The AIGA announces the Feb. 10 death of graphic designer Tomoko Miho. Awarding her a Gold Medal in 1993, the group praised her “fearless dedication to content,” noting that “her designs, endowed with a crystalline clarity, have a luster all their own.”

In addition to being surrealism’s mustachioed poster child, Salvador Dalí had his side gigs doing commercial work—like the iconic daisy logo for Chupa Chups, the popular Spanish lollipops, he made in 1969.

Chattanooga, Tennessee, sees itself on the rebound, with a boom in arts and industry. Designers Robbie de Villiers and Jeremy Dooley think they can telegraph these gains with a custom-designed typeface for the city: Chatype.

Spanish collective Boa Mistura recently led a “typographic intervention” with residents in the São Paulo favela of Vila Brâsilandia. Playing tricks with perspective, they made words like “sweetness” and “tenacity” appear to float above the winding pathways.

Citizen architecture critics can learn a few things from Ada Louise Huxtable, the New York Times’ first design critic. A reading of her work yields some tips: Set the scene visually, address history, and remember there’s drama in how buildings make us feel.

Ikea is teaming up with Oregon-based architectural firm Ideabox to get into the prefab housing business. The Swedish-themed one-bedroom abode, which has a design focused on efficient space use, will retail for just shy of $87,000.

After leaving a curatorial post at the Walker, James H. Elliott brought a design sensibility to LACMA when he began as assistant chief curator in 1956, hiring designers like Frederick Usher and Marion Sampler to shape the museum’s communications.

There’s a backlash against architects who are making “buildings that have movement and feeling,” says Frank Gehry. “The notion is that it is counterproductive to social responsibility and sustainability.”