Lightenings

Design Research

[last-picture-show]

Dorothea Lange, Tractored Out, Childress County, Texas, 1938

[grupaok]

Dorothea Lange preparing for her retrospective at MoMA in her home studio, Berkeley, 1964

[geeseabovecloverbelow]

Dorothea Lange’s studio and darkroom, Berkeley, California (taken by Rondal Partridge, c. 1957)

[maudelynn]

October 1939. “On U.S. 99 as it continues through Oregon. Lane County, Williamette Valley.” Back in the day, this doggy sandwich stand was quite fetching. Photo by Dorothea Lange for the Resettlement Administration. 

via shorpy.com 

[designasresearch]

I Prefer Not To - Tom Emerson

[designasresearch]

I Prefer Not To - Finn Williams

[designasresearch]

CORPORA DELICTI, MAGMA ET PRINCIPES, MANSLAB, EPFL

[designasresearch]

Haus der Jugend, Hamburg, Germany

Gustav Oelsner

[interieurs-exterieurs]

Josabeth Sjöberg. 1812-1882

[interieurs-exterieurs]

Josabeth Sjöberg. 1812-1882

[lilacsinthedooryard]

Josabeth Sjöberg

Josabeth Sjöbergs Residence, Kocksgatan 27   1870

[pintoras]

Josabeth Sjöberg (Swedish, 1812 – 1882): My room at no.60 Högbergsgatan, first floor; myself; Dr. Levin (via Wikimedia Commons)

[designasresearch]

Níall McLaughlin // Bartlett International Lecture Series 2015/16 //

[designasresearch]

Glasgow 1980 (1971)

Directed by Oscar Marzaroli

[designasresearch]

Janet Cardiff

[designasresearch]

History Of Nothing (1962)

Eduardo Paolozzi

“The earliest surviving films by the artist Eduardo Paolozzi (1924–2005): History of Nothing 1962 and Kakafon Kakkoon 1965. In these animations, the unlikely juxtapositions of found images and sounds reflect Paolozzi’s view that juggling different materials and ideas is the very essence of the creative act. In their different ways, the two films strongly portray the modern and mechanised world, in which everything is connected and constantly changing.”

[lamemoiretransparente]

Eduardo Paolozzi, Maquette for The Unknown Political Prisoner Competition (1952)