Eames Institute

We're thrilled to announce (LMP)—a Swiss independent publishing house renowned for its authoritative titles on architecture, design, and visual culture—is now a part of the Eames Institute of Infinite Curiosity.

This alignment unites two mission‑driven entities committed to championing design as a catalyst for positive change. By integrating LMP’s globally recognized editorial program with the Institute’s expansive collection, research, and educational initiatives, the combined organization will broaden public access to seminal ideas, objects, and publications that inspire creative inquiry.

Building on this foundation, LMP will be further strengthened by the continued active involvement of its founder, Lars Müller, who will actively guide the publishing program over the coming years. In addition, the founders of the acclaimed Zurich studio —Jonas Voegeli and Kerstin Landis—are joining Lars Müller Publishers, bringing internationally recognized expertise in editorial and visual communication to enrich future projects.

“We are pleased to enter this new chapter in collaboration with the Eames Institute of Infinite Curiosity,” says Lars Müller. “This partnership will nurture the editorial independence, intellectual rigor, and design ethos that have long defined our work, while also creating new opportunities for purposeful publishing.

Mark your calendars 📆 See our full list of events at the link in bio.

Another Friday, another ! There are a number of passports in the , including this document issued to by the on October 19, 1954. The passport was initially valid for two years, and renewed for another two years on September 6, 1956. At this stage in their careers—especially after a much celebrated appearance in the 1954 Milan Triennale—the Eameses were well on their way toward global recognition. As such, in addition to a handful of European countries, the passport includes visas from such far-flung destinations as Turkey, Iran, India, and Japan. The detailed “Description of bearer” notes Ray's height as 5 feet and 1 inch, and calls out a “pock mark near right eye” among the “distinguishing marks or features” (harsh). In a retaliatory act of civil disobedience (that would no longer pass muster), Ray—always secretive about her birthday and date of birth—altered the official typewritten “Dec. 15, 1912” to read “1918.”

This week the is putting a spotlight on the three artists we collaborated with on a portfolio of limited-edition silk-screen prints—meticulously crafted by —to help inaugurate our launch. Stay tuned tomorrow to learn how to win a complete set of prints.

Completing the series is Los Angeles-based artist , who tells us “this artwork came from wanting to better understand and synthesize my own interpretation of Ray and Charles Eameses’ oeuvre. I wanted the artwork to capture the spirit of their work—which I believe was their hunger for form, playful use of color, and relentless creativity.”