President of the Foundation ‘Science. Art. Technologies’ on the synthesis of disciplines, cultural heritage and inspiration for new generations
Elena Orlova - President of the Foundation ‘Science. Art. Technologies’, an expert in the field of impression economy and cultural heritage, the author of unique exhibition projects and professional skills development programmes. Her work unites science, art and technology, creating a platform for dialogue between generations and cultures. Ahead of the Space Revision workshop, we discussed with Elena the role of interdisciplinary approach, the influence of historical artefacts on contemporary design and the future of space architecture.
- Your foundation brings together science, art and technology. How does this synthesis help young architects design objects for extreme environments, such as space modules?
- Interdisciplinarity is not just three words, but deep interaction. Science provides the foundation: without accurate calculations and engineering solutions, safe structures are impossible. Technology provides the tools - from advanced materials to digital modelling. Art, on the other hand, adds aesthetics and ergonomics, which is critical when space is limited. For example, our collection includes consumer electronics from the Space Age (60-80s of the 20th century), where the rounded shapes of radios and televisions are not only an unusual ‘space’ design, but also modern technology of the time, as well as compactness of the objects to take them with you on a walk or on a trip.
The astronauts with whom we discuss the items in our collection emphasise that comfort and visual harmony are very important in space. Colours should be soothing and shapes should minimise stress. It's not just design - it's a psychology that becomes part of architecture.
- How does the aesthetics of earthly objects differ from space objects?
- On Earth, we can afford to experiment with bright colours and complex shapes. In space, functionality dominates. But even there, there is room for beauty!
- Your exhibitions, such as ‘Space Design - The Way of the Future’, include objects from different countries. How does this foster international co-operation?
- The space age inspired not only the USSR or the USA, which had the first programmes to explore extraterrestrial space. In the 60s, Japanese, Italian and German designers created televisions, telephones and radios in a ‘space’ style. These objects, like our TV set in the shape of an astronaut's helmet, show how global achievements became part of the everyday life of citizens from all over the world.
When foreign visitors come to the exhibition, they see how their culture participated in this dialogue. It is a soft power that unites through a shared heritage. For example, objects like those in our collection are on display at New York's Museum of Modern Art, London's V&A and other renowned museums around the world - recognising art as a universal language of communication.
- What piece from your collection best connects the past and the future?
- The mosaic panel ‘The Conquest of Space’. It was created in the 1970s, but we gave it a new life by turning it into an interactive art object. Its scale (more than 20 metres) and bright colours attract young people. Students take photos against its backdrop, and for us it is a symbol of continuity: historical achievements inspire innovation.
- Besides technical competences, what competences are important for space architects?
- Knowledge of psychology and understanding of human needs. In enclosed spaces, it is important to think about areas of privacy. For example, Finnish designers of the 60s created capsule chairs - a prototype of personal spaces in space. Such solutions are still relevant today.
- Should extraterrestrial modules carry elements of earthly aesthetics?
- Absolutely. Psychological comfort is based on recognisability. Astronauts take family photos and small memorabilia with them, and in the interiors of extraterrestrial modules it is important to use colours reminiscent of nature. Our collection shows how 60s design incorporated space motifs into everyday life - a lesson for the future: even in technology it is important to preserve the human.
- What trends will be the basis for the breakthrough in space architecture?
- Miniaturisation and adaptability. In the 60s, transistors made it possible to create portable technology; today, nanotechnology and AI are opening up new horizons. For example, modular furniture that can be transformed to suit the crew's needs, or smart materials that regulate light and temperature.
- How can young designers use your collection to generate ideas?
- Observation is the key to creativity. In the Space Age, televisions were round and radios were like art objects. Now all appliances look standardised and similar to each other, but when you study archive projects, you can find unexpected solutions. For example, a hoover in the shape of Saturn from our collection is the creativity of industrial designers of the 60s as a way out of template thinking.
- Are there any ‘outdated’ solutions that can make a comeback in space design?
- Rounded shapes and analogue interfaces. In weightlessness, sharp corners are dangerous, and tactile panels (like on retro radios) are more comfortable than touchscreens. This is not nostalgia, but time-tested pragmatism.
The work of Elena Orlova and her foundation is a bridge between eras and disciplines. From the restoration of mosaics to workshops for young architects, each project emphasises that the future is built on the synthesis of science, art and technology. As Elena notes, ‘Space is the victory of reason and labour, but without beauty and humanity, this victory loses its meaning’.
Elena Orlova - President of the Foundation ‘Science. Art. Technologies’, an expert in the field of impression economy and cultural heritage, the author of unique exhibition projects and professional skills development programmes. Her work unites science, art and technology, creating a platform for dialogue between generations and cultures. Ahead of the Space Revision workshop, we discussed with Elena the role of interdisciplinary approach, the influence of historical artefacts on contemporary design and the future of space architecture.
- Your foundation brings together science, art and technology. How does this synthesis help young architects design objects for extreme environments, such as space modules?
- Interdisciplinarity is not just three words, but deep interaction. Science provides the foundation: without accurate calculations and engineering solutions, safe structures are impossible. Technology provides the tools - from advanced materials to digital modelling. Art, on the other hand, adds aesthetics and ergonomics, which is critical when space is limited. For example, our collection includes consumer electronics from the Space Age (60-80s of the 20th century), where the rounded shapes of radios and televisions are not only an unusual ‘space’ design, but also modern technology of the time, as well as compactness of the objects to take them with you on a walk or on a trip.
The astronauts with whom we discuss the items in our collection emphasise that comfort and visual harmony are very important in space. Colours should be soothing and shapes should minimise stress. It's not just design - it's a psychology that becomes part of architecture.
- How does the aesthetics of earthly objects differ from space objects?
- On Earth, we can afford to experiment with bright colours and complex shapes. In space, functionality dominates. But even there, there is room for beauty!
- Your exhibitions, such as ‘Space Design - The Way of the Future’, include objects from different countries. How does this foster international co-operation?
- The space age inspired not only the USSR or the USA, which had the first programmes to explore extraterrestrial space. In the 60s, Japanese, Italian and German designers created televisions, telephones and radios in a ‘space’ style. These objects, like our TV set in the shape of an astronaut's helmet, show how global achievements became part of the everyday life of citizens from all over the world.
When foreign visitors come to the exhibition, they see how their culture participated in this dialogue. It is a soft power that unites through a shared heritage. For example, objects like those in our collection are on display at New York's Museum of Modern Art, London's V&A and other renowned museums around the world - recognising art as a universal language of communication.
- What piece from your collection best connects the past and the future?
- The mosaic panel ‘The Conquest of Space’. It was created in the 1970s, but we gave it a new life by turning it into an interactive art object. Its scale (more than 20 metres) and bright colours attract young people. Students take photos against its backdrop, and for us it is a symbol of continuity: historical achievements inspire innovation.
- Besides technical competences, what competences are important for space architects?
- Knowledge of psychology and understanding of human needs. In enclosed spaces, it is important to think about areas of privacy. For example, Finnish designers of the 60s created capsule chairs - a prototype of personal spaces in space. Such solutions are still relevant today.
- Should extraterrestrial modules carry elements of earthly aesthetics?
- Absolutely. Psychological comfort is based on recognisability. Astronauts take family photos and small memorabilia with them, and in the interiors of extraterrestrial modules it is important to use colours reminiscent of nature. Our collection shows how 60s design incorporated space motifs into everyday life - a lesson for the future: even in technology it is important to preserve the human.
- What trends will be the basis for the breakthrough in space architecture?
- Miniaturisation and adaptability. In the 60s, transistors made it possible to create portable technology; today, nanotechnology and AI are opening up new horizons. For example, modular furniture that can be transformed to suit the crew's needs, or smart materials that regulate light and temperature.
- How can young designers use your collection to generate ideas?
- Observation is the key to creativity. In the Space Age, televisions were round and radios were like art objects. Now all appliances look standardised and similar to each other, but when you study archive projects, you can find unexpected solutions. For example, a hoover in the shape of Saturn from our collection is the creativity of industrial designers of the 60s as a way out of template thinking.
- Are there any ‘outdated’ solutions that can make a comeback in space design?
- Rounded shapes and analogue interfaces. In weightlessness, sharp corners are dangerous, and tactile panels (like on retro radios) are more comfortable than touchscreens. This is not nostalgia, but time-tested pragmatism.
The work of Elena Orlova and her foundation is a bridge between eras and disciplines. From the restoration of mosaics to workshops for young architects, each project emphasises that the future is built on the synthesis of science, art and technology. As Elena notes, ‘Space is the victory of reason and labour, but without beauty and humanity, this victory loses its meaning’.