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The world of Charles and Ray Eames
Charles (1907-1978) and Ray (1912-1988) Eames are among the most important designers of the 20th century, and the story of the Eames Office is that of visual and material culture in the post-war, modern period. The World of Charles and Ray Eames charts the history of their inspiring and prolific world and brings together key works and ideas explored at the Eames Office throughout its extraordinary history. This definitive monograph explores the era-defining work of the Eames Office, a laboratory active for over four decades, where the Eameses and their collaborators produced a vast array of pioneering and influential projects from architecture, furniture and product design to film, photography, multi-media installation and exhibitions, as well as new models for arts education. Themes include The Eames Office: Life in Work, At Home with the Eameses, Information Machines, The Seeing Eye, Office USA: Communicating America at Home and Abroad, and The Art of Living. Alongside newly commissioned texts by leading design experts, The World of Charles and Ray Eames will include contemporaneous reviews and magazine articles, writings by Charles and Ray Eames themselves, personal correspondence and a comprehensive reference section.
Book
Charles and Ray Eameses’ museums without walls: Films as exhibition and exhibitions as film
This article outlines the intersections between the exhibition and film work of Charles and Ray Eames and the Eames Office, and explores the ways in which film was used to create exhibition environments and vice versa. The Eameses’ desire to transmit ideas to the broadest public generated a concept of the ‘museum without walls’ that found its ultimate expression in the creation of large-scale multi-media and multi-sensory exhibition environments. Their influential practice pioneered new methods of immersive exhibition design, experimented with the use of film as inhabitable exhibit and also as a tool to capture and display cultural subjects and artefacts typically experienced in museum settings. Considering the Eameses’ projects afresh allows us to assess their role in shaping the expansive possibilities of film and the exhibition environment and the challenges of communicating ideas that continue to face museum professionals today.
Journal Article
Charles & Ray : designers at play : a story of Charles and Ray Eames
\"Charles was an architect. Ray was a painter. Together they made the perfect team. This picture book shows the way that Charles and Ray used structure, shape, and color to transform anything. And because they saw problem-solving as an adventure, they were able to incorporate playfulness into everything they designed. A tale about two of the most iconic designers of the Mid-century modern design movement, which will inspire readers to dream up new ways to see the world around them\"-- Provided by publisher.
Book
HOUSE OF CARDS: EL \CONTINENTE\ EAMES EN UNA BARAJA DE CARTAS
Many recognized authors have used them at different times in history to express in a synthetic way a certain architectural ideology, so its analysis from the present allows us to easily understand the context from which it emerged. Charles and Ray Eames top the list of architects fascinated by toys: they collected them, exhibited them, and also designed them to produce them in series. The small object condenses concepts present in all their work: the game, as object and as methodology, the change of scale and the process of concatenated work, the particular in the mass produced, the importance of the everyday, of the collection and photography, the use of the multiple image, the origin of the work as a gift, the permanent celebration, and the connection of life with art. The article aims to develop the most characteristic features of the Eames' work through this attractive object, showing its influence on other authors and works, and rescuing it from their extensive legacy as a creative method and experimentation laboratory for future architecture.
Journal Article
Like A 'Girl in a Bikini Suit' and Other Stories: The Herman Miller Furniture Company, Gender and Race at Mid-Century
This article examines storage furniture and chair designs created for the Herman Miller Furniture Company by the offices of George Nelson and Charles and Ray Eames in the 1940s and 1950s. Using corporate publicity images, alongside contemporaneous texts, this article investigates how these objects—fundamentally abstract with their bright colours, industrial materials, and geometric forms—were positioned for their original consumers in the postwar period. In particular, the article considers how these iconic objects engaged questions of gendered and racial identities in the postwar decades. While it is methodologically problematic to assert that gender or race intrinsically inheres in the design objects themselves—the article contends that there is, ultimately, no essentially 'feminine' line or 'white' form—gendered and racialized narratives can be found through a close reading of the visual and verbal frames that surrounded these objects. These designs were used to cultivate economies of vision and power that recapitulated the chauvinistic gender ideologies of postwar American culture as well as the dominant racial ideology of whiteness as distinct, and all colour as other. They were successful, ultimately, because they resonated with the dominant ideologies of their status-conscious consumers.
Journal Article
Function and Flourishing: Good Design and Aesthetic Lives
A metacritical approach to the aesthetics of design focuses on critical thinking about design by designers interested in the general value of design work. Their general \"apologies\" for design are typically couched in terms of \"improvement,\" \"fit,\" and other related terms. They are properly understood as grounding good design in variants of aesthetic experience. Metacriticism of design statements thus contributes to thinking about aesthetic education by revealing the meaning of good design's key ideas and explaining how design works for improved, flourishing aesthetic lives from the personal to social level. Good design becomes a key component of aesthetic education conceived in those \"developmental\" terms. There are three broad, distinct but overlapping categories of \"apology.\" The first category covers how designers think about the personal experience of using particular things; the second, how designers conceive the individual's experience of the aesthetic value or beauty of their everyday domestic lives; and the third how designers make claims about designing communities that support the good life. Each category supports the general thesis that \"apologies\" for design are essentially about improving human experiential life in explicably aesthetic terms. This amounts to aesthetic functionalism about design's general value as an activity. This cluster of criteria meets needs in \"fitting\" ways that improve practical life, adding \"beauty\" and aesthetic value to everyday lives and creating built environments that aid the \"good life.\" \"Aesthetic functionalism\" about design endorses and deepens the developmental understanding in its various idioms (Dewey's pragmatism, the expansive view of the aesthetic field in everyday aesthetics, and the social view of the significance of the aesthetic in the tradition of Friedrich Schiller) of the role of the aesthetic in our everyday lives. It thus indicates how good design is an integral part of the concept of aesthetic education and how placing statements about design work in general in the context of developmental aesthetics deepens our understanding of them.
Journal Article
Attitudes Towards Modern Living: The Mid-century Showrooms of Herman Miller and Knoll Associates
The independent manufacturer's furniture showroom, as defined by Herman Miller and Knoll in the mid-twentieth century, presented a highly controlled and controllable context in which both companies and their designers familiarized American architects, designers and consumers with new ideas about living with modern furniture and architecture. Embracing consumerism within a modernist idiom, these mid-century furniture showrooms provided a unique interior typology wherein the reconciliation of modernism, mass-produced goods and personal expression was not only possible, but also accessible. Challenging long-held practices and beliefs within the nation's conservative home furnishings market, Herman Miller and Knoll superseded retail buyers by reaching out directly to customers. The independently-run showrooms allowed both companies to engage their customers in a sophisticated and sustained proposition about the role of modern furniture and architecture in daily life. Examining the showrooms designed for Herman Miller and Knoll Associates during the latter 1940s and early 1950s, this article explores the ways in which these spaces were utilized as both laboratories and showcases, demonstrating the adaptability of modern furniture and interiors to individual lifestyles.
Journal Article