The concept of time, or forgotten time, is a founding
characteristic of Wes Anderson films. His obsession with nostalgia
and bygone eras feature across his film catalogue, suggesting that
he too is a man born in the wrong time period. Rumoured to house
Jonny Depp and John Stamos, the Art Deco beacon in
downtown LA with its statement clock and rooftop pool is a
glorious testimony to the roaring twenties from afar, but get up
close and you’ll find a neglected landmark.

A distinct lack of technology is apparent in many Anderson
masterpieces. Blume’s office in Rushmore is all things analogue,
there are switchboard telephones in Moonrise Kingdom and Mr Fox has
a trusty dictaphone. We’re not sure about giving up our MacBooks,
but the retro phone and kitsch décor at this home office in
Portland might stop us from screening so many calls.

Soft pastels dominate Wes Anderson colour wheels and this swathe
of candy floss colours strongly resembles the shoot out scene in
The Grand Budapest Hotel. Safe to say our school definitely did not
look like this.

Constructed from a window frame mounted on a plywood platform,
Gustave H took to the Zubrowka mountains to escape his impending
imprisonment. Slightly better designed, but offering equally as
dramatic view, is the Norwegian
passenger train that weaves through waterfalls and along the
Flam fjord.