From the standpoint of 1970, this is apparently how “1980″ was going to look. Actually, this vision wasn’t that far off, not as far off as Kubrick’s 1968 vision of what the year  2001 would look like. Above, a “think shell” from the total modular interior design concept known as “Home 1980.” IKEA needs to steal this idea. The kitchen is below. Photos from the vintage decor book 1601 Decorating Ideas for Modern Living, 1973.

Original captions for both photos: “From time to time the great chemical companies initiate research into the possibilities of the “house of tomorrow,” in order to bring their new synthetics to the atention of architects and interior designers and to show their versatility. The resulting creations, commissioned from outstanding design teams, often provide powerful impetus for mass productions – though models like the one shown here for a cooking center in “Home 1980″ will probably not be produced in the foreseable future. It is designed to be built into a large, open room, and consists of basic components that can be completed by a number of additional units, thus suiting the needs of the individual owner. The round counter-like table at the right combines the stove, warming tray, and dining area; the hood over it, which contains ventilation, dehumidifying, and lighting equipment, demonstrates what technical perfection is already possible in today’s kitchen…. The “think shell” also belongs to “Home 1980,” and is supposed to provide the privacy needed for work. The screen can be lowered out of sight. Cabinets on casters, which are pushed against the wall when not in use, make the table a very personal workplace: each family member can roll his own equipment over to it with a twist of the wrist.”

Selgas Cano is a Spanish architecture firm, and this long glass tube in a little wooded ravine is the Madrid office they’ve built for themselves. The shutters over the clear roof are retractable (see the photo of the pulleys at bottom). The building seems to have inspired some wildly varying reactions from those who either find it beautiful and inspiring or who feel it’s a cramped, claustrophobic, unventilated bunker or train car – see the archdaily link to see what I mean. The superb photos are by architectural photographer Iwan Baan. Via archdaily via kenmat and maxchad. PS Both fans and detractors of this space may want to read a recent Scientific American article on the neuroscience of how room design affects work, creativity and mood. Two relevant points are that low ceilings facilitate detail work while high ceilings facilitate abstraction; and that views of nature improve creativity, focus and memory. This space offers all of those advantages – natural views, as well as ceilings that are both low and high, depending on the retraction of the roof and on which part of the room you’re in.

There’s something compelling about Ray Eames’ desk area, papered with work and photographs. Many people seem to have a ferocious aversion to clutter these days, but artists like to have materials and visual stimulation at hand in their studios and there’s some evidence that this supports the creative process. Charles Eames’ desk was interesting too, if a bit more austere. They each had the same beautiful adjustable trestle drafting table, but Ray sat facing her bulletin board full of images while Charles sat facing out into the room, and I’m sure there are plenty of theories about that. Photos are from Eames Office.

Paul Smith is not only the classic English mischievous rogue type, and a self-effacing dandy, but he also reads. We wish he would drop by our studio. The photo of his cluttered office is from Vancouver magazine The Block. There’s a funny story there about an anonymous fan who’s been sending him objects in the mail, with Smith’s address and the correct number of postage stamps just stuck to the surface. Smith apparently loves practical jokes and he keeps these eccentric presents – including a traffic cone, a fishing net, and a pair of children’s chairs – amidst the books in his office. Smith prefers to decorate his stores as if he’s decorating a house, as in his flagship store in London, below.