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by @musigner.sol on Instagram.
Bold color, playful geometry, and the rhythmic pulse of light define this unforgettable space—the locker room at Sea Ranch’s Moonraker Athletic Center, designed by architect Charles Moore and his firm Moore Lyndon Turnbull Whitaker (MLTW) in the early 1970s. While The Sea Ranch is most often celebrated for its restrained, wood-clad houses that harmonize with the Northern California landscape, this interior offers a joyful counterpoint: an exuberant burst of color and composition that captures the postmodern imagination at its most spirited.
Moore, whose architectural philosophy combined intellectual rigor with childlike wonder, envisioned The Sea Ranch not as a fixed aesthetic but as a living community where design could range from serene to celebratory. Here, in this small yet iconic locker room, his belief in the emotional power of architecture comes vividly to life. The red, blue, black, and white murals—painted in bold geometric patterns—transform a utilitarian passageway into a sensory experience. Walls, ceilings, and stair risers become a dynamic canvas of circles, stripes, and diagonals that shift with one’s movement through space.
The artwork, executed in collaboration with graphic designer Barbara Stauffacher Solomon, represents one of the earliest examples of what would become known as Supergraphics—a movement that redefined how color and scale could activate architecture. Solomon’s designs, using oversized, high-contrast forms, were a radical departure from the natural tones of Sea Ranch’s exteriors. Yet inside, her work perfectly complements Moore’s architectural rhythm, turning the simple act of moving through a locker room into a theatrical encounter with form and light.
This stairway embodies the dialogue between architecture and art that made The Sea Ranch so influential. The sharp yellow line marking the edge of the step, the bold red curve slicing through a white wall, the clean black handrail—all converge to express the precision and playfulness that Moore and Solomon championed. Even the sunlight itself participates, casting shadows that animate the geometry in real time.
Seen today, the space feels remarkably contemporary—its saturated hues and graphic clarity anticipating decades of modern design trends. Yet its power lies in its humanity. Charles Moore once said that architecture should “make room for joy,” and this interior does exactly that. It’s both functional and poetic, modest in scale yet monumental in impact. The locker room at Sea Ranch remains a testament to collaboration, creativity, and the enduring belief that good design can make the everyday sublime.
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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.
IL 12
Waterfront d'Europa
pp.30-33
a cura di Francesco Franchi e Alessandro Giberti
Illustrazioni di Laura Cattaneo per IL
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Fonte principale:
Creative City - edizioni List
di Maurizio Carta
The sunset's afterglow offers last light conditions where color and shapes are all that matters.
Custom background graciously provided by coyrooster
Giallo come gelosia, sdegno, rifiuto e un corpo di donna violato, una spirale mortale.
Tearing down the walls
Breaching frontiers, unlocking the gates
To a new world disorder
A fresh balance of terror, the equilibrium of hate
All flesh entwined, in the equality of pain
Archaic nescience unleashed
Entrenched, a bitter legacy
Tempered in mental scars
All flesh entwined in mortal equality
Tangled mortal coil
Twisted and warped
Tangled mortal coil