ranging from popular demand to values. \nRadio stations often run such exercises and it helps determine what is played. The BBC series on \u201cGreat Britons\u201d [see A&R related articles] are based on assessments. \nIt ought be noted that fashions and taste changes and this is desirable. However the exercise still tends to produce the \u201cclassics\u201d or stalwarts or well regarded and those making impressions. Conducting surveys at intervals is valuable to measure how and why assessments or perspectives change. \nThe A&R will report regularly on such surveys and conduct its own on line.<\/p>\n The \u201cCar\u201d 50 Greatest Cars<\/strong><\/p>\n See issue 603; October 2012 celebrating fifty years of Car magazine. \nVisit www.carmagazine.co.uk<\/a><\/p>\n The magazine editor relates to the 50 greatest cars survey by prefacing: \n\u201cThis is issue shows why the car is mans greatest invention; incredibly complex, perpetually advancing, often beautiful to behold and thrilling to operate, and providing freedom for you and your loved ones.\u201d \nThe editors of the A&R concur with these remarks. They apply in general [and if the \u201cgreatest invention\u2019 is a slight exaggeration we get the drift. \nThe statement is particularly relevant to the designs of Colin Chapman and Lotus.<\/p>\n As part of their survey they feature cars that possess that special \u201caesthetic quality\u201d and single out the Jaguar E Type, Chevrolet Corvette, Aston Martin DB5 and the Lamborghini Muria. The A&R editors believe that the aesthetic qualities of a car are important considerations and raise it above mere utility. As such elegant refined design whether it is a chair or bridge renders it with sculptural qualities and culture. \nThis issue of car is their fiftieth anniversary. It contains excellent reporting on several Lotus models [see below] also an article relating to six of the Bond cars including the Esprit SI. \nVery much reinforcing and integrating with other topics is a lengthy and quality article devoted to Giorgetto Giugiario. [See survey results and placing of the Lotus Esprit etc] \nThe A&R editors like the Car magazine and the editorial approach. Journalists articulate their subject graphically. This is felt to be a sharing experience. We are not all privileged to experience so many cars for practical and financial reasons. Rich and graphic language helps convey the experience and permit the layman a partial participation in the totality of the driving experience. \nTaken as a whole this is a good read.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Car Magazine Survey Sept.2102<\/strong><\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n <\/td>\n Readers Survey<\/td>\n <\/td>\n CAR Staff Survey<\/td>\n<\/tr>\n Place<\/td>\n Marque<\/td>\n Model<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n \n 1<\/p>\n<\/td>\n Porsche<\/td>\n \n 911<\/p>\n<\/td>\n <\/td>\n Porsche<\/td>\n \n 911<\/p>\n<\/td>\n<\/tr>\n \n 2<\/p>\n<\/td>\n Austin<\/td>\n Mini<\/td>\n <\/td>\n BMW<\/td>\n M3<\/td>\n<\/tr>\n \n 3<\/p>\n<\/td>\n McLaren<\/td>\n FI<\/td>\n <\/td>\n McLaren<\/td>\n F!<\/td>\n<\/tr>\n \n 4<\/p>\n<\/td>\n Volkswagen<\/td>\n Golf<\/td>\n <\/td>\n Volkswagen<\/td>\n Golf GTI<\/td>\n<\/tr>\n \n 5<\/p>\n<\/td>\n Jaguar<\/td>\n E Type<\/td>\n <\/td>\n Range Rover<\/td>\n<\/tr>\n \n 6<\/p>\n<\/td>\n Caterham<\/strong><\/td>\n Seven<\/strong><\/td>\n <\/td>\n Austin<\/td>\n Mini<\/td>\n<\/tr>\n \n 7<\/p>\n<\/td>\n Citroen<\/td>\n DS<\/td>\n <\/td>\n Jaguar<\/td>\n E Type<\/td>\n<\/tr>\n \n 8<\/p>\n<\/td>\n Range Rover<\/td>\n <\/td>\n <\/td>\n Lamborghini<\/td>\n Countach<\/td>\n<\/tr>\n \n 9<\/p>\n<\/td>\n Bugatti<\/td>\n Veryron<\/td>\n <\/td>\n Ferrari<\/td>\n \n 458<\/p>\n<\/td>\n<\/tr>\n \n 10<\/p>\n<\/td>\n Ferrari<\/td>\n F40<\/td>\n <\/td>\n Nissan<\/td>\n GT-R<\/td>\n<\/tr>\n \n 11<\/p>\n<\/td>\n Mini [BMW]<\/td>\n <\/td>\n <\/td>\n Honda<\/td>\n NSX<\/td>\n<\/tr>\n \n 12<\/p>\n<\/td>\n Lancia<\/td>\n Delta Integ’<\/td>\n <\/td>\n Lotus<\/em><\/strong><\/td>\n Elan<\/em><\/strong><\/td>\n<\/tr>\n \n 13<\/p>\n<\/td>\n Mazda<\/td>\n MX-5<\/td>\n <\/td>\n Aston Martin<\/td>\n DB5<\/td>\n<\/tr>\n \n 14<\/p>\n<\/td>\n Alfa Romeo<\/td>\n Alfasud<\/td>\n <\/td>\n Audi<\/td>\n Quattro<\/td>\n<\/tr>\n \n 15<\/p>\n<\/td>\n Audi<\/td>\n Quattro<\/td>\n <\/td>\n Citroen<\/td>\n 2CV<\/td>\n<\/tr>\n \n 16<\/p>\n<\/td>\n BMW<\/td>\n 5 Series<\/td>\n <\/td>\n Ford<\/td>\n Focus<\/td>\n<\/tr>\n \n 17<\/p>\n<\/td>\n Audi<\/td>\n A2<\/td>\n <\/td>\n Lotus<\/em><\/strong><\/td>\n Elise<\/em><\/strong><\/td>\n<\/tr>\n \n 18<\/p>\n<\/td>\n Nissan<\/td>\n GT-R<\/td>\n <\/td>\n Smart<\/td>\n Fortwo<\/td>\n<\/tr>\n \n 19<\/p>\n<\/td>\n Mercedes B’<\/td>\n S \u2013class<\/td>\n <\/td>\n BMW<\/td>\n 5-series<\/td>\n<\/tr>\n \n 20<\/p>\n<\/td>\n Ford<\/td>\n Focus<\/td>\n <\/td>\n Lamborghini<\/td>\n Miura<\/td>\n<\/tr>\n \n 21<\/p>\n<\/td>\n Peugeot<\/td>\n \n 205<\/p>\n<\/td>\n <\/td>\n Peugeot<\/td>\n 205 Gti<\/td>\n<\/tr>\n \n 22<\/p>\n<\/td>\n Honda<\/td>\n NSX<\/td>\n <\/td>\n Ferrari<\/td>\n 250 GTO<\/td>\n<\/tr>\n \n 23<\/p>\n<\/td>\n Ferrari<\/td>\n 458 Italia<\/td>\n <\/td>\n Chevrolet<\/td>\n Corvette<\/td>\n<\/tr>\n \n 24<\/p>\n<\/td>\n Ford<\/td>\n S’Cosworth<\/td>\n <\/td>\n Land Rover<\/td>\n Defender<\/td>\n<\/tr>\n \n 25<\/p>\n<\/td>\n Land Rover<\/td>\n Defender<\/td>\n <\/td>\n Mazda<\/td>\n MX-5<\/td>\n<\/tr>\n \n 26<\/p>\n<\/td>\n Lotus<\/strong><\/td>\n Elise<\/strong><\/td>\n <\/td>\n Rolls-Royce<\/td>\n Phantom<\/td>\n<\/tr>\n \n 27<\/p>\n<\/td>\n Lamborghini<\/td>\n Miura<\/td>\n <\/td>\n Ferrari<\/td>\n F40<\/td>\n<\/tr>\n \n 28<\/p>\n<\/td>\n Ford<\/td>\n Mustang<\/td>\n <\/td>\n Saab<\/td>\n 99 Turbo<\/td>\n<\/tr>\n \n 29<\/p>\n<\/td>\n Ford<\/td>\n GT 40<\/td>\n <\/td>\n Lancia<\/td>\n Integrale<\/td>\n<\/tr>\n \n 30<\/p>\n<\/td>\n Citroen<\/td>\n 2CV<\/td>\n <\/td>\n Mercedes-B<\/td>\n S-class<\/td>\n<\/tr>\n \n 31<\/p>\n<\/td>\n Sabaru<\/td>\n Impreza<\/td>\n <\/td>\n Lancia<\/td>\n Stratos<\/td>\n<\/tr>\n \n 32<\/p>\n<\/td>\n BMW<\/td>\n M3<\/td>\n <\/td>\n Ariel<\/td>\n Atom<\/td>\n<\/tr>\n \n 33<\/p>\n<\/td>\n Aston Martin<\/td>\n DB5<\/td>\n <\/td>\n Renault<\/td>\n \n 4<\/p>\n<\/td>\n<\/tr>\n \n 34<\/p>\n<\/td>\n Lamborghini<\/td>\n Countach<\/td>\n <\/td>\n Ford<\/td>\n Mustang<\/td>\n<\/tr>\n \n 35<\/p>\n<\/td>\n Saab<\/td>\n \n 99<\/p>\n<\/td>\n <\/td>\n Bugatti<\/td>\n Veyron<\/td>\n<\/tr>\n \n 36<\/p>\n<\/td>\n Mercedes<\/td>\n E \u2013class<\/td>\n <\/td>\n Mitsubishi<\/td>\n Evo<\/td>\n<\/tr>\n \n 37<\/p>\n<\/td>\n Toyota<\/td>\n Corolla<\/td>\n <\/td>\n Subaru<\/td>\n Impreza<\/td>\n<\/tr>\n \n 38<\/p>\n<\/td>\n Mercedes B’<\/td>\n SL<\/td>\n <\/td>\n Fiat<\/td>\n Panda<\/td>\n<\/tr>\n \n 39<\/p>\n<\/td>\n Lancia<\/td>\n Stratos<\/td>\n <\/td>\n Jensen<\/td>\n FF<\/td>\n<\/tr>\n \n 40<\/p>\n<\/td>\n Audi<\/td>\n TT<\/td>\n <\/td>\n Lexus<\/td>\n LS400<\/td>\n<\/tr>\n \n 41<\/p>\n<\/td>\n Chevrolet<\/td>\n Corvette<\/td>\n <\/td>\n Alfa Romeo<\/td>\n Alfasud<\/td>\n<\/tr>\n \n 42<\/p>\n<\/td>\n Jensen<\/td>\n FF<\/td>\n <\/td>\n Renault<\/td>\n \n 5<\/p>\n<\/td>\n<\/tr>\n \n 43<\/p>\n<\/td>\n Porsche<\/td>\n \n 959<\/p>\n<\/td>\n <\/td>\n Citroen<\/td>\n DS<\/td>\n<\/tr>\n \n 44<\/p>\n<\/td>\n Fiat<\/td>\n Panda<\/td>\n <\/td>\n Ford<\/td>\n S’Cosworth<\/td>\n<\/tr>\n \n 45<\/p>\n<\/td>\n Vauxhall<\/strong><\/td>\n Lotus Carlton<\/strong><\/td>\n Caterham<\/em><\/strong><\/td>\n Seven<\/em><\/strong><\/td>\n<\/tr>\n \n 46<\/p>\n<\/td>\n Renault<\/td>\n \n 4<\/p>\n<\/td>\n <\/td>\n Jaguar<\/td>\n XJ6<\/td>\n<\/tr>\n \n 47<\/p>\n<\/td>\n Renault<\/td>\n \n 5<\/p>\n<\/td>\n <\/td>\n NSU<\/td>\n Ro80<\/td>\n<\/tr>\n \n 48<\/p>\n<\/td>\n Porsche<\/td>\n Boxter<\/td>\n <\/td>\n Fiat<\/td>\n Multipla<\/td>\n<\/tr>\n \n 49<\/p>\n<\/td>\n Lotus<\/strong><\/td>\n Elan<\/strong><\/td>\n <\/td>\n Lotus<\/em><\/strong><\/td>\n Carlton<\/em><\/strong><\/td>\n<\/tr>\n \n 50<\/p>\n<\/td>\n Fiat<\/td>\n Multipla<\/td>\n <\/td>\n Lotus<\/em><\/strong><\/td>\n Esprit<\/em><\/strong><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n The A&R Interpretation of Survey Results.<\/strong><\/p>\n In such a survey it would be wise to know what was the size, response rate and who were the participants. [If identified in greater detail than readership] Demographics have an impact. It seems that readers were offered a shortlist from which to select. The evidence suggests this was restricted to post WWII cars. There is a tendency for humans to select the dream or super cars of their youth that remain indelibly in the mind or alternatively those cars that have been owned. Their assessments tend to be coloured by experts who test drive and report. How else could they make estimations of certain super cars? However in the absence of this information does not distract. We might make some assumptions not least from the readership base of the magazine and its history, current style and its journalists.<\/p>\n An extra strength or counterpoise to the public survey is that of staff. These individuals may have been privileged to drive and more objectively assess all models under consideration. They might have already entered the exercise with a subconscious benchmarking which perhaps is an occupational hazard. Even here within a specialist group with direct experience there is a degree of balance as result of age, experience and probable debate and persuasion.<\/p>\n The A&R editors observe that Lotus as usual do well both in the reader and staff survey. \nThe readers placed the Caterham [Lotus Seven derived] in joint fifth place alongside the Jaguar E Type!! , the Elise in 26th jointly with the Miura and the Vauxhall Lotus Carlton in 45th and the Elan 49th. Thus holding four places in the top fifty and one in the top ten. \nThe staff survey contains five Lotus models. Perhaps the most significant contrast is the placement of the Caterham\/Lotus Seven and Elan in near reverse positions. The Elise was respectively 26th with readers and 17th with staff.<\/p>\n \u201cCar\u201d articulates is reasoning in smaller detailed descriptions of the Esprit, Caterham\/Lotus Seven, Elise and the Elan.<\/p>\n The A&R editors note some interesting similarities and contrasts between the two groups. Both shared the perspective regarding the Porsche 911 and a tendency to broad agreement. \nThe reader survey seems to indicate a preference for practical performance cars that are affordable, useable and accessible to the majority. The high placing of the Caterham Seven might be attributed to second car ownership and the pure driving pleasure it represents v the commute. Readers also like cars with strong aesthetic appeal and or raw performance and this touches on wishful thinking and the powerful imagery that the super car can project.<\/p>\n The staff assessment as noted is in broad agreement. Staff are possible more occupationally disciplined to fixed criteria and perhaps able to measure nuisances as result of experience and the very great number of cars that they test. Both are valuable.<\/p>\n The A&R editors are interested in the fact that readers may buy second hand and this and serving \/ quality issues might colour their impressions particularly with older classic cars. Whereas cars provided to the magazine might have been prepared in anticipation. The driving experiences might be very different. Neither party will perhaps have experience of the Ferrari GTO!! Because of their value. Which is of course is a shame.<\/p>\n The A&R note there are some glaring omissions but accept this might be due to manufacturers not making cars available or small production numbers owners willing to loan for objective testing or perhaps insurance at very practical level.<\/p>\n Overall the A&R editors concurred with the results. The evidence is that Lotus is respected. The Elan is well-regarded fifty years on. It\u2019s very possibly that manufacturers use benchmarking to assess their products. The A&R will continue to record the democratic evidence of experts and the public for we too use the information. In our case its function is justify the evidence for the proposed CCM&EC based on the fact that Chapman\u2019s cars have and remain so influential. When so many are included in a survey of this type its very evident they are part of the cultural landscape.<\/p>\n As we are totally biased we thought a photo of each Lotus mentioned was just about right.(Editors discretion)<\/p>\n  <\/p>\n <\/a> <\/a> <\/a><\/p>\n <\/a><\/p>\n <\/a><\/p>\n <\/strong>The Proposed CCM&EC<\/strong><\/p>\n The proposed museum believes that commercial considerations are both necessary and complementary with its educational objectives. \nFor 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. Its suggested there will be catalogue for on line purchasing. \nIn particular the museum ought conduct surveys such as the \u201c Cars\u201d magazine. This can be done both on line and from visitors. There is significant information to be gained not least relating to acquisition policy but also exhibitions. Contained within surveys is a deep inherent educational opportunity. It can be used to make students more analytical and expose then to engineering \/ production costs\/ problems and outcomes. The museum exhibits and archive might be interrogated as part of the education search and evaluation exercise. \nIn addition surveys render invaluable commercial information regarding taste and preference and this can be invaluable with regard to merchandising. The proposed CCM&EC although conceived as non-for profit organization must be commercially driven and market analysis is imperative to remain on top of trends. Benchmarking is an invaluable tool for placing exhibits in various peer and competition contexts and provides related merchandising opportunities beyond the dedicated marque.<\/p>\n 6. Lotus book.. One for the library<\/strong><\/p>\n BOOK REVIEW<\/strong><\/p>\n AUTHOR: Edited by the staff of \u201cMotor Racing \u201c magazine \nTITLE: Motor Racing Year 1967-68 & 1968-9 \nPUBLISHER: Knightsbridge Publication \nDATE: 1967 &1969 \nISBN: None \nARCHIVE AND RESOUCE COPY: YES \u2013 both. \nThese slim small format books 170 x220mm] are very evocative of the era. Printed in black and white the covers are over a light yellow background and spine; containing period advertisements etc \nThey are beautifully illustrated by the best photographers of the era including Geoff Goddard [see A&R article] and Lotus is well represented. They run to 130 pages approximately. Several branches of motor sport are included although FI is the main focus. \nThe 67\/68 edition contains some of the following:<\/p>\n \n \n 1967-Season of Contrasts by Cyril Posthumus<\/li>\n Ford\u2019s Dominant Dutch Debut [relates to Lotus 49]<\/li>\n Clark\u2019s Fifth \u201cBritish\u201d<\/li>\n Denny Makes It Two [German Grand Prix]<\/li>\n Surtees\u2019 \u201cRace of the Century\u201d [Italian Grand Prix]<\/li>\n A Lucky pair of Loti [United States Grand Prix]<\/li>\n Cars in Profile \u2013 a sidelong glance at some of the top- class competition cars of 1967 which includes a side elevation scale drawing and brief details of the Lotus 47 and Lotus 49<\/li>\n The Power Game,\u201967- primarily a photographic record with detailed captions of the respective FI engines including the Repco 747 V8,Weslake V12, Ferrari V12, Cosworth \u2013Ford V8,BRM H16,Honda V12<\/li>\n On circuit \u2013 both home and abroad contains sports racing cars and Can-am<\/li>\n Closed Shop \u2013 Nick Brittan outlines the 1967 saloon car scene with strong photograph of Graham Hill driving Cortina CTC 14E<\/li>\n<\/ul>\n<\/div>\n The 1968-69 edition has a very distinctive photograph of Graham Hill seen in the cockpit taken from the rear of the car. This volume is coloured by the sad loss of Jim Clark. \nThe contents include some of the following;<\/p>\n \n \n 1968-Year of Triumphs and Tragedies by John Blunsden<\/li>\n Clark and Hill right on top [ South African Grand Prix]<\/li>\n Reliable Lotus beats front runners[ Spanish Grand Prix]<\/li>\n Hill makes it four around the houses [Monaco Grand Prix]<\/li>\n Matra 1-2 for Stewart and Betoise [Dutch Grand Prix]<\/li>\n Hulme crashes, Stewart fades, Hill wins title[ Mexican Grand Prix]<\/li>\n The sports finest ambassador [ tribute to Graham Hill]<\/li>\n The biggest new attraction in years- John Blunsden looks at Formula 5000<\/li>\n Abundance in clubs with photographs of Lotus Cortina and Barry Flegg\u2019s Lotus 7<\/li>\n<\/ul>\n<\/div>\n Overall they are very attractive volumes. The editor feels that the photography in particular being current and contemporary is better than more recent works that often rely on photo \u2013library images. Authentic they capture the era and prevailing culture. Lotus and their drivers are captured and being objective even when the wheels are falling off!!<\/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. Its suggested there will be catalogue for on line purchasing.<\/p>\n In particular it\u2019s suggested that the proposed CCM&EC retains a permanent library. That this is available for research and also as a commercial research service.<\/p>\n Additionally books can be retailed including both new and second hand.<\/p>\n Should any of our subscribers wish for more information on any book reviewed please ask. \nThe A&R editors are always receptive to suggestions for book reviews again please ask we will endeavour to help.<\/p>\n <\/a><\/p>\n 7. Lotus collectables<\/strong><\/p>\n <\/strong>1963 Jim Clark LOTUS CLIMAX F1 GP MK25 CAR 50-STAMP SHEET (Nui, Tuvalu 1985)<\/a><\/p>\n <\/a><\/p>\n 8. Lotus interest on \u201cYoutube\u201d<\/strong><\/p>\n One item on Youtube maybe of interest our readers \nA lot of great footage.<\/p>\n Lotus Elise <\/a><\/p>\n The Elise due for release in 2015 is a sexy, agile beast of a car. Finally the Elise comes of age.<\/p>\n  <\/p>\n Thank you for your continued interest and support<\/p>\n Editors of the newsletter \nJohn Scott-Davies \nNeil Duncan \nJamie Duncan (webmaster)<\/p>\n","protected":false},"excerpt":{"rendered":" Colin Chapman Museum and Education Centre Newsletter December 2012 Newsletter – Number 39 Lotus photo\u2019s you may not have seen. Museums around the world you may not have heard of: Museo dell’Automobile Turin Questions from our readers Lotus: Design Decades: Inception 1948 -1959 \u201cCar\u201d Survey. October 2012 Lotus books one for the library Lotus collectables […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":343,"menu_order":5,"comment_status":"closed","ping_status":"open","template":"","meta":{"_mi_skip_tracking":false,"footnotes":""},"_links":{"self":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/354"}],"collection":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=354"}],"version-history":[{"count":6,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/354\/revisions"}],"predecessor-version":[{"id":3932,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/354\/revisions\/3932"}],"up":[{"embeddable":true,"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=\/wp\/v2\/pages\/343"}],"wp:attachment":[{"href":"http:\/\/www.colinchapmanmuseum.co.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}