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Barbara Stauffacher Solomon’s supergraphics turn the Moonraker Athletic Center locker room into architecture read at full scale. Red, blue, black, and white forms cross walls and stairs, using color to redirect movement and expand the compact interior rather than merely decorate it.
MLTW designed Moonraker as one of The Sea Ranch’s first communal buildings. Given freedom inside its whitewashed plywood spaces, Stauffacher Solomon created the oversized environmental graphics in 1966; their collision of Swiss precision and California exuberance helped launch the supergraphics movement.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1TIN4eV
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🎶Troye Sivan-Ease (ft.Broods) #sol #musigner #creative #creatives #creativedesign #creativeart #creativearts #troyesivan #ease #music #음악 #pop #design #디자인 #designer #art #arts #artdesign #digital #digitaldesign #digitalart #visual #visualdesign #visualart #color #colors #colorful #inspire #inspired
by @musigner.sol on Instagram.
IL 12
Waterfront d'Europa
pp.30-33
a cura di Francesco Franchi e Alessandro Giberti
Illustrazioni di Laura Cattaneo per IL
--
Fonte principale:
Creative City - edizioni List
di Maurizio Carta
IL 12
Waterfront d'Europa
pp.30-33
a cura di Francesco Franchi e Alessandro Giberti
Illustrazioni di Laura Cattaneo per IL
--
Fonte principale:
Creative City - edizioni List
di Maurizio Carta
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.