The Story Behind the Eames' Molded Plastic Chairs, 1940 - 1960

The StoryBehind The Eames’Molded Plastic An in depth look into the conception of the pioneering chair designs of Charles and Ray Eames. The various chapters detail their inspirations, pro- cesses, materials and impact on modern day design.Chairs, 1940 - 1960 Includes: - Sketches - Behind-the-scenes images - InterviewIssue 01

ray eamescharles andray eames Designed and edited by Kayla Van der Byl

contents01 Inspirations, Processes 07 and Partnership11 Interview with Charles and Ray The International 13 Competition For the Design of Low Cost Furniture The La Chaise Chair 15 21The New Magnificent Material The Evolution of the Eames Chair

Inspirations,Processes +Partnership:Learning what guided the Eames’design process and propelled theirdesigns into the furniture industry.The starting point of any story about quite simply, “Anything I can do, she canthe Eames’ should be the extraordinary do better.” An old friend of theirs, Billynature of their partnership. Charles, Wilder, says, “She’s imbued with abso-with his Marlboro Country look, is the lutely perfect taste. She is also, I think, aone who gets photographed. He is emi- very good organizer; she’s much less ofnently quotable. He makes the rare pub- a dreamer than Charles is.”lic appearances and deals with clients.Ray stays in the background and is rarely Around the office they say that Rayquoted on anything. So the patronizing has the last word, that no project goesassumption is that while he creates she out without her approval. She refines thelooks after the books and sees that he details, but with a complete understand-eats the right things. ing of the concept. Their partnership is genuine, mutually reinforcing and all the Well, it’s not so. Their roles will nev- more remarkable for having endured 35er be precisely defined, but Charles says prodigious years.”1 Charles & Ray Eames

“My wife is a painter, and a very good Taken from anone…and we’ve been working together interview in the 1980s.for, oh, twelve years now, I guess…and Charles talks aboutat first I used to help and criticize things his design partnershipshe was doing, and then she would help with his wife Raye.and criticize things I was doing, and wewould…pitch in and do all the jiggeringfor each other and get it as people do…and then, gradually, things begin to sortof, you know, entropy…things began toget shuffled, and pretty soon you didn’tknow, sort of, where one started and theother ended, and anything that we’velooked at or talked about here, you know,I say that I’m doing it, but actually, she’sdoing it just as much as I am, only shesort of goes under the same corporatetype name…” charles eames Inspirations, Processes & Partnership 2

Learning as he worked, and inventing as he went along, he developed the tools which made his molds possible, and he evolved his own techniques for doing economically what had been impossible before.This design diagram from It will be useful to review the circumstanc- Each shape required an expensive mold,Charles and Ray Eames shows es which led the Eames’ into making fur- and the plywood shells which emergedthe overlap of concerns among niture. Charles is basically an architect. were often imperfect so that some hadthree different entities. The first His first excursion into furniture design to be rejected; on others the wood sur-represents the area of interest was with Eero Saarinen when they joint- face had to be covered with fabric. It wasto the designer. The second ly entered the Organic Design Competi- not only that really advanced technicalrepresents the areas of interest tion conducted by MOMA in 1940-1941, problems like molding plywood that theto the client. The third is the receiving two first prizes. Their designs difficulties appeared, however. Variousarea of interest to society as a proposed for the first time the use of designs called for upholstery fabric to bewhole. Charles and Ray’s point molded plywood forms for chairs to fit applied to the plywood shell without hid-is that it is in the area where all the human body. The jury, in awarding ing the joint and without getting involvedthree overlap that the designer the prizes, decided that these designs in such clumsy details as the use of uphol-can work with enthusiasm and were possible to construct, although stery tacks. As Eames said, he assumedconviction. nobody, including the technical experts that for such details there must be at present, had any very exact idea of just least ten simple standard techniques3 Charles & Ray Eames how it might be done. By the terms of the which the furniture industry must have competition, the winning designs were to developed years ago, and which could be produced and offered for sale. be found on page 793 of some Furniture Makers’ handbook of Standard Practice. The next step, therefore, was to search out the means for producing actual piec- As the effort to manufacture the fur- es from these drawings. It was at this niture progressed, it became painfully point that great gaps in established pro- apparent that the industry not only had cesses of furniture manufacture began to no ready solution for such details, but appear. Since no furniture plant could be couldn’t work one out satisfactorily and found which had ever considered the use was not very much concerned about of molded plywood, exploration started trying. There had always been ways of in other industries, and a firm was found avoiding such embarrassing issues. Fur- which undertook the job. A basic reason thermore, as the whole question of joints, for the wood shell idea was the belief that connections, and meetings of different it would be very easy and very cheap to materials came up, it became clear how stamp or press them out in quantity. In extremely little thought had gone into actuality, it turned out that there was no these important elements of furniture economical way of doing this, and no design. Preoccupied with minor adjust- chance to experiment. ments of exterior appearance and “styl- ing,” manufacturers were using essential- Despite the difficulties, a small num- ly the same joints and structures that had ber of plywood shells for several types of been standard for centuries. If you doubt chairs were actually made, but at great this, go to a department store and look at expense. This was in no way a solution the underside of some tables and chairs in terms of mass production as intended.

A doodle-type drawing, by Charles Eames, which is themed about life around the housebuilt in 1946. You will see what clumsy landlord’s wrath, Charles Eames and hisantiquarian techniques are hidden under wife, Ray Eames, began smuggling struc-the slick surfaces. Structural ineptitude tural lumber into their hillside apart-has been all too easy to cover up. ment. From their nocturnal hammering and sawing, and the puffing of the bicycle The result of the competition effort was pump, Eames found that he could makethat a new conception had been established, very clean-surfaced three dimensionala few expensive pieces had been made and forms using thin sheets of wood veneersome excellent ideas set in motion. The laid up in thicknesses the variation ofeffort to find a way of producing such fur- which he also could control.niture cheaply and in quantity had failedfor the time being. What had been accom- By this time the United States was atplished was not a hundredth part of what war, and Eames turned his attention toEames had achieved between that time developing traction splints by his newand the present. system. This was an interesting problem, and related to the chairs as a problem of It was at this point that Eames moved making a three dimension form to fit theto the west coast and started to work for human body. The traction splint whicha movie company. Convinced that the he developed was light, strong, easilyproblems of the furniture program were stacked for shipping, and simple to applyactually solvable, he decided to experi- under field conditions.ment. Furtively and at night, to avoid the Charles and Ray created the Eames Aluminum Group Chair in 1958. As part of the design process, they made 13 different cast aluminum variations of the antler-shaped seat support. When they ended up choosing the first one they would design for the final product, an Eames Office model maker complained to Charles that the other 12 had been unnecessary and a needless expense. Charles demurred, and pointed out that without making and testing all 13, they would not have known that they had the best one. Inspirations, Processes & Partnership 4

As his skill increased, he began mak- meant, Charles absolutely took the time Excerpted from Dan McMasters, “Theing other items for wartime use, including to explain the value of the process and Multi-Dimensional World of Ray &molded leading edge sections for training explain to them the reasons behind the Charles Eames,”(Los Angeles Times,planes and parts for army gliders. In this production of their design. According to 1976).way, learning as he worked, and invent- Fingerhut: “A big part of the time wasing as he went along, he developed the educating us, so we could understandtools which made his molds possible, and what he was talking about, becausehe evolved his own techniques for doing initially we didn’t. We knew technical-economically what had been impossible ly what we could do, from a technicalbefore. In the making of furniture from standpoint, but we didn’t understand, wethe competition designs, the factory had knew nothing about furniture business,used precision tools, but had produced we knew nothing about modern furni-results which were far from precise. ture, we knew nothing about, other thatNow, as Eames puts it, he had devised what he was saying, what his objectivesa way of doing precision work without were, and we didn’t understand that. Weprecision tools. did, after five hours; believe me, we did. Because he was absolutely fantastic, in The difference, he explained, was like the way he would really kind of pick usthis: “If you have an ordinary tumbler up and carry us along with him in his dis-and wish to close the open top, one way cussions. This was his method.”is to make a very accurate measurementof the interior size of the opening, and Ultimately the men stated that theyto machine a part which will exactly fit were proud to be part of something thatit, thus sealing the opening. This would became the subject of design books,be somewhat expensive, and there still museum prizes and awards, as well asmight be leaks. Another way to do the remaining proud of getting to know whatsame job is to hold your hand over the Good Design meant to the world.tumbler’s mouth. Eames’ process formaking molded plywood has this basical- A joint series of exhibitions betweenly simple approach.” the The Museum of Modern Art, and the Merchandise Mart in Chicago entitled Sol Fingerhut and Irv Green, repre- “Good Design,” meant to exhibit the bestsentatives from Zenith Plastics, really examples of modern design, opened onappreciated what the Eames’ were con- January 16, 1950. The Eames fiberglasstributing to the world. Although they shell chair was on display along with otherinitially had hesitations about under- models of winning designs from the Inter-standing what exactly “Good Design” national Low-Cost Furniture Competition.5 Charles & Ray Eames

“…he is creating a design In ARTnews, Edgartradition…engaged in an infinitely ad- Kauffman wrote exten-venturous and rigorous exploration sively about the Eamesof the world around him. At the same win at the Low Costtime he is an ardent experimenter, try- Furniture Competition,ing every possible way to use his finds and of Charles’ process:singularly and in combinations untilthey are transmuted from mere lootinto elements of a new design. The endproducts are composed of the stuff ofordinary living and they are integratedand heightened far beyond that.” edgar kauffman Inspirations, Processes & Partnership 6

InterviewThequestionsandanswersbelowweretheconceptual basis of the exhibition Qu’estce que le design? (What is Design?) atthe Musée des Arts Décoratifs, Palais deLouvre in 1972. Questions by Madame.L. Amic, answers by Charles and Ray:Q: “What is your definition of ‘Design,’ Q: “Is Design a creation of a group?” Q: “Is Design used to modify an oldMonsieur Eames? A: “Very often.” object through new techniques?”A: “One could describe Design as a plan A: “This is one kind of Design problem.”for arranging elements to accomplish a Q: “Is there a Design ethic?”particular purpose.” A: “There are always Design constraints, Q: “Is Design used to fit up an existing and these often imply an ethic.” model so that it is more attractive?”Q: “Is Design an expression of art?” A: “One doesn’t usually think of DesignA: “I would rather say it’s an expression Q: “Does Design imply the idea of prod- in this way.”of purpose. It may, if it is good enough, ucts that are necessarily useful?”later be judged as art.” A: “Yes, even though the use might be Q: “Is Design an element of industrial very subtle.” policy?”Q: “Is Design for industrial purposes?” A: “If Design constraints imply an ethic,A: “No, but Design may be a solution to Q: “Is it able to cooperate in the creation and if industrial policy includes ethicalsome industrial problems.” of works reserved solely for pleasure?” principles, then yes—design is an element A: “Who would say that pleasure is not in an industrial policy.”Q: “What are the boundaries of Design?” useful?”A: “What are the boundaries of prob- Q: “Does Design admit constraint?”lems?” Q: “Ought form to derive from the anal- A: “Design depends largely on con- ysis of function?” straints.”Q: “Is Design a discipline concerned A: “The great risk here is that the analysiswith only one part of the environment?” may be incomplete.” Q: “What constraints?”A: “No.” A: “The sum of all constraints. Here is Q: “Can the computer substitute for the one of the few effective keys to the DesignQ: “Is it a method of general expression?” Designer?” problem: the ability of the Designer toA: “No. It is a method of action.” A: “Probably, in some special cases, but recognize as many of the constraints as usually the computer is an aid to the possible; his willingness and enthusiasmQ: “Is Design a creation or representation Designer.” for working within these constraints. Con-of an individual?” straints of price, of size, of strength, ofA: “No, because to be realistic, one must Q: “Does Design require the use of balance, of surface, of time, and so forth.always recognize the influence of those industrial manufacture?” Each problem has its own peculiar list.”that have gone before.” A: “Not necessarily.”7 Charles & Ray Eames

“What works good is better than what looks good, because what works good lasts.” – Ray Eames Interview 8

DynamicDesignDuoThe husband-and-wife team of Charlesand Ray Eames are widely regarded asAmerica’s most important designers.This skillful portrait brings fresh insightto their personal lives and lasting influ-ence on modernism and the computerage. They encouraged people to look atthe world differently. Life, fun and workwere combined into a single experience.Together, they became one of the great-est success stories of the post-war era.9 Charles & Ray Eames

Inspirations, Processes & Partnership 10

The International The International Competition for Low-cost Furniture Design was held to develop ideas for low-cost furniture suit- ed to the living rooms, bedrooms and dining areas of pres- ent-day small homes. Charles and Ray Eames participated in the project with the University of California, Los Angeles Department of Engineering. Competition for Aphotofromthe Eames’ Entry Panel the Design of for the competition.Ray Eames helpingmold the La Chaisechair to be submittedto the competition. Back and front view of the Low-Cost Eames’ La Chaise chair. Furniture11 Charles & Ray Eames

Near the end of Warl War II families The project, brought to the attention gives better values not only pricewise butfound themselves faced with a tremen- of the Museum of Modern art by the also in the efficiency of its planning anddous housing problem. In part they had Museum Design Project, a non-profit in its fine appearance. It was hoped thatto make the best of existing accommoda- organization which represented prom- the exhibition represented only the firsttions by crowding them with far greater inent retail merchants throughout the stage on the road, an early moment in anumbers than had been intended origi- country, was meant to improve low-cost chain reaction which would lead to thenally, or else they had to try to secure one furniture through the cooperation of tal- simpler constructions, the greater com-of the new dwellings which were erected, ent in the fields of design and research. forts and the more varied expressions ofthough too slowly to satisfy the need. In The designers, paired up with one of six good living, which seemeed posible byeither case families found themselves MoMA-selected design-research teams, the work presented.in smaller homes than had been usual. were encouraged to utilize new mate-If these homes were to be in any sense rials, tools and production methods to Charles and Ray Eames were announcedlivable or comfortable, their furnish- focus their attention to the production of as participating in the competition withings had to be efficiently planned and quality and inexpensive furnishings for the University of California, Los Ange-trimly scaled. Deeper than this lay the the modern home. les Department of Engineering. On Jan-important question of cost. The market uary 18, 1949, Nelson A. Rockefellersupplied furniture at many price levels, The culmination of the exercise would presented awards to the winners of thebut serviceability and efficiency were not result in an exhibition slated to be held International Low-Cost Furniture Com-always directly related to these prices, at the Museum of Modern Art in New petition, stating that the designs madeand it was hard to find desirable furni- York City, as well as the franchise of “a real contribution to the improvementture at low cost. American ingenuity and the prize-winning furnishings for sale of standards of living.” Charles EamesAmerican technology had provided this in those retail establishments associated along with the University of California,country with an admirable standard of liv- with the Museum Design Project.Par- Los Angeles, was announced as theing, but seemingly in regard to the home ticipants were directed to submit their second prize winner for seating units,and its furnishings these forces were not entries anonymously to Edgar Kaufmann, and received the cash prize of $2,500.yet fully mobilized. In the hope that new Jr., Director of Industrial Design at the Eames’ contribution, La Chaise receivedideas and better results could be found, Museum of Modern Art. Submissions an honorable mention. The chair whichThe Museum of Modern Art and an were to include plans not exceeding 20” was awarded the second prize wasenterprising group of American retailers x 30” sketch boards which indicated ele- stamped steel, not fiberglass. The shelland manufacturers, organized as Muse- vations, details of construction and cross chair is believed to have been awarded aum Design Project, Inc. planned a com- sections of the proposed furniture. In prize because of its thoroughly inventivepeitition to address these problems. On addition, the competitors were instruct- base system. This system allowed for theThursday, October 23, 1947, a dinner was ed to send in a working model of each shell to be utilized in a variety of differ-held at the Rainbow Room in Manhattan. unit submitted, not less than ¼ full size. ent environments. It was able to suit theAttended by various leaders of the United needs of the consumer seamlessly. NoStates furniture industry, and presided The guidelines for the competition other submission included such custom-over by Nelson A. Rockefeller, President outlined that the intent was to “obtain izable variations and versatility.of the Museum of Modern Art, the event furniture capable of being adapted toannounced the International Competition a variety of uses.” Acceptable furnish- Excerpted from Kaitlin Handler, “Thefor Low-Cost Furniture Design. ing submissions included seating units history of the Eames Molded Plastic such as upright and lounge chairs, sofas, Chairs,” (Smithsonian/CCA+D, 2010) Various addresses were given that benches or daybeds, or storage units forevening expressing concern over the household or personal effects. There The Competition 12fact that, while world government and was no restriction on the total number ofindustries were focusing on the problem entries that a competitor could submit.of affordable housing, minimal atten- First, second and third prizes would betion was being paid to the “design and handed out separately for seating andproduction of good, inexpensive and storage entries.attractive furniture.” The announcementmade that evening highlighted the need The tremendous response to the Com-for well-designed, moderately priced fur- petition by designers was a measure ofnishings for all; furnishings that could be the urgency of the problem posed. In pre-easily moved, stored and cared for, thus senting the exhibition of Prize Designsmeeting the demand of modern living. for Modern Furniture, The Museum of Modern Art was eager to make clear the urgency of the need for furniture that

The La Chaise ChairCharles and Ray designed this loungechair for the “International Competi-tion for Low-Cost Furniture Design.”Its name references both its function aswell as Gaston Lachaise’s Floating Fig-ure sculpture, whose shape the Eames’thought would fit the chair perfectly. The La Chaise Chair won the Second interim. Now it was possible to find a Prize in Seating Units at The Interna- plastic substance and a molding process tional Competition for the Design of Low which allowed this kind of shape to be Cost Furniture. The chair was designed produced economically. Chairs with by Charles Eames, and the University of complicated molded curves like this have California, and manufactured by Her- always presented a special problem in the man Miller Furniture Company in Zee- attachment of legs, but this time the prob- land, Michigan. lem was solved with unusual directness and neatness. Members of the team included Eames’ design group: Charles Eames, Ray Eames, Perhaps the greatest advantage of Don Albinson, Frances Bishop, James this chair is the extraordinary lustre and Connor, Robert Jakobsen, Charles Krat- soft, smooth surface of the plastic which, ka, Frederick Usher, Jr.; University of strengthened by the silky threads of glass California, Los Angeles Campus, Depart- imbedded within it, quickly absorbs ment of Engineering: L. M. K. Boelter, room temperatures. Never before used in Dean; Morris Asimow, Don Lebell and furniture, this airplane plastic is virtually Wesley L. Orr. indestructible and withstands stains and mars. Both to the eye and to the touch This molded fibre glass chair is in many this plastic was a most desirable addition respects an astonishing fulfillment of the to the gamut of materials available for ideas developed by Charles Eames and modern rooms. Unlike similarly shaped his occasional associate Eero Saarinen chairs, this one permitted many shifts of in 1940 when similar designs of theirs position which, it has been discovered, is won first prize in The Museum of Mod- a necessary characteristic of a chair that ern Art's Organic Design Competition. is to be comfortable. The chair is avail- The 1940 chairs produced in laminated able not only with four metal legs but plywood were the point of departure for also with a central supporting pedestal many interesting designs by both these and with rockers. The plastic is integrally men, which are now on the market, but colored off-white, medium grey, gun-met- the chair presented here is closer to the al or a soft light grey-brown. original concept than any of the varia- tions they carried out during that 10-year13 Charles & Ray Eames

The La Chaise Today:Comprised of two bonded fiberglassshells, a chromed base, and natural oakfeet, the chair exhibits a captivatingelegance and allows for a wide rangeof sitting and reclining positions. TheEames La Chaise was never sold duringCharles and Ray’s lifetime, as it provedtoo costly to produce. It wasn’t until 1996 that the long-time Eames partner, Vitra International,began manufacturing and distributingthe La Chaise in response to publicinterest and demand. Today, the chairserves as a long-established icon oforganic design. It is available exclusivelyfrom Vitra. Above: These images were the entry panels for the Eamses entry into the competition at MoMA.In this image, Rayis working on theLa Chaise chair. Sheis helping mold thebody of the chair. The La Chaise 14

INTRODUCING THE 21 NEWMAGNIFICENT 3 MATERIAL15 Charles & Ray Eames

4The Use of FiberglassFigure 1: The DSR Chair In keeping with the Eames’ constant Two weeks later Charles arrived to striving to improve their designs, Charles view the prototypes that Wills had pro-Figure 2: The DAW Chair sought out a change in production meth- duced. Unable to pay for the two proto- od for the now prize winning design. types produced in the workshop, CharlesFigure 3: Eames Molded Plastic Stool The re-examining of materials met the paid for one, leaving the second perched concerns of Herman Miller as far as on the cylindrical piece of corrugated met-Figure 4: Collection of DSR Chairs production costs were concerned, as the al from a disassembled agricultural feed- price of steel molding was quite costly er. This piece of design history has sinceNotes (seventy to eighty thousand dollars in been donated to the Henry Ford Museum1. The process for making shells and 1949). Additionally, the original steel as part of the Herman Miller Consortium.the nature of fiberglass mean that each molded chairs had possibility of rustingshell is unique and can possess traits after time and, additionally, were cold to The shells which ultimately went intosuch as tiny cavities in the surface, small the touch. Because of this temperature production are identical in shape andpoints of lighter or darker color, or faint issue the chairs needed a neoprene coat- dimension to the original Wills proto-circular shadows. ing added to the production process in type. The dimensionally correct casting2. In the 1980s, after determining fiber- order to ensure comfort for the consum- would be made for a “Keller” millingglass was detrimental to the environ- er. This, with the added step and cost of machine to make a female mold of thement, Herman Miller ceased production labor, added an unwanted rise in cost to prototype, which would then carve theof the Eames chair to explore more the chair. opposite male die.sustainable options, eventually choosingrecyclable polypropylene. Charles, with craft paper mock-up of On September 1949Zenith Plastics the shell chair in tow, arrived at the work- received a phone call from Charles Eames shop of John Wills, a noted fiberglass with a request for representatives from manufacturer and boat builder. In 1947 the company to come in to the Eames Wills had developed a manufacturing Office and discuss a possible application technique which allowed for fiberglass for fiberglass. After showing up several to cure at room temperature, eliminat- hours late for the meeting with Sol Finger- ing the need for heat and pressure to be hut, and Irv Green, Charles immediately involved in the process. Charles asked launched into his discussion of the proj- John to produce a fiberglass shell from ect, resulting in a four hour conversation. his model. John Wills agreed to do so for a fee of $25.00. His concerns revolved around the possible issues that might arise with fiber- The technology for working in fiber- glass production of his design, namely glass didn’t allow for female molds to be how to adhere the base to the shell, and produced, only male, which guaranteed how to treat the edge. Charles wanted that the craft paper mockup would be to ensure a seamless design by incorpo- destroyed in the process. rating a radius edge. These issues were resolved with the adherence of “buttons” The New Material 16

“The role of the to the shell with epoxy adhesives where was for 2000 shells. The contract wasdesigner is that the base met which allowed for it to be one page long – according to Charles itof a very good screwed in and secured, as well as treat- was because “if it won’t fit on one page,thoughtful host ing the edge of the chair with rope. The it’s not a friendly contract.”anticipating the rope-edge was ultimately abandonedneeds of his because it added an additional step to Charles and Ray Eames realized theirguests.” – Charles the production cost and upped the price first successful, single-shell form in 1950 of the chair. with the Molded Fiberglass Chairs. How- ever, when the environmental risks asso- Tackled first was the armchair. It ciated with fiberglass production became was believed that if the armchair could more widely understood, the decision be produced, the sidechair would soon was made to discontinue fiberglass shell follow, as its design was less complex production until a more suitable material to produce. The tooling equipment was could be found. In 2001, Herman Miller purchased by Zenith Plastics at no over- reintroduced the Molded Plastic Chair in head cost to Herman Miller. polypropylene. In addition to being 100 percent recyclable, the polypropylene On November 4, 1949, an agreement shell chair’s subtle matte texture offers a was drafted outlining the partnership soft tactility as well as notable durability. between the Zenith Plastic Company and the Herman Miller Furniture Company Excerpted from Kaitlin Handler, “The to produce the “Fiberglass Armchair history of the Eames Molded Plastic Designed by Charles Eames which won Chairs,” (Smithsonian/CCA+D, 2010) a prize in the Museum Design Project of the Museum of Modern Art” which stip- ulates an attempt to turn out acceptable shells within 60 days for display in Chi- cago on January 9, 1950. The first orderThe plastic Eames chairs were availablein a variety of different colors. Theimage above shows some samples of thedifferent colors that were used. At first,the chair was available in three colors:grey, elephant-hide gray, and parch-ment. The palette of colors was laterexpanded. After that, a choice of severalpossible bases was offered. A view of the factory where the plastic chairs were molded and produced.17 Charles & Ray Eames

“The idea was to do a This picture was taken inside the piece of furniture that factory storage room. It shows the would be simple and yet stackable nature of the chair. Even once comfortable. It would the legs had been attached they retained be a chair on which mass this stackable quality. production would not have anything but a pos- itive influence; it would have in its appearance the essence of the meth- od that produced it. It would have an inherent rightness about it, and it would be produced by people working in a dig- nified way. That sounds a little pompous, but at the time it was a per- fectly legitimate thing to strive for.” The New Material 18

simple comchair mass ppositive influenceof the method thainherent rightnesby people workinway perfectl19 Charles & Ray Eames

mfortableproductione the essence at produced itss producedng in a dignified ly legitimate

The Evolution of the Eames Chair The ‘Winning’ Chair The LCW Chair The Eames' 1946 molded-plywood chair As the sense grew that the war was was developed from the chairs Charles coming to a close, the Eames Office, and Eero Saarinen entered in The now two years old and some 15 people Museum of Modern Art's 1940 “Organ- strong, turned its attention to furniture. ic Design” competition in which they With the important experience of the took first place. This chair was uphol- war years behind them, Charles and Ray stered to hide the imperfections that pushed harder than ever. If there were molded-plywood produced when bent a way to make a single-piece shell of into organic shapes. molded plywood in complex curves, the Eames Office would find it. The office began working toward introducing the furniture at a show at the Barclay Hotel. In the end, they abandoned the idea of a single-piece shell and instead broke it into two parts: a seat and a back. The legs of the chairs were made with the curved wood. They had finally uncov- ered the honest use of molded plywood. The LCW(Loung Chair Wood) is now an icon of American design. Time maga- zine called it “the chair of the century.” When asked if they regretted the five years of work spent trying to make the chair one piece, Charles said, “This way we know we have the right answer.” Plywood The earlier chairs were made out of plywood. Plywood tends to splinter when bent into acute angles. To solve this problem, the Eames’ and their colleagues cut slits and holes into these experi- mental chair shells.21 Charles & Ray Eames

The DSR Chair The La Chaise Chair The DAW Chair Charles and Ray believed that “design isThe initials stand for Dining (height) This chair, designed for a competi- a method of action,” and they continual-Side (chair) Rod (base). Designed in tion at the Museum of Modern Art ly updated their work as new materials1948, the DSR has a distinctive chrome in 1948, was inspired by a Floating became available. Their Molded Plasticbase, giving it the nickname the “Eiffel” Figure, a 1927 nude in bronze by the chairs were originally designed in metalchair. It was one of a series, all with French-American sculptor Gaston and entered as a prototype in MoMA’sthe same seat shell, made at first from Lachaise. Made of fiberglass on a base 1948 International Competition forfiberglass and now, less satisfyingly, of steel and oak, it is in many ways an Low-Cost Furniture Design. They thenfrom polypropylene. The DSW has a uncharacteristic Eames design, being so changed the material to fiberglass inwooden base, the DAW and DAR are much more beautiful than it is com- 1950, and today the chairs are madearmchairs (either with a wooden or rod fortable; it also proved too expensive of recyclable polypropylene. Charlesbase).The original colors were greige, to produce until the 1990s when Vitra was dissatisfied with the fiberglass, andelephant hide grey, parchment and finally began its manufacture. For those it wasn’t until after his death that theseafoam green. who have space enough for chairs that matte finish he desired was achieved, need never be used, it’s an exquisite thanks to advances in materials. “The statement piece. chair that Charles and Ray were design- ing,” explains grandson Eames Demetri-Fibreglass os, “is the chair that’s made tomorrow.” The deep seat pocket and waterfall seatThe Eames' fiberglass creating one of the first edge keep you comfortable by reducing pressure on the backs of thighs.chair solved the prob- one-piece plastic chairs The Evolution of The Eames Chair 22lem of how to make with an exposed rathera seat out of a single than an upholsteredbody-fitting shell. The surface. Zenith beganprogressive quality and mass-producing fiber-moldability of plastic glass armchairs in 1950made it even more allur- for the Herman Millering to the Eameses than Furniture Companyplywood or stamped (today Herman Miller,metal. Fiberglass had Inc.).been used during thewar by Zenith Plasticsto reinforce plastic onairplane radar domes.Working together,Zenith and the Eames’re-conceptualized theuse of the material,

For Every Need “The details are not the details, they make the product.”Charles Eames famously said, “The roleof the designer is that of a very good,thoughtful host anticipating the needsof his guests.” With the molded plastic,fiberglass, and wood shell chairs—as wellas the wire chair—the Eames created auniversal response to what everyonewanted from a chair: a simple, graciousform that fits any body and every place. In Every Way For Everyone Borne out of Charles’ and Eero Saarinen’s The Eames Shell Chair was designed early investigations molding plywood at on the principle of adaptability, offering Cranbrook Academy in 1939, and con- innumerable configurations to serve a tinued with Ray at the Eames studio in wide variety of applications and environ- Venice, California, the molded chair is ments. It’s what makes the chair a classic exemplary of the Eames iterative process worthy of museum collections—and living and their desire to make “the best for the rooms, Laundromats, lobbies, and cafés. most for the least.” With each new form, It’s what makes it a great first piece of finish, and configuration, the Eames con- furniture to buy in your twenties, that’s tinued to push the boundaries of what still worthy and relevant enough to hand the shell chair could be: after experi- down to your children 20 years later. A menting with single-form plywood and diverse selection of shell, base, color, stamped metal, they turned to fiberglass and finish options enable you to create and experimented with bent wire; when your perfect chair. Just like every person, fiberglass production proved unhealthy every chair has a story. for the environment, the decision was made to switch production to a safer plastic; and now, with advancements in safe fiberglass composition and dynamic veneer technologies, the evolution con- tinues with the Molded Fiberglass and Molded Wood Chairs.Notes1. Herman Miller, “Eames MoldedFiberglass Chairs,”< https://www.her-manmiller.com/products/seating/side-chairs/eames-molded-fiberglass-chairs/>(accessed November 26, 2017)23 Charles & Ray Eames

“Getting the most of the best to the greatest number of people for the least.” The Eames’ recognised and fully an intricate and graceful design made of out arms) was introduced (in the DSW,exploited the advantages of the materi- steel wire that inimitably combines light, DSX, and DSR models). Over the years,al: mouldability, rigidity, pleasant tac- elegant forms with structural strength. the plastic chair has undergone sometile qualities, suitability for industrial modifications: the curve of the back hasmanufacturing methods. With this mate- The early “H” metal base (the SAX become more inclined and upholstery isrial(fibreglass), which was previously standard model and the LAX lounge now glued to the plastic shell.unknown in the furniture industry, they lower model), “X” metal base (the DAXsuccessfully developed the shell designs dining model), a lower model with met- The Eames plastic armchair immedi-for serial production. After their debut at al rod base (the LAR model), a wooden ately became an iconic design and eventu-the 'Low-Cost Furniture Design' compe- base (the DSW model), a steel-wire base ally the chair was used in schools, airports,tition organised by the Museum of Mod- (the DSR model, also known as the “Eif- restaurants, and offices around the world.ern Art in 1948, the Plastic Armchair fel-Tower base”), a cast aluminium base From 1954, the chairs were used as stadi-(A-shell) and Plastic Side Chair (S-shell) with castors (the PACC model), and a um seating with metal rods put together inwere launched on the market in 1950 wood-rocker base (the RAR model). All rows, the Tandem Shell Seating.as the very first mass-produced plastic of the bases were attached to the seat usingchairs in the history of furniture. hard rubber disks to allow flexibility. Excerpted from Kaitlin Handler, “The history of the Eames Molded Plastic The Eames Plastic Chairs also intro- Despite the fact that Herman Miller Chairs,” (Smithsonian/CCA+D, 2010)duced a new furniture typology that ceased production of the rocker in 1968has since become widespread: the mul- (until they reintroduced it 30 years later),tifunctional chair whose shell can be pregnant employees continued to receivejoined with a variety of different bases these chairs as a company gift untilto serve diverse purposes. As early as 1984, solidifying the rocker as a token1950, Charles and Ray Eames present- of high-end nursery decor. The plasticed a series of bases that enabled various shell became available in an upholsteredsitting positions. An especially striking (fabric or vinyl) version a year after themodel is the so-called Eiffel Tower base – introduction of the chair. After the suc- cess of the arm chair, the side chair (with-Where Are They Now?The chairs are still in production by Herman Miller and Vitra. However, each pro-ducer uses a different material for their chair. In 1993, Vitra discontinued produc-tion of the fiberglass shells for ecological reasons. The company resumed manu-facture of the shells in 1989 and 2004, making them available in polypropylene, amore environmentally friendly material. Also, Herman Miller uses the polypropylenematerial for their chairs. The production process for the new fiberglass chairs byboth manufacturers is now emission-free and uses a new, monomer-free resin whichcreates a safer environment for workers and a more environmentally friendly, recy-clable shell The chairs are still commonly used by popular interior designersand featured in many magazines. The Evolution of The Eames Chair 24

1947-1960 the sto the ea plastic tory behindeames’ molded ic chair issue 01