The relationship between design and science fiction is a long and enduring one. Similar to the way that The Simpsons predicts many global events (Donald Trump rising to presidency, for one), science fiction has used design to forecast what the upcoming years and decades might look, function and feel like. Take Olivier Mourgue’s Djinn seating series for Stanley Kubrick’s 2001: A Space Odyssey (1968), which was was designed to be low-slung with a steel frame padded in foam and upholstered, appearing like one smooth piece of material that could easily live in the clouds or in the year 3,000. At the time of the film’s release, the chair was already seven years old, but it quickly became a design icon for the way it foretold a future marked by ergonomics, foam, round silhouettes and modern living. Eero Aarnio’s Tomato Chair (1971) for Barry Sonnenfeld’s Men in Black (1997) had a similar effect with its circular form, or so-called design ‘without edges’; as did Pierre Paulin’s Ribbon Chair for Denis Villeneuve’s Blade Runner 2049 (2017), with its tubular steel frame, foam structure and fabric upholstery.
What was first mapped out by science fiction has now become a reality. And in reverse, many designers sought – and still seek – inspiration from the genre. In a new exhibition from Vitra Design Museum, entitled Science Fiction Design: From Space Age to Metaverse, this reciprocal relationship between sci-fi and design is explored and illustrated through over 100 objects from the museum’s collection. Staged by Argentine visual artist and designer Andrés Reisinger, viewers can marvel at designs from Gae Aulenti, Eero Aarnio, Luigi Colani, Joe Colombo and Verner Panton. Below, Anima chats to Susanne Graner, head of collection at Vitra Design Museum and curator of the exhibition, about sci-fi’s long-lasting influence on design, how the genre can address topics such as climate change and AI, and how it might influence the decades to come.
The relationship between science fiction and design is an iconic and longstanding one. Why focus on this topic now for this exhibition?
In our work with design objects, we’ve noticed a significant overlap with science fiction. Design classics often feature in sci-fi films, creating a backdrop for future visions. Simultaneously, science fiction, in literature or film, inspires designers to create future-oriented designs.
Our exhibition showcases futuristic design objects from the early 20th century to now. We also explore what happens to design when boundaries in physical spaces dissolve, a relevant question in today’s digital age where the line between virtual and augmented reality is blurred. This exhibition celebrates the reciprocal relationship between design and science fiction, highlighting their mutual influence.
What are the key elements that define 'science fiction design’, and how has it evolved over time?
Sci-fi as a genre emerged in the mid-19th century and became popular at the beginning of the 20th century, coinciding with the rise of industrial design. Particularly during the so-called Space Age, an incredible amount was happening in design, which was dominated by the spirit of innovation: new materials, shapes and ideas about how people would like to live in the future. Even today, the search for material innovations continues to drive many designers. Now, however, it is a question of addressing current problems such as recyclability and sustainability. Noteworthy material innovations of our time are the likes of algae and fungal mycelium.
The science fiction genre has always focused on the present as well as the future: about the promise and threat of the unknown, the hopes and ethical concerns raised by new technologies and the fundamental human questions about love, war and deathSusanne Graner
Can you elaborate on the reciprocal relationship between science fiction and design, and how each has historically influenced the other?
The relationship between science fiction and design is indeed reciprocal and they have informed each other in the past. Science fiction often shows visions of future technologies, societies and challenges. These visions can inspire designers to create new products, services and experiences. For example, modern-day technology was once only imagined in science fiction, such as holograms, AI or video calls. Designers have taken these concepts and worked to make them a reality.
On the other hand, design also influences science fiction. The work of designers can influence the way science fiction writers imagine the future. For example, the design of existing technologies and the understanding of scientific principles can influence the creation of believable, futuristic technologies in science fiction. Often, particularly avant-garde design products, which we now often refer to as ‘design icons’, are also used in set design to illustrate these stories.
How has the approach to science fiction design changed with advancements in technology, such as computer-aided design and 3D printing? Can you give an example from the exhibition?
One of the most impressive examples is certainly the Sketch Furniture series from the Swedish design team Front from 2005. All designs are drawn in the air with the help of a digital pen, the data is then processed by the computer and forwarded to a 3D printer. Even if this is still more of an experiment, it has shown how technical progress can influence the design of furniture.
How does science fiction design address contemporary issues like climate change and artificial intelligence, and what role does it play in shaping public discourse around these topics?
The science fiction genre has always focused on the present as well as the future: about the promise and threat of the unknown, the hopes and ethical concerns raised by new technologies and the fundamental human questions about love, war and death. We also see an exploration of themes surrounding the future of design – just think of the Ore Stream project by Studio Formafantasma, that addresses the downside of our digital enthusiasm. The Low Chair is a result of their exploration of strategies for reducing and recycling electronic waste.
Can you pick out some highlights from the exhibition that visitors should know about?
It is exciting to see the visions that were conjured up in sci-fi literature from the 1920s to the 1950s! For example, Hugo Gernsback, a visionary publisher, anticipated numerous technical developments in a novel from 1911 that later became reality – television, manned space travel, the video phone and fax machine. He was also responsible for making science fiction accessible to a mass audience with his so-called pulp magazines Amazing Stories and Wonder Stories.
The Tulip chair designed by Eero Saarinen was launched in 1958. The first single-leg chair with a plastic shell, it continues to rank among the icons of furniture design. Also described as a ‘pedestal’ chair, it famously provided the model on which Canadian designer Maurice Burke based his No. 116 chair (1966). Although his variation has a starburst instead of a round base, the rest of the design is an exact copy of Saarinen’s original. Equipped with a padded headrest, it is ubiquitous in Star Trek interiors.
The digital rendering of the Hortensia Chair posted by designer Andrés Reisinger on Instagram in July 2018 caused a viral sensation and became part of the first wave of NFT designs. Its instant success prompted Reisinger to look for a collaborator to help him turn his digital design into a tangible object and he teamed up with fellow designer Julia Esqué. Their biggest challenge was to translate the digital design’s blossom effect into reality. The version shown here is from the first series of a limited edition of only 15 chairs.
Designers will have more tools at their disposal to create immersive experiences that were previously only possible in science fictionSusanne Graner
Looking ahead, how do you envision the dialogue between science fiction and design evolving over the next decade?
The dialogue between science fiction and design is a dynamic process that will continue to evolve based on societal needs, technological advances and creative imagination. This will lead to the development of more holistic and innovative solutions. With advances in VR and AR technologies, the boundaries between science fiction and design are becoming increasingly blurred. Designers will have more tools at their disposal to create immersive experiences that were previously only possible in science fiction. As science fiction explores possible futures and the impact of technology, it often raises important ethical questions. These discussions are increasingly influencing design decisions and challenging designers to consider the ethical implications of their work, such as the impact on our environment.
Science Fiction Design From Space Age to Metaverse is on display in the Vitra Schaudepot from 18th May 2024 until 11th May 2025.
