Who’s your favorite and why?
Courtesy of the lovely blog, Whorange, are these wonderful photos of the upcoming movie ‘Hitchcock’. I saw the trailer for this when we went to see ‘Lincoln’ last weekend. (Another ‘must-see’.) We are serious Hitchcock fans around here. Even the girls. I would have to say our favorite is ‘Rear Window’ or maybe ‘Vertigo’ but hell, I pretty much like anything with Jimmy Stewart in it. (And can you guess what our favorite Christmas movie is?)
Enjoy these mid-century set lovelies and let me know what you think of the film.
bullet bras, coral walls, shag rugs, red lipstick…and murder.
the LA times recently featured stills from the new film hitchcock and i couldn’t resist the production design by judy becker (the fighter, brokeback mountain) and set designer robert gould (the artist).
filmed primarly in homes around los angeles and pasadena, styles range from english tudor mansions and a mid-century bachelor pad to hollywood regency bedrooms and wood panelled studies.
a most curious collection indeed…
read more behind-the-set of hitchcock at the LA times. article by the one and only david keeps.
Ummm…where have I been that I missed this? Mad Men Barbies? Came out almost three years ago? For reals? I am transported back to the time when all I wanted for Christmas was the Barbie condo with the elevator. Sigh, to be a kid again.
However, nothing compares to these awesome Mad Men dolls. I know I am 41 years old, but I want them. I really want them. Unfortunately, looking at the Mattel site, many are sold out. I can buy Joan Halloway on Ebay for $80+ but I don’t think I want to do that.
I know. Maybe I’ll ask Santa.
And as if that weren’t enough, I just saw the sets Michael Williams created for the dolls, martinis and all. (Courtesy of If it’s Hip, It’s Here blog.)
And Michael Williams homage to Jonathan Adler. These dolls have nicer homes than I do!
Michael a photographer and graphic designer whose personal work focuses on collectible 1:6 scale fashion dolls, including Barbie, Ken, Fashion Royalty, FR Nippon Misaki and R&D Susie, as well as dioramas and dollhouses, who hordes RE-MENT and MegaHouse miniatures as props for my photos.
I have a thing for George Nelson. If you asked me who my favorite MCM designer is, I would be hard-pressed to decide between him and Eames, but I think he would win. He has always struck me as a little more philosophically grounded than the fantastic Mr. Eames. And I get practically school-girlish about his bubble lamps.
So imagine my elation at finding out his writings trump his designs, according to the piece below from the Design Within Reach blog, Design Notes. As a woman of words, any man with a higher than 10th grade vocabulary makes me swoon. And the bravado of the intro to his book which basically says, “You don’t like me? Put this book down then.” is my design-nerd idea of the charming rebel.
You have to read George.
At last week’s Yale symposium about George Nelson, one message was clear: You have to read George. In other words, George the writer trumps George the architect, George the designer and George the teacher, combined.
For two days, scholars, design nerds, editors and Murray Moss (there is no label to define him) talked about the legacy of this American icon. Known mainly for his furniture and design work for Herman Miller, Nelson also wrote and edited for Architectural Forum, Fortune, Pencil Points, Life and McCall’s, and co-authored the bestselling Tomorrow’s House with Henry Wright.
Nelson’s unapologetic, unflinching style is immediately clear in Tomorrow’s House, which begins: “This book has a point of view which may seem strange to you. What it is will be made pretty clear in the first few pages of this introduction. If, after reading that far, the viewpoint seems not only strange, but unpalatable as well, put this book aside and forget it, for what we have to say will not be for you.”
He continues, “Today’s house is a peculiarly lifeless affair. The picture one sees in residential neighborhoods the country over is one of drab uniformity: pathetic little white boxes with dressed-up street fronts, each striving for individuality through meaningless changes in detail or color. The reason today’s house is so uninteresting is simply that it fails to echo life as we live it. Expressed in another way, it is hideously inefficient. Less honest thought goes into the design of the average middle-class house than into the fender of a cheap automobile.”
According to professor John Harwood of Oberlin College, Nelson’s fascination with design extended to other areas, and he even hosted an ABC television program called “How to Kill People.” I did a quick search for archival materials and quickly discovered that “how to kill people” is not something you should google – especially at work – so you’ll just have to take Harwood’s word for it. Worth noting, even in this program, Nelson’s concepts were said to have been expressed with brilliance, wit and verve.
As for the exhibition, George Nelson: Architect, Writer, Designer, Teacher is worth the trip to Yale. It’s also a treat to explore the Yale School of Architecture building designed by Paul Rudolph.
Paul Rudolph Hall was completed in 1963. The Yale campus also includes buildings by Louis Kahn and Marcel Breuer, and a hockey rink by Eero Saarinen.
The interior and exterior walls of this Brutalist building are made of hammered concrete aggregate, creating an interesting, and oddly soothing, textural pattern. The layout of the rooms, however is a bit choppy and, perhaps due to later renovations, there is a lack of intuitive flow from one space to the next.
George Nelson believed that a space is successful when it’s done with love. I don’t know if Rudolph’s heart was aflutter when designing this building for Yale, but the passion expressed inside its walls makes up for the possible indifference.
I wish I could say we were seated in Womb Chairs, shown here in the student lounge, but our interest in George Nelson was tested by the brutal seating in Paul Rudolph’s Brutalist building. Described beautifully by author Ralph Caplan, who said, “One of the pleasures of speaking at this symposium is that you get a chance to get out of these seats.” (You also have to read Ralph, but I’ll save that post for another day.)
A gift for you: I found an online version of Nelson’s Tomorrow’s House through Open Library. Enjoy!
Out with the auld and in with the new this New Year’s. From the beautifully modern 2Modern blog come these beautifully modern bubbly glasses. Break out the Veuve Clicquot and ring in a gorgeous 2013! (Responsibly, of course.) Or if you aren’t driving or are staying home, be irresponsible and swing from the chandeliers in your knickers.
(And if you have ever wondered what that song is about, Auld Lang Syne is a Scots poem written by Robert Burns in 1788 and set to the tune of a traditional folk song. The song’s Scots title may be translated into English literally as “old long since”, or more idiomatically, “long long ago”, “days gone by” or “old times”. Consequently “For auld lang syne”, as it appears in the first line of the chorus, might be loosely translated as “for the sake of old times”. From Wikipedia, so you know it’s true.)
Nothing quite says Happy New Year like a sparkling libation with streams of tiny bubbles lifting from the bottom of the glass to the surface, like streamers in the opposite directions, screaming come celebrate! Whether it is for the New Years, the old year or your year, the best way to drink it is from a pretty glass. Some prefer stemware some prefer stemless glasses. Tulip, flute or coupe? My requirement is that it is as elegant as the bubbles it contains. The season for celebrations is right around the corner so here are a few modern versions of the all important champagne glass for your holiday festivities.
Above: Horn Champagne flute, Ingrid Ruegemer
Above: left to right Selma Flute, CB2; Verve Flute, Crate & Barrel; Float Champagne Flutes by Molo, Riedel Sommeliers Sparkling Wine Glass, Williams-Sonoma; Inside Out Champagne Glass, Grounded.
Above: check out moss for these lovely shapes
Above: Crate and Barrel for this fluted variety.
Above: Revolution Collection Champagne Glasses by Felicia Ferrone; hand-blown of borosilicate glass
Above: Hand-blown Champagne Glasses designed by Ilse Crawford and Michael Anastassiades
Above: Colorful and vintage inspired from Home & Gadgets.
Above: Christofle Collection 3000 with silver base and crystal top.
Above: These Aarne champagne glasses look a little like beer glasses. What do you think?
Above: Alfredo Haberli: Essence Champagne Flutes
Above: Bloom etched stemless flute for the accident prone.
Cheers! Have an infinitely modern day!