Futuro – A New Stance for Tomorrow

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Writing about Evoluon a couple of years ago I mentioned my affection for all those one-off Space-Age constructions with suitably science-fictional names: Evoluon, Skylon, Atomium, Space Needle… You could add Futuro to this list, a micro-building in comparison to the latter pair, with a similar flying-saucer styling as Evoluon. Futuro wasn’t a one-off design, however, but a prefabricated dwelling intended for mass production. The original plan by Finnish architect Matti Suuronen was for a plastic ski lodge that would be light, easy to assemble and quick to heat. The prototype he built in 1968 caught the imagination of investors, and other uses were soon proposed. The ski-lodge idea was thwarted by planning regulations but the Futuro was modestly successful all the same, and might have been a much bigger success in the United States if the oil crisis of 1973 hadn’t raised the cost of the plastics used in its construction. Enough Futuros were sold before production ended that many of them are now scattered around the world, some in better condition than others (see The Futuro House for details). One of the early models was bought in 1971 by the mayor of Todmorden, a small town in Yorkshire, which yielded the photograph below.

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There’s no mention of the Todmorden Futuro in Mika Taanila’s short documentary film, Futuro – A New Stance for Tomorrow, but we do get to see many of the others in photographs, brochures, magazine features and period footage. Taanila made his film in 1998 when Matti Suuronen and some of the people who worked with him or helped promote the Futuro were still around to be interviewed.

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The film isn’t greatly informative—we learn very little about the design or construction processes, or about potential drawbacks or problems—it’s more a snapshot of an era when industrial design was proposing radical solutions with new materials, plastics in particular. I find the whole idea of the Futuro inherently attractive, and I’d like to know why we don’t see more general-purpose architecture of this kind. Buildings with curved walls have never been popular as housing—furniture is difficult to site, and you can’t easily hang pictures or mirrors on a curved surface—but they can serve other purposes. The Futuro, like other buildings of its kind, gestures to a future that still hasn’t arrived.

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Previously on { feuilleton }
• A Day of Expo 70
• Impressions of Expo 67
• Expositiana
• Evoluon
• The world of the future
• Space Needle USA

Passage 15

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Directing your attention elsewhere again today, to the latest edition of Passage the Dutch webzine run by my good friend Ed Jansen. Number 15 is described thus:

Passage 15 is, with a few exceptions, entirely devoted to art. Images govern our lives, literally and figuratively. Gaudier-Brzeska nearly a hundred years ago and Antony Gormley today affect our way of looking. Odd Nerdrum does so with his painting on a very different way. The music of Polly Jean Harvey made us curious about her sources of inspiration. The piece about Gallipoli is actually a kind of enormous footnote to her latest cd “Let England Shake”. The photo section provides an overview of exhibitions and performances in the past few months in and around The Hague, Netherlands.

Seeing Gaudier-Brzeska’s sculptures reminds me that I haven’t seen Ken Russell’s film of the artist’s life, Savage Messiah, for many years. The large Antony Gormley work on the cover (Exposure) makes a welcome change from the artist’s cast-iron clones. I’m still waiting for Gormley to create the Ejaculating Man, a seawater-spurting statue he proposed for Seattle. It was rejected, of course, and it’s difficult to imagine any American city exhibiting something of that nature given the current climate. Maybe he should try Amsterdam.

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Back at Ed’s work, his varied Flickr stream includes some recent views of Futuro, a mobile holiday home designed by Matti Suuronen in 1968. What was once futuristic now has a Jetsons-like retro glamour.

Previously on { feuilleton }
• Passage 14
• Passage 13
• Passage 12
• Passage 11
• Passage 10