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 History of Crayons

To celebrate National Crayon Month here is the interesting history of crayola crayons. From its earliest days, Crayola has been a color company.  During the last 100-plus years, Crayola has grown beyond our founders’ wildest dreams.  By applying technical innovation, unparalleled quality, consumer satisfaction and product value, Crayola has become the preeminent producer of hands-on products for creative personal development and fun.  Read more about the colorful history here. Oh RIP Dandelion, today it was discontinued.

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1 and 2: Original box of crayons
3. Original box of 48 colors
4. Original box of 52 colors
5. Original box of 64 colors
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Retired colors

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Original colors

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Original Ad – 1905

 

 

 

Beautiful Mood Board Musings

Inspired by the beautifully sculptural effect of curved architectural walls, the work of French interior designer Francois Champsaur, has a beautiful smooth timber finish.

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Trocadero Apartment by Francois Champsaur

Bold in black and incredibly textural, this piece was designed by CM Studio.
It features a distinctive curved batten pod that cleverly conceals the apartment’s bathroom.

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CM Studio / Photograph by Kelly Geddes

Curved walls are visually interesting and work well to soften sharp lines of an
interior space. The same effect can be created with a room divider, furniture,
or smaller design pieces such as ceramics and art. Here are some examples.
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Beautiful Hermès Reuse – Atelier Petit H

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In an unassuming street in Pantin, the north-eastern Parisian suburb that has become something of an industrial hub for the luxury fashion industry, you’ll find the petit h workshop. Hidden off a leafy courtyard, the open-plan, well-lit room is a laboratory of sorts that houses the exceptional métiers of Hermès under the one roof. The mission here is to transform discarded items from the Maison’s many ateliers, and craft treasures from the odds, ends and off-cuts with the help of a roster of artists and designers like Christian Astuguevielle, Parme Marin, and Isabelle Leloup.
Read the interview here via Cereal Magazine

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By: Alice Cavanagh

Beautiful Iconic Designs

Ah, the pause that refreshes. One of the most famous lines in advertising for Coca-Cola.

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I don’t drink it often but occasionally it really “hits the spot”.  And it always seems to taste better when it comes out of a glass bottle, yes/no? One of the most famous shapes in the world is the iconic contour fluted lines of the Coca-Cola bottle. Renowned as a design classic and described by noted industrial designer, Raymond Loewy as the “perfect liquid wrapper,” the bottle has been celebrated in art, music and advertising. When Andy Warhol wanted a shape to represent mass culture, he drew the bottle:

“What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.”           Andy Warhol

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How did the bottle become so iconic?
It began with the desire to protect brand Coca-Cola and was a cooperative project between The Coca-Cola Company and its bottlers. In 1899, two Chattanooga lawyers, Joseph Whitehead and Benjamin Thomas, traveled to Atlanta to negotiate the rights to bottle Coca-Cola. The product had been an increasingly popular soda fountain drink established a mere 13 years previously. In fountain form, Coca-Cola grew from an average of nine drinks per day sold in 1886 to being sold in every state of the US by 1900. Thomas and Whitehead wanted to capitalize on the popularity of the drink by bottling it to be consumed outside the four walls of a soda fountain.

And to indicate the power of brand, as of 2015 the Coca-Cola brand was valued at 83.84 billion U.S. dollars.

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