A chair that looked like a potato chip. Another that resembled a "well-used first baseman's mitt." A folding screen that rippled . . . With a grand sense of adventure, Charles and Ray Eames turned their curiosity and boundless enthusiasm into creations that established them as a truly great husband-and-wife design team. Their unique synergy led to a whole new look in furniture. Lean and modern. Playful and functional. Sleek, sophisticated, and beautifully simple. That was and is the "Eames look." That look and their relationship with Herman Miller started with molded plywood chairs in the late 1940s and includes the world-renowned Eames lounge chair, now in the permanent collection of the Museum of Modern Art in New York. Charles and Ray achieved their monumental success by approaching each project the same way: Does it interest and intrigue us? Can we make it better? Will we have "serious fun" doing it? They loved their work, which was a combination of art and science, design and architecture, process and product, style and function. "The details are not details," said Charles. "They make the product." A problem-solver who encouraged experimentation among his staff, Charles once said his dream was "to have people working on useless projects. These have the germ of new concepts." Their own concepts evolved over time, not overnight. As Charles noted about the development of the Molded Plywood Chairs, "Yes, it was a flash of inspiration," he said, "a kind of 30-year flash." With these two, one thing always seemed to lead to another. Their revolutionary work in molded plywood led to their breakthrough work in molded fiberglass seating. A magazine contest led to their highly innovative "Case Study" house. Their love of photography led to film making, including a huge seven-screen presentation at the Moscow World's Fair in 1959, in a dome designed by their friend and colleague, Buckminster Fuller. Graphic design led to showroom design, toy collecting to toy inventing. And a wooden plank contraption, rigged up by their friend, director Billy Wilder for taking naps, led to their acclaimed chaise design. A design critic once said that this extraordinary couple "just wanted to make the world a better place." That they did. They also made it a lot more interesting. Office/Studio The Eames Office Santa Monica, California Awards/Recognition Organic Furniture Competition, Museum of Modern Art, 1940 Emmy Award, (Graphics), "The Fabulous Fifties," 1960 Kaufmann International Design Award, 1961 25 Year American Institute of Architects Award, 1977 Eliot Norton Chair of Poetry, Harvard, 1971 Queen's Gold Medal for Architecture, 1979 Named "Most Influential Designer of the 20th Century," WORLDESIGN '85, Industrial Designers Society of America, 1985 The Work of Charles and Ray Eames: A Legacy of Invention, Traveling Exhibition, Library of Congress, 1999
|Product Type: Arm chair||Finish: 1: Black|
|Finish: 2: White||Distressed: No|
|Frame Material: Wood||Seat Frame Material: Plastic|
|Number of Items Included: 1||Upholstered Seat: No|
|Style: Modern||Back Style: Solid back|
|Dining Type: Casual/Kitchen||Country of Manufacture: United States|
Questions & Answers
Herman Miller ® Eames Molded Fiberglass Armchair with Dowel Base
Herman Miller began in 1923 as a manufacturer of traditional residential furniture, became a leader in "modern" furniture in the 1930s and 1940s; developed lasting ties through the 1950s with legendary industrial designers who led the company in new directions; transformed the office furniture industry with the first panel system in the 1960s; invented and refined ergonomic work seating in the 1970s, 1980s, and 1990s; reinvented the geometry of systems furniture in 2000, and is today the second largest office furniture company with customers and locations around the world. Their history of employee participation and ownership and technological innovation has long roots and continues to grow. They have always worked hard to be serious about both people and business. They look at their primary goal as creating great places to work.
George Nelson laid out five tenets of Herman Miller's design philosophy 50 years ago:
While fashion and style have their place, the main criterion for a Herman Miller product has remained constant: Does it truly solve a problem that people care about in a way that improves upon other solutions, or pioneers a new and better answer altogether? The answer is Yes.