Between Bauhaus and Bügeleisen: The Iconic Style of Raumpatrouille (1966) The German television SF series Raumpatrouille (Space Patrol) has long gained cult status, in German-speaking countries it enjoys a similar popularity as the original Star Trek series which was first broadcast in the same year. Much has been made of Raumpatrouille’s alleged militaristic and xenophobic ideology by critics who saw in it an awkward melange of undigested Prussian and Nazi jingoism and Cold War paranoia. What hasn’t been widely understood (or acknowledged) was that the series sought to subvert authoritarian traditions by means of humour and a positive outlook. In Raumpatrouille’s alternative world in the year 3000, people are still recognisably human. Individualism and conformism continue to be at odds. While nation states have been abolished, strict hierarchies remain in (world) government and the military. Here, individualism is suppressed, even though, and this has been ignored by critics and researchers so far, insubordination saves the day in each episode. Indeed, the series communicated very different messages: a vision of a world where mankind has overcome barriers between genders and between nation states. This concrete Utopia is evoked in the introductory voiceover in each episode, but finds its main expression in the series’ distinctive visual style. This style is futuristic and functional, reflecting a desire amongst the younger generation and the cultural elites to escape the sense of claustrophobia pervading the post-war era and the ‘no experiments’ attitude of the West German government. The use of modern materials in the sets suggests a deliberate break with tradition, and a conscious homage to Bauhaus clarity and transparency. Technology is the means by which unheard-of things are done in this imagined future, be it the ability to live at the bottom of the sea, or the routine task of travelling amongst the stars. Of particular interest in this essay are the innovative solutions the series’ set designers came up with to translate the technological revolution of the 1960s, which in turn heralded a much broader change in mentality, into a future setting. The incorporation of the latest industrial design and technology into an imagined alternative world, just months before the cultural and political revolutions of 1967/68 transformed the world for real, indicates a rare moment of confidence. in: Ricarda Vidal / Ingo Cornils (eds.), Alternative Worlds. Blue-Sky Thinking since 1900, Oxford: Peter Lang 2015, pp.283-302