Space exploration was undoubtedly one of the particularly important strategic priorities for both political powers. The very latest scientific discoveries, materials and equipment were used for the needs of the field. These were unique, high-quality objects, with just as qualitative and artistic design as the objects which were given the status of state secrets. Because of this, designers who worked in military or related industrial manufacturing had to sign a contract with security organisations about the confidentiality of state secrets. Of course, this did not exclude the possibility that designs could receive copyright certificates – an attestation to the aesthetic quality which is demonstrated by the items made by Valdis Celms and Arturs Riņķis.
The artist Valdis Celms, studying in the final year of the Industrial Art (design) Department at the Latvian Academy of Art, in 1969 received an offer to become involved in the creation of the visual design of the antenna of the radio telescope at the Baldone Observatory of the Academy of Science. In accordance with USSR military plans, it was envisaged to build three radio telescopic antennae at Baldone for the measurement of distance in space. Of course, the facility, intended for use in the space research programme, was placed under the strict monitoring and control of the USSR armed forces.
When Valters Ezeriņš – the professional designer responsible for design at the Baldone obervatory – invited Valdis Celms, the antenna was already technically designed. Initially the visual designs for the antenna were created in collaboration with the artist Jånis Ancîtis, however Celms’ designs soon seemed more appropriate, and he continued the work on his own. The artist had to take heed of various guidelines: the completed antenna was to be 30m in diameter, up to 40m high, and movable along specially constructed tracks. To achieve mechanical and optical harmony, Celms proposed to distribute the shapes of the antenna using the principle of balance, including while the antenna was in different stages of operation. The main shapes in the construction of the antenna – a cone and cylinder – were reflected in its outer design, but the metal studs were covered in order to protect the metal construction from overheating and deformation.
Work on the sketches and drawings continued for over a year. In early 1971 a moveable model was made of wood, metal and plasticine. The model was photographed from various angles, and in each of these one can discern that a balance of the forms has been achieved, which helps to create a harmonious look and simultaneously demonstrates a definite upwards movement. Valdis Celms’ design for the radio telescope antenna was appraised by various experts and commissions, and was approved, but the implementation of the project in Latvia was interrupted. The plans of the military leadership of the Soviet Union changed – it was decided to locate the antenna in the Crimea, where work on the designs would be begun again from scratch. Over time, the Latvian working was has destroyed, and Celms’ design for the Baldone Obseratory radio telescope antenna has been preserved only in sketches and photographs, by chance gaining the aura of a utopian project.
The objects designed by artist Arturs Riņķis for military and nationally strategic reasons have had a slightly more successful fate. Some of the artist’s designs were industrially manufactured, and some life-size models, sketches and presentation panels have been preserved, which can be considered as art works with individual value. All of the works mentioned are related to the years 1974 to 1977, when the artist worked at the Riga scientific research institute for the production of radioisotope equipment, which was located at Ganîbu dambis next to the companies Boļševička and Komutators. In later years Riņķiscontinued to carry out orders for the institute on a contractual basis. Only after the renewal of the Latvian State independence did Riņķislearn what type of objects had been made, and for what purposes: because during the years of Soviet power the activities of the institute were secret.
Arturs Riņķis created measuring instruments for the precise determination of the physical properties of various materials. The artist created designs for radioisotopic detectors, spectrometers, and gauges for the thickness of thermal insulation panels. Usually a time limit of one-and-a-half to two months was apportioned to work on one object design. During this time Riņķishad to complete the full circle – from the initial idea to the production of an industrial sample.
In the mid-1980s, as an order for the institute, Riņķis created a design for a radioisotope measuring converter, which was combined with a relocation device for controlled materials. This device was used for the purposes of space exploration, to determine the density of thermal insulation panels of the Soviet space rocket Buran and to establish any possible deviations. The device could also be used for the precise quality control of natural and synthetic leather, polymer, metal, ceramics and the determination of the density and thickness of other materials. The results of the measurements were compiled with a calculating instrument made in Bulgaria, where, after entering the parameters, the screen displayed the quality or the most subtle fluctuations in various colours in geometric fields. Of course, the exhibition of this kind of design object in art and design exhibitions in the USSR was not possible, but in exhibitions of achievements of the people, the name of an organisation in Moscow and its address were the only thing written next to these objects.
In the 1970s both artists worked on designs for mass consumer items and their packaging. In this way Valdis Celms received a number of copyright certificates for containers made for containing domestic chemicals. Arturs Riņķis created lighting with an unusual, prounced geometrical shape, for an order by the factory Darba spars. However, for various reasons, neither of the artists’ designs proceeded to industrial manufacturing.
Today design objects created during the Soviet era and the copyright certificates issued to artists have gained not only the status of cultural historical documents, but also reflect that in the conditions of two competing political systems, the role of professional designers in the Soviet Union in the development and manufacture of industrially produced objects was still apportioned great significance.