Objects, spaces and visual culture worth remembering.

Joined June 2025
Forms Archive retweeted
A forgotten architectural obsession, curved glass brick facades.
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Catalan Modernism (Art Nouveau) holds a very special place in my heart.
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Giovanni Pintori for Olivetti, 1937–1967.
I could spend hours looking at Olivetti posters and their beautiful design. I don't think I've ever seen one I didn't love. Selected Olivetti Vintage ads.
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Imagine making a typewriter so beautiful it ends up in museums. Olivetti Valentine Sottsass & King, 1968.
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A brutalist beauty. A flower-shaped building somewhere between structure and sculpture. La Tulipe, Geneva. Designed by Jack Vicajee Bertoli, 1972.
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A forgotten architectural obsession, curved glass brick facades.
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Opera Restaurant, Chicago Moderne Gramercy Row, Chicago Fisher Studio Houses, Chicago Park Hotel, Barcelona
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Catalan Modernism (Art Nouveau) holds a very special place in my heart.
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A few more Japanese vintage lottery tickets I couldn’t stop looking at. Same irresistible charm!
Behold, the unexpected beauty of vintage Japanese lottery tickets. Absolutely charming! Circa 1960's.
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You’d think this was science fiction. It’s an actual restroom in Zhejiang, China.
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The warmth of wood-paneled walls deserves a comeback.
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Plastic fantastic, especially in orange. Europhon H 10 Designed by Adriano Rampoldi, 1968.
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THE DESIGNER Marcel Breuer THE DESIGN Wassily Chair, 1925
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Playtime is a masterpiece! Severance production designer Jeremy Hindle has cited Jacques Tati's 1967 film as a key reference for the visual world of Lumon. The symmetry, the simplicity, the absurdity. The parallels here are loose but the atmosphere and satire remain similar.
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I love Streamline Moderne so much.
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A language shaped by function. Dieter Rams' designs for Braun emerged from postwar German modernism, where clarity, purpose, function and simplicity shaped a distinctive visual language. Everything you need and nothing you don't. Dieter Rams for Braun 1950s-1970s
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Four sculptural ceiling lamps by Verner Panton. I've always found them mesmerizing.
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The quiet confidence of good design. Dieter Rams for Braun.
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Lightness framed in chrome, my favorite pairing.
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A legacy in covers, and a defining visual voice at The New Yorker. Ilonka Karasz designed more than 180 covers for the magazine between 1925 and 1973. Ilonka Karasz Artist and multidisciplinary Designer
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