We devote ourselves over 4 years to provide as good as possible replica designer furniture for the best price.. We buy directly from our manufacturer. That´s why we can keep the prices low and the quality high. When you place an order before 16.00, your order will be delivered at your door within two business days. Because of a large stock and an own warehouse, you have your order in your reach before you know it! Do you place an order in the weekend? Your order will be delivered on wednesday. We don´t deliver during the weekend. We'll make sure you are satisfied. We do everything in our power to achieve this. Free shipping and returns, pay afterwards, 2 years warranty on all products and attainable 6 days a week 9 hours a day. We do everything to make you smile! TRY FIRST, PAY LATER Do you wish to review the product at home before you pay? We can imagine that! You can make use of the Postpay option. You can pay while the the products is already in your living room. You have 14 days to try out the chair and determine if you want to pay or not.
If you are are not satisfied, we will take back the product for free. Ontwerper: Charles and Ray Eames Jaar: Geproduceerd tussen 1956 – 1969 Omschrijving: Originele vintage EA124 Lounge chair van Charles en Ray Eames voor Herman Miller. Het gaat om een vroeg model uit de eind jaren vijftig. De stoel is gemaakt van aluminium en is bekleed met de erg mooie mosgroene Naugahyde. Dit EA124 model heeft een hoge rug en een neigsysteem, waardoor deze fauteuil ontzettend comfortabel zit. Een echt aanwinst voor uw interieur. De fauteuil is 97 cm hoog en heeft een zithoogte van 44 cm. Staat: De stoel heeft een mooie patina en verkeert nog in erg goede vintage staat. Op de rechter armlegger is zichtbaar gebruikssporen te zien.Saarinen Executive Arm Chair Featured in nearly all Florence Knoll-designed interiors, the Saarinen Executive Chair has remained one of our most popular designs for nearly 70 years. The design, which is now found in dining rooms as often as it is in offices, transformed the notion of what executive seating could be with its sculptural form and modern finishing.
Scroll to details for information. Retail price of current configuration: Estimated Delivery: 2-3 weeks Shipping & Delivery Info After winning the Museum of Modern Art Organic Design Competition with Charles Eames for their experiments with bent plywood in 1941, Eero Saarinen was eager to continue exploring the possibilities of a chair that achieved comfort through the shape of its shell, not the depth of its cushioning. Initially, he began the investigation with designs for smaller fiberglass task chairs, but changed direction when Florence Knoll approached him and asked, “Why not take the bull by the horns and do the big one first? I want a chair that is like a basket full of pillows…something I can curl up in.” While that’s not exactly where Saarinen ended up, the suggestion inspired one of the most iconic, and comfortable, chairs of the modern furniture movement, The Womb Chair. After completing the Womb Chair, Saarinen returned his focus to task seating, scaling down the concept and form of the womb into arm and armless chairs.
Introduced as the 71 and 72 Series, the chairs replaced Florence Knoll’s model 43 chairs as the Planning Unit’s go-to seating solution. The iconic chair, often referred to as “that chair with the hole in the back,” has been a staple of the Knoll portfolio for more than 60 years. Born to world famous architect and Cranbrook Academy of Art Director Eliel Saarinen and textile artist Loja Saarinen, Eero Saarinen was surrounded by design his whole life. By the time he was in his teens, Eero was helping his father design furniture and fixtures for the Cranbrook campus. After studying sculpture in Paris and architecture at Yale, Saarinen returned to Cranbrook in 1934. It was at Cranbrook that Saarinen met Charles Eames. The two young men, both committed to exploring new materials and processes, quickly became great friends and creative collaborators. They worked together on several projects, most notably their groundbreaking collection of molded plywood chairs for 1940 competition Organic Design in Home Furnishings, sponsored by MoMA.
At Cranbrook, Saarinen also met Florence Knoll, who at that time was a promising young protégé of Eliel Saarinen. When Florence joined Knoll in the 1940s, she invited Eero to design for the company. Saarinen went on to design many of Knoll's most recognizable pieces, including the Tulip chairs and tables, the Womb chair, and the 70 Series of seating. In addition to these achievements, Saarinen became a leader of the second-generation modernists. Among his outstanding projects are the Dulles International Airport in Washington, D.C., the Gateway Arch in St. Louis, and New York's CBS Building and TWA Terminal at Kennedy International Airport.*This is a guest article contributed by Aniya Wells. Charles and Ray Eames were the design power couple of the 20th century. Their Eames Lounge chair for Herman Miller, shown below, is one of the most lusted-after furniture designs in the world, and is only the best known example of their vast output. For over 35 years, Charles and Ray lived as husband and wife, but also as partners in a design practice that put forth such remarkably varied fruits as the Eames Case Study House, the film Powers of Ten, and the exhibition Mathematica, still on view today at the Boston Museum of Science.
Though slogan writing was not one of their advertised areas of expertise, Charles had a particular knack for the pithy, memorable quotation. I have drawn on some of them, published in the book 100 Quotes by Charles Eames, in order to suggest a handful of lessons we can learn from the Eames Office: This quote from Charles Eames succinctly sums up the couple’s philosophical approach to design, and it explains the charm, detail, and accessibility that characterize so much of their work. The word “guest” is tossed around so much these days as a euphemism for “customer” that it’s easy to lose track of the original meaning of the word. The Eameses, as global travelers and enthusiastic amateur anthropologists (indeed, they saw this as part of their role as designers) learned firsthand the value of hospitality, and the role of a designer in smoothing the way for people to live and work. This means not only making things more functional, though that’s of primary importance.
It also means making them more pleasing. As Charles often admonished designers: Perhaps the greatest secret to the success of the Eameses was that they refused to specialize. By taking commissions and launching new projects of their own for architecture, film, furniture, toys, games, museum exhibits, textiles, magazines, and more, they developed a comprehensive, even universal approach to their work. “We work because it’s a chain reaction, each subject leads to the next,” Charles said. A varied career has a way of cross-fertilizing from one domain to another. Great designers are voracious scavengers. In this age of sampling, mashups, and copyleft activism, we can look back and see that Charles and Ray were far ahead of their time in their collage-like approach to creativity. They disapproved of the cult of originality in their time, and saw that often the best solutions come from the ground up. This should extend to your interactions with fellow designers. Being competitive is natural, but try to create a space for idea incubation, exchange, and riffing.
After all, “Ideas are cheap. Always be passionate about ideas and communicating those ideas and discoveries to others in the things you make.” While most of us are not married to our professional colleagues (and if we are, we know it certainly presents complications absent from our romantic daydreams), nevertheless this is true of even purely creative relationships. Think about how you can create this type of nonzero economy in your own interactions. When working with a client, don’t impose your own vision from outside, but consider what unique qualities you can draw out from them. With all their diverse accomplishments, the greatest example the Eameses left us is their dynamic, symbiotic life together. As Charles put it, “Any time one or more things are consciously put together in a way that they can accomplish something better than they could have accomplished individually, this is an act of design.” For more Eames, this Tumblr has a nice visual overview. Do you have a favorite Eames piece?