Beautiful Toys by Charles & Ray Eames

Serious Fun

Taking inspiration from the humble cardboard box, Ray and Charles Eames created toys and furniture to spark the imagination of kids and adults alike. A central tenant of the design philosophy of Ray and Charles Eames was an embrace of play as an end in itself, the idea that creativity should be unconstrained and unburdened. While the couple will always be remembered for their contributions to furniture, design and cinema, it was their approach to experimentation, and their interest in seemingly tangential topics such as clowns, that inspired their seemingly endless sense of wonder and a constant drive towards exploration and improvement. As champions of those beliefs, it only goes to follow that they’d also be some of the world’s foremost toy designers.

Ray and Charles Eames took child’s play seriously. They invented playthings, furniture, and films to spark, but never limit, the young imagination. Given their own ideas of fun, these toys tended to emphasize composition, structure, and building, giving children the tools of their own adult trades in miniature (and giving some adults the chance to make like children again). Many of their designs embrace what kids and parents have long known: that the box an item comes in, especially if it’s a very large item, can be more exciting than the contents.

So it comes as no surprise that the Eameses improved the box itself, as a portfolio of photographs unearthed from the Herman Miller Archives reminds us. The humble cardboard box offers children their first chance to make space for themselves, whether that’s a race car, a robot, or a house, sprouting from the shipping container the Eames Office designed in 1951 for the Eames Storage Units (ESUs).

Printed in a colorful red and black design, and featuring the distinctive Herman Miller ‘M,’ the heavy cardboard carton, reinforced with wood splines, had only to be re-nailed to the bottom wood skid, after the furniture had been removed, to be made into a playhouse youngsters would love, reads text from a draft press release. A separate leaflet offers instructions on “How to Make a Playhouse,” but it should have been self-explanatory: dotted lines suggest locations for an entrance and a view out, as well as jaunty awnings.

In one fell swoop, the Eameses managed to combine adult and child fun, eliminate waste, and add excitement to the mundane process of delivery. The up arrows, as well as the deep V of the logo “M,” designed by Irving Harper for the company, suggest the possibility of upward expansion into a miniature townhouse or skyscraper, should a child or parent need more furniture.

The ESUs themselves were also a kind of demountable toy for grownups. Made of perforated steel extrusions with diagonal bracing, they could be configured as low credenzas or high bookshelves. Buyers could customize the interior arrangement, selecting plywood drawers or doors, and perforated metal or enameled Masonite filler panels. Owners could also take them apart and rearrange or add on, treating the furniture as a series of modular boxes‑ furniture as toy.

As adults designing playthings intended for children, the Eameses found more inspiration in boxes. The Toy, manufactured by Tigrett Enterprises in 1951, offered children the chance to make their own prefabricated structure, one more colorful and flexible than Carton City. The Eameses had first been in touch with Tigrett about manufacturing large, bright, paper-and-cardboard animal masks based on those they used for skits and photo shoots in the late 1940s. The Memphis-based company was run by the highly entrepreneurial John Burton Tigrett, who made his fortune selling the Glub-Glub duck and may have been looking for more patentable products. The masks never made it out of the prototype stage, but the simpler and more geometric Toy did.

The Toy combined thin wooden dowels, pipe cleaners, and a set of square and triangular stiffened-paper panels in green, yellow, blue, red, magenta, and black. Children could run the dowels through sleeves on the edges of the panels to strengthen them, and then attach these struts at the corners. Initially sold in a big, flat box via the Sears catalog, the Eameses soon redesigned this packaging as well, creating a far more elegant 30-inch hexagonal tube, into which all parts could be rolled and stored.

The first version of the Toy made spaces big enough for children to inhabit, like the cartons. The Little Toy, released in 1952, was scaled more like an architectural model, allowing children to radically reinterpret the dollhouse. (The office later prototyped a modern model house for Revell, but it never went into production.) The Little Toy boxes, which feature a grid of colorful rectangles and words, resemble the panelized arrangement of the Eames House façade and the ESUs, and all of these products, at their various scales, were being developed at the Eames Office within the same few years.

Charles Eames once said of the work done out of the Eames Office, “We work because it’s a chain reaction, each subject leads to the next.” The connection to the ESU cartons and The Toy is immediately apparent in the longest-lived of the modular, paper-based playthings to come out of the Eames Office, the House of Cards.

In the voiceover for “Toccata for Toy Trains,” Charles Eames says, “In a good old toy there is apt to be nothing self-conscious about the use of materials. What is wood is wood; what is tin is tin; and what is cast is beautifully cast.” He could have added, in reference to the couple’s own toys, what is cardboard is cardboard, and then talked about the qualities that make it an ideal building material: its strength, its low cost, its ability to withstand a judicious number of cuts and slots.

Why Magazine by Alexandra Lange

Beautiful Thoughts

Some days are easy going and good and somehow we arrive at the end of it a little wiser, happier, or maybe the same but unscathed.  Then there are days we question our very worth and sometimes we don’t even know or understand why we derailed off the happy train. It’s those days that we need the extra kindness of friends and strangers, a smile, an acknowledgement that you are seen and even valued. We need a beautiful sight, a flower, a tree, a child, a beautiful human, something funny, the water or the forest, or at least the memory of such.

puget sound 1

We need to give our smile to someone else because they may be feeling the same and need a little confirmation, a little love, too.  You can never know the complete affect your little act of kindness can have on the world. So today, as easy or as confusing as it may be, I choose to let the universe flow through me as a confirmation that life is beautiful. And,  I vow to let the people I love and the strangers I make eye contact with, feel valued and seen, and acknowledged. So I ask you to just smile at someone, make eye contact and say hi, you just never know!  Let’s be better humans!

Photo taken somewhere on Puget Sound between Kitsap and Seattle

Beautiful Photography

We all go through childhood, but no two experiences are alike. Whether it’s culture, class, and/or geography, it all shapes these formative years in a powerful way. But despite these differences, as young people, we each explore the world around us with the same sense of wonder and imagination. These varied snapshots highlight a universal truth about life—this juxtaposition of emotion starts when we’re young and never ends. We just grow older and wiser. Can you see yourself in any of these?

01.pic olga ageeva.jpgPlaying with light, by Olga Ageeva, Russia

02.pic oriano.jpgLooking Out, by Oriano Nicolau, Spain

03.pic anna.jpgThe Horse Whisperer, by Anna Ajtner, The Netherlands

04.pic olga.jpgSleeping, by Olga Ageeva, Russia

05.pic hutchins.jpgLooking For the Queen, By Hutchins, Poland/USA

06.pic zhou.jpgChildren of the Indian Ocean Seaboard, Guomiao Zhou, China

07. batman annaBatman, Anna Kuncewicz, Poland

08.chelseaClassic Couch Potato, Chelsea Sibereis, USA

09.boyhood.jpgBoyhood, Alicja Pietras, Poland

10.karen
Double, Karen Osdieck, USA

11.plums.jpg
Plums, Mariola Glajcar, Poland

Beautiful Sketchbook

For 36 weeks in 04, Oliver Jeffers and three other artists sent a sketchbook back and forth across the Atlantic between them, each artist responding to the spread that proceeded the one before. When it was finished, the book had traveled over 60,000 miles. WOW, what a great idea with amazing results is all I can say.

book_1.jpgweek11week16.jpgweek21.jpgweek33

Beautiful Photography Exhibit in NYC

Charting the course of photography over the past 150 years is just one of the joys of MoMA’s new exhibition.
shape_of_things_13
See works from photography’s 19th-century origins right up to more recent masterworks, by artists from Brassaï to Carrie Mae Weems. Learn more

Beautiful Pierre Auguste Renoir

Happy Birthday Pierre-Auguste Renoir, born in Limoges, France (1841). He began painting when he was 13 years old, first on porcelain, then later painting on fans. He went on to form the style of painting known as Impressionism, along with the painters Claude Monet and Alfred Sisley. Renoir became severely disabled by arthritis starting in 1902, but he continued to paint. By 1913, he was completely crippled, and he instructed his assistants in creating several of his last sculptures.
Renoir said, “The pain passes, but the beauty remains.”

eugene-murer-1877 Little-Girl-With-A-Spray-Of-Flowers Pierre-Auguste_Renoir_064 the thinker Two-Sisters-on-the-Terrace-Pierre-Auguste-Renoir-1881 children-on-the-seashore-1883