Think of great designers; think of Le Corbusier – even his name is stylish! But what about his furniture? to see where I found replicas of the Eames Chair, the…"eames lounge" in Classifieds in Canada Get an alert with the newest ads for "eames lounge" in Canada.Are you sitting comfortably? By the end of October – after a six-month “amnesty” for retailers – that luxury will cost you more, maybe 12 times more, than now. And it's all thanks to the bloody European Union.It's thanks to Britain bringing its own copyright laws on furniture design into line with our partners – a dovetailing that was meant to be happening in 2020, but has been expedited after representations from the licensees (we'll get back to them) as well as the estates of dead designers. The measure also grants designers the same protection as that enjoyed by plastic and graphic artists, and gives them rough parity with writers, musicians, broadcasters and film-makers. Which is all well and good.
But the change could precipitate the disappearance of the “Barcelona”-style chair – currently so ubiquitous in building society branches – and the fetishisation of its licensed equivalent, originally conceived by Mies van der Rohe and costing nearly £6,000. The starter-home couple will be denied the pleasure of those Italian chrome standard lamps on long spindly arcs, because a licensed Castiglioni version will cost them more than a grand. The same goes for Anglepoise lamps. And you'll be so scared of scratching your clear Perspex Louis Ghost dining-chairs that you won't dare sit on them. What's at issue is the deal on offer to dead designers' estates. At the moment, the copyright in a creator's work holds for 25 years from his or her death – during which time top-drawer copiers can buy licenses to put the designs into manufacture. The licensees can then make limited editions, before churning out as many as they can sell for a few thousand quid a time. But after a quarter of a century, it's open season.
Then, the knock-off merchants can legally swing into action. And soon your online oulet is advertising, say, a replica-Charles Eames reclining armchair and footstool – perfect examples of the current taste for “mid-century modern” – for around £400, instead of the £5,000 that the licensee's stockist will charge you.From 28 April, furniture designs in Britain will be protected from unlicensed manufacture for 75 years – that's an extra 50. Under the new legislation, retailers selling unlicensed copies – whether classics or bog-standard bog seats – will be liable to fines up to £50,000 and jail terms of up to 10 years. What's more – or less – we'll see fewer representations of the expensive stuff as licensors begin to assert their rights to charge for and control the reproduction of their work in the visual media. It's doubtful that the Coalition government really considered that ramification, when it decided to repeal Section 52 of the Copyright, Designs and Patents Act (1998).
Its intention, reasonably enough, was to protect intellectual property. But what it couldn't take account of is the debate within the “design community”. For while Sir Terence may want his chicken-brick to bankroll future generations of Conrans, an interior designer who shall be nameless says it will now be a “nightmare” to prop rooms for his clients at a reasonable mark-up. And, this being the design community, there are socially conscious angles to consider, too. Step forward Stephen Bayley, the design pundit who knows so much about his subject that his email address starts with “guru@”. He agrees that the issue is “complicated” but clearly believes design should have a point beyond the percentage cut: “The essential, defining proposition of modern design is – or rather, was – that an idea can be limitlessly reproduced at low cost,” he says. “Clearly, the legislation may protect the auteur, but it seems to me at odds with the principles of widely available democratised luxury which make design such an interesting subject.
The danger as I see it is that too costive a view of copyright protection might bring the subject into the ancient realms of rarity, preciousness, attribution, provenance and all the other antique stuff that attends fine art.” And if, after that, you need a lie-down. do it on an Eileen Gray day-bed. Buy online at the lowest prices for express New Zealand wide delivery.Charles Eames and Ray Eames were the embodiment of the inventiveness, energy and optimism at the heart of mid-century modern American design, and have been recognized as the most influential designers of the 20th century. As furniture designers, filmmakers, artists, textile and graphic designers and even toy and puzzle makers, the Eameses were a visionary and effective force for the notion that design should be an agent of positive change. They are the happy, ever-curious, ever-adventurous faces of modernism. Charles studied architecture and industrial design. Ray (née Beatrice Alexandra Kaiser) was an artist, who studied under the abstract expressionist Hans Hofmann.
They met in 1940 at the Cranbrook Academy of Art in suburban Detroit (where Charles also met his frequent collaborator Eero Saarinen and the artist and designer Harry Bertoia) and married the next year. His technical skills and her artistic flair were wonderfully complementary. They moved to Los Angeles in 1941, where Charles worked on set design for MGM. In the evenings at their apartment, they experimented with molded plywood using a handmade heat-and-pressurization device they called the “Kazam!” machine. The next year, they won a contract from the U.S. Navy for lightweight plywood leg splints for wounded servicemen — they are coveted collectibles today; more so those that Ray used to make sculptures. The Navy contract allowed Charles to open a professional studio, and the attention-grabbing plywood furniture the firm produced prompted George Nelson, the director of design of the furniture-maker Herman Miller Inc., to enlist Charles and (by association, if not by contract) Ray in 1946.
Some of the first Eames items to emerge from Herman Miller are now classics: the “LCW,” or Lounge Chair Wood, and the “DCM,” or Dining Chair Metal, supported by tubular steel. The Eameses eagerly embraced new technology and materials, and one of their peculiar talents was to imbue their supremely modern design with references to folk traditions. Their “Wire Chair” group of the 1950s, for example, was inspired by basket weaving techniques. The populist notion of “good design for all” drove their “Molded Fiberglass” chair series that same decade, and also produced the organic-form, ever-delightful “La Chaise.” In 1956 the “Lounge Chair” and ottoman appeared — the supremely comfortable plywood-base-and-leather-upholstery creation that will likely live in homes as long as there are people with good taste and sense. Charles Eames once said, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” For very good collectors and thoughtful interior designers, a piece of design by the Eameses, the closer produced to original conception the better, is almost de rigueur — for its beauty and comfort, and not least as a tribute to the creative legacy and enduring influence of Charles and Ray Eames.