Living in Los Angeles, I suppose I could go up and have a look (albeit a distant one) at Charles and Ray Eames‘ Eames House any time I like.[...]
Stanley Kubrick’s perfectionism extended well beyond his films themselves. He even took pains to ensure the promotion of his projects with posters as memorable as the actual experience of watching them.[...]
Some things are difficult to improve upon. Take crayons. The new generation may be clamoring for shades like “mango tango” and “jazzberry jam” but the actual technology appears unchanged since Sesame Street detailed the process in the early 80s, in the lovely, non verbal documentary above.[...]
I like old newspaper, smoothing it out to read about what was happening on the day an older relative packed away the good crystal or some other fragile tchotchke.
Traveling in India, I dug how the snacks I purchased to eat on the train came wrapped in old book pages.
Most every dweller of a city with a robust public transit system comes to identify their boundaries with the lines, angles, and colors of its subway map. This is true of my hometown, Washington, DC, at least since the popular adoption of its Metro system in the 80s.[...]
It is my habit, when travel looms, to case the Internet for obscure museums my destination might have to offer. Once loaded, I fixate. Chat me up about my itinerary, and you will definitely come away with the impression that these offbeat locales are the trip’s primary raison d’être.[...]
Dmitri Mendeleev might have designed the original periodic table – a graphic representation of all the basic building blocks of the universe – but artist James Harris has done something way cool with that template — the Periodic Table of Storytelling.
Alfred Hitchcock’s Vertigo might have been a critical disappointment when it came out in 1958, but it definitely had one of the most eye-catching poster designs in cinema history.
The poster was designed by Saul Bass who also did the movie’s groundbreaking title sequence.
“What has been my prettiest contribution to the culture?” asked Kurt Vonnegut in his autobiography Palm Sunday. His answer? His master’s thesis in anthropology for the University of Chicago, “which was rejected because it was so simple and looked like too much fun.[...]