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Tucked beneath the Transamerica Pyramid, this wall reads like a visual index to a way of thinking. Books, photographs, furniture, graphics, landscapes—each square holds its own, yet the grid binds everything into a single, legible system. Nothing is ornamental. Everything is intentional.
At first glance, it feels almost playful: saturated color blocks, familiar chair forms, pastoral scenes from the Eames Ranch, fragments of process and personality. Stay longer and the discipline reveals itself. The grid enforces equality. A molded plywood sculpture carries the same visual weight as a paperback cover or a black-and-white portrait. Ideas, not objects, are the organizing principle.
This is design culture presented without nostalgia. The wall doesn’t romanticize midcentury modernism so much as explain it—how curiosity moved freely between furniture, filmmaking, architecture, publishing, and education. The transitions are seamless because the method was consistent: observe carefully, reduce intelligently, communicate clearly.
Photographically, the composition rewards restraint. Even light keeps the whites honest and the colors dense but controlled. The concrete edges of the gallery and the faint industrial texture of the floor anchor the image in San Francisco—modernism lived inside a city that values systems as much as spectacle. At thumbnail size, the image reads as pure geometry and color. Up close, it becomes a map of relationships.
Seen here, the Eames legacy isn’t a style. It’s a framework—one that still fits comfortably beneath a building that has always believed structure can also be humane.
Symposium
information design
Idea
Concept
Proposal
COMMUNICATION DESIGN
Environmental graphic design
Information design
Interface design
Typography
Information graphics
Shooting a graphics card. One flash, card on brown-colored acrylic glass, underneath the glass: dark cloth (black velvet).
That's it. Btw.: Yes, I was too lazy to clone out the spacer ...
5-min-Photoshop fix: darkening the background (paint black color all around the card and the reflection), sharpening.
Result: www.flickr.com/photos/galllo/6006531116/in/photostream/
Street graphics of Paris. Most of these modified signs have the stick figure carrying the white bar under his arm, like a surfboard. This white bar is obviously a much heavier burden.
I don't normally post dolls new in the box (I don't get many), but this box is so darn cute. I have been admiring this Alice in Wonderland doll for a while and just got her today.
NO HUGE GRAPHICS OR MULTIPLE INVITES, ONLY YOUR COMMENTS PLEASE
Please don't use this image on websites, blogs or other media without my explicit permission.
When the Albright Knox Gallery Book store had a big sale a couple of years ago I bought a lot of old catalogues. These are only good for their covers, the insides are dreary black and white. The Calder booklet was published by MOMA in 1969.
Emarosa - The Past Should Stay Dead
And all at once it leaves you breathless,
With next to nothing, but open hands.
Click to see on black background!
Strobist:
SB600 & SB900, bare, positioned on either side on an above balcony at 1/4 power. Shot at 1/60 sec to get a nice silhouette effect.