Charles & Ray Eames h3 Charles Eames (born 1907 in St. Louis/USA; died 1978 in St. Louis/USA) studied architecture at Washington University in St. Louis and in 1930 opened his own office together with Charles M. Gray. In 1935 he founded a second architectural firm with Robert T. Walsh. After receiving a fellowship in 1938 from the Cranbrook Academy of Art, he moved to Michigan and assumed a teaching position in the design department the following year. In 1940, Charles Eames and Eero Saarinen won first prize for their joint entry Organic Chair (also known as Conversation Chair) in the competition "Organic Design in Home Furnishings" organized by the New York Museum of Modern Art (MoMa). During the same year, Eames became head of the department of industrial design at Cranbrook. In 1941 he married Ray Kaiser. Ray Eames Ray Eames (née Bernice Alexandra Kaiser, born 1912 Sacramento/USA; died 1988), attended the May Friend Bennet School in Millbrook, New York, and continued her studies in painting under Hans Hofmann through 1937.

During this year she exhibited her work in the first exhibition of the American Abstract Artists group at the Riverside Museum in New York. She matriculated at the Cranbrook Academy of Art in 1940 and married Charles Eames the following year. Charles and Ray Eames: Design Team Charles Eames and Bernice Alexandra Kaiser first met at Cranbrook Academy of Art in 1940 and married in 1941. In the same year the pair moved to Los Angeles and established their own design studio Eames Office. Following their work with plywood for the US military it came as no surprise that their first furniture creations were also plywood; for example design chairs such as the DCW and LCW and accessories such as their folding screen or their Eames Elephant. In the late 1940s the Eames started to seriously experiment with modern materials, including fibreglass resin. Apart from their natural desire to test modern technology, the step was also true to one of Charles Eames' mottos: "The most of the best to the greatest number of people for the least".

The Organic chair produced in 1940 by Charles Eames and Eero Saarinen had been their first attempt at a fibreglass chair, however it was not until the 1950s that the technology became available to produce such chairs in large quantities. The fibreglass armchair and sidechair ranges from Charles and Ray Eames, including such classics as the Eames DSR, DAR or DAW were the most obvious fruits of that period. kijiji halifax chairs for saleIn 1993 Vitra switched from fibreglass resin to the more environmentally friendly recyclable polypropylene for the production of the, now, plastic armchair and plastic side chair ranges. b&q table and chairs1956 saw the creation of one of the most easily recognisable of all Charles and Ray Eames's work: the Eames Lounge chair and Ottoman - a modern interpretation of the classic English Gentleman's Club chair. herman miller chairs arizona

Following the success of their Lounge chair Charles and Ray Eames again switched material with their aluminium chair range (eg. ES 117, EA 119), before in 1960 they undertook one of their most famous commissions - creating lobby chairs and stools for the Rockefeller Centre in New York by Time Inc. The resulting walnut Eames stools and the Eames Lobby Chairs ES 104, ES 105 and ES 106 remaining amongst the most iconic of mid 20th century American design. rocking chair for sale in delhiFrom a design career that spanned three decades, Charles and Ray Eames left the world a rich heritage of designer furniture and design philosophy that continues to motivate, excite and enthral designers, consumers and critics alike.ikea egg chair craigslist In addition to the development of furniture, Charles and Ray Eames were also active in other creative fields. high chair rental nantucket

From 1955 they worked as photographers and film makers, in 1964-65, they were responsible for the IBM pavilion at the World Exhibition in New York, in 1969 they contributed to the exhibition "Qu'est-ce que le design?" at the The Musée des Arts Décoratifs in Paris and in 1973 the MoMA new York presented "Furniture by Charles Eames". In 1964 Charles Eames received the honorary doctorate from the Pratt Institute, New York and from 1970-71 held the Charles Eliot Norton Chair at Harvard University. chair and table rentals saskatoonCharles Eames died in Saint Louis in 1978, Ray Eames in 1988. swivel chairs for hunting blindsOver the course of their three decades of career, Charles and Ray Eames have left the world a rich heritage of design furniture and a design philosophy which still inspires and fascinates designers, customers and critics alike today.bean bag chairs in orlando florida

h3 The collaboration between Charles and Ray Eames and Vitra started in a, somewhat, unconventional way: but ultimately proved very successful for both sides. During his first visit to the United States in 1953, Vitra founder Willi Fehlbaum was in a taxi when he saw a chair in a shop window that attracted his attention. He stopped the taxi to take a closer look at the chair and learned it was a Charles and Ray Eames Plywood Chair. Fascinated and delighted by the Eames chair design, Fehlbaum immediately spoke with the producer - Hermann Miller - to acquire the rights for furniture production. In 1957, Vitra was granted the license to manufacture the designer furniture by Charles and Ray Eames. In 1984, Vitra received the rights to all Charles and Ray Eames products for Europe and the Middle East - not just Vitra chairs, but also complementary items such as the Eames Hang it All, the Eames Elephant or the Eames House Bird. The relationship between Vitra and Charles and Ray Eames was more than just a manufacturer:designer relationship.

Willi and Erika Fehlbaum and Charles and Ray Eames became very good friends and Charles Eames was to become one of Fehlbaum's most important mentors. The Vitra philosophy is strongly influenced by the Eames and even today, important questions at Vitra are approached from the perspective "What would Charles and Ray do?" In 1949, Charles and Ray Eames built a house in Pacific Palisades: a construction which not only plays an important role in the architecture of the 20th century, but also reflects the work and philosophy of the designer couple in a very beautiful way. The house was designed as part of the "Case Study House Program" for the US magazine "Arts & Architecture": architects and designers were invited to plan innovative houses specifically for specific end-user groups in the context of American post-war architecture. The Charles and Ray Eames House was conceived for their own needs: a young couple looking for a house where you can live as well as work. The Eames House is based on a modular system and consists largely of elements of industrial series production, thus perfectly reflecting the Eames' enthusiasm for the latest technologies and the need to test them to the limits.

However, the Eames House is not only architecturally relevant, but the interior furnishing by Charles and Ray Eames also play a role in modern design history. Anything but uniform or monotonous, the interior of the Eames House is a living example of Eames' philosophy of "mix and match": new and old, different styles and concepts are intermingled, the living space in a continuous "work in progress". The personal, relaxed atmosphere created by the collage approach impressed Willi Fehlbaum deeply and has greatly influenced Vitra's design philosophy. Ray and Charles Eames in the Vitra Design Museum The influence of Charles and Ray Eames on today's world goes far beyond architecture and designer furniture. Their legacy is their design philosophy, the division of space and the role that design occupies in our daily lives. Rolf Fehlbaum, son of the Vitra founder Willi and Erika Fehlbaum, founded the Vitra Design Museum as a collection for important and influential design of the 20th century.