Various mid-century corporate annual covers. These were from the 1960s. The first is by far my favorite and was done by Erik Pelt for the Graphis annual. The typography is really something else.
Via Aqua Velvet
Various mid-century corporate annual covers. These were from the 1960s. The first is by far my favorite and was done by Erik Pelt for the Graphis annual. The typography is really something else.
Via Aqua Velvet
Stumbled upon more images from the 1962 intriguing images from Seattle’s World Fair in ’62. I found it interesting to look at these images and then walk over to the Space Needle and compare just how much they have taken away.
Images found via azzurrolou
A few more postcards from the ’67 World’s fair in Montreal. With some of these postcards I just really enjoy the logo and style of the photograph the most.
There is nothing better than a solid piece of mid-century design. More often than not you have to look long and hard to find such stunning designs like this pair of ITT Ball speakers from the 1960s.
It’s still really great to know that you’re still able to find this particular set on eBay, but only if you’re willing to buy it now for $400. That’s not so bad right?
Prior to seeing the Mid Century Modernist’s post about flip clocks, I hadn’t the slightest interest in these type of clocks. However, I’m now very interested and am trying to find a clock like the first image of the 3D rendered Ricoh Clock. I particularly love the reversed type on all of thse and the beautiful number flip that happens as the time changes.
More inspiration from the Mid-Century Modern Art & Design Flickr pool. I would love to find out what cameras were used to take these images–if you know anything, please share.
There is always something stunning about coming across gems like these two mid-century color palettes. While they may not be the most attractive images, they certainly have helped me nail down that ever-so-unique mid-century vibe. I’m most drawn to the Siliconized High Gloss and Color Varnish sets.
You can see some other examples of these colors in use here and here.
These book covers caught my eye immediately as I was fumbling through mid century design archives. The designer who created these was Richard Paul Lohse for the swiss architectural magazine Bauen + Wohnen. The actual booklet size is about 13 x 9.4 inches.
Images via joekral Flickr & info via The Wiedler Collection.
Until now I had never heard of Wilt Chamberlain the NBA basketball player or this enormous house. After reading a few articles about the house, the most interesting thing aside from the architecture and interior was that it has a groovy feel to it.
“Built in 1971, the five-bedroom, 7,158-square-foot contemporary-style house at 15216 Antelo Place in Bel-Air was built by Chamberlain, who lived there until his death in 1999. TV writers George Meyer and Maria Semple purchased the house from Chamberlain’s estate in 2002 for nearly $3 million, and have owned it ever since. The house has attracted much attention over the years–both with this listing and in 2000-2002, when Chamberlain’s estate was trying to unload it, first for $7.45 million and later reducing its asking price to $4.38 million. The house’s unconventional features include a gold-lined hot tub, a retractable mirrored ceiling above the master bed, a swimming pool that flows into the living room, walls of glass, 40-foot ceilings, a wrap-around pool, and a balcony suspended over the living room. Other features include five and a half baths and teak finishes.
The house sits on a 2.58-acre parcel that has ocean and city views.”
Source Mid Century Architecture
The 1967 world fair in Montreal, Canada was held together by one unifying object–the Expo 67 logo. Quite possibly it is one of the most cleanly executed and memorable World Fair logo’s to date. The combination of the timeless icon combined with beautifully kerned type (set in the Optima Roman typeface), really unified the core ideas behind Expo 67.
The theme of this World Fair was ‘Man and his World’. Every pavilion in one way or another, represents this theme of man to the world around him. The designer responsible for this logo was Julien Hébert, a Canadian industrial designer. At the soul of this logo is Hébert’s conceptual use of an ancient sign representing man–vertical line with arms outstretched to either side–close in proximity to represent friendship. The symbol representing man is repeated in a circle, extending the conceptual representation of unity of mankind around the world.