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The idea for a consistent graphic and environmental design came only as an afterthought. Early in 1982, as Architect Jerde, 44, worked on converting the UCLA dormitories into temporary housing for Olympic athletes, he realized that even temporary changes would be highly visible evidence of the Olympic presence. The organizing...

Author: /time Magazine | Title: Design: A Festive Moment, Not an Epic | 8/6/1984 | See Source »

A lot of Visual and Environmental Studies professors probably got a big shock when they got to the last four minutes of Eames Demetrios's 70-minute thesis film. After 66 minutes of what viewers called outstanding technical work, the movie shifts to a four-minute scene of two people...

Author: By Victoria G.T. Bassetti, | Title: Exploring Peru, Bluegrass and Vogue | 6/7/1984 | See Source »

Until a decade or so ago, what was considered good modern design in America was not American at all. It was the International Style, promulgated mostly by Weimar Germany's Bauhaus: sleek, austere functionalism that lent an impersonal, industrialized finish to everything from skyscrapers to fountain pens. Increasingly, however...

Author: /time Magazine | Title: Design: Our Bauhaus | 5/7/1984 | See Source »

Nowhere has it been more true than at Cranbrook that "architecture is the mother of the arts," as architects are fond of saying. Among the works created under the academy's aegis: the sculpture of Carl Milles, Tony Rosenthal, Harry Bertoia and others; the rugs and wall hangings of...

Author: /time Magazine | Title: Design: Our Bauhaus | 5/7/1984 | See Source »

The products of the new technologies-from Raymond Loewy's 1948 television set to Giorgetto Giugiaro's 1981 Logica electronic sewing machine-are concentrated by Curator Kathryn Hiesinger in a central space, a circle of dramatic display columns that Nelson calls Stonehenge. Models of Explorer I and a...

Author: /time Magazine | Title: Design: Forms That Follow Function | 10/24/1983 | See Source »

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