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.