The Eames Molded Plastic & Fiberglass Armchair is a fiberglass chair, designed by Charles and Ray Eames, that appeared on the market in 1950.[1] The chair was intentionally designed for the ‘International Competition for Low-Cost Furniture Design.’ This competition, sponsored by the Museum of Modern Art, was motivated by the urgent need in the post-war period for low-cost housing and furnishing designs adaptable to small housing units. The chair was offered in a variety of colors and bases, such as the “Eiffel Tower” metal base, a wooden base, and a rocker base. The plastic fiberglass armchair is one of the most famous designs of Charles and Ray Eames, and is still popular today. “Getting the most of the best to the greatest number of people for the least”: with these words, Charles and Ray Eames described one of their main goals as furniture designers.[3] Of all their designs, the Plastic Chairs come closest to achieving this ideal. They found that the use of plastic in furniture design has several advantages: it has pleasant tactile qualities, it has malleability and static strength combined with a high-degree of flexibility, and it makes feasible, via mass-production, their goal of low-cost furniture.
The early production of the chair The material of the chair, Zenaloy, which is polyester reinforced with fiberglass, was first developed by the US Army during World War II.[4] Using this material, Ray and Charles Eames designed a prototype chair for the 1948 ‘International Competition of Low-Cost Furniture Design’ held by the Museum of Modern Art. The chairs were made using the latest machines, such as hydraulic press molds from shipbuilding, by manufacturer Zenith Plastics.[4] Mass-producing the molded fiberglass chairs involved a tremendous amount of design and tooling effort, a long period of product development, and considerable investment. The basic technology involved shaping the fiberglass material with metal molds using a hydraulic press. The armchair was the first one-piece plastic chair whose surface was left uncovered and not upholstered.[1] In 1950, Zenith began mass-producing the fiberglass shell armchairs for Herman Miller, who offered them for sale that year.
The fiberglass armchair was included in the collection of the Museum of Modern Art in 1950. The Vitra company entered the furniture market in 1957 with the licensed production of furniture from the Herman Miller Collection for the European market. In 1984, the partnership that had been formed with Herman Miller was terminated by mutual consent. Subsequently, Vitra obtained the European and Middle Eastern rights to designs by Charles and Ray Eames and George Nelson. At first, the chair was available in three colors: greige, elephant-hide gray, and parchment. The palette of colors was later expanded. After that, a choice of several possible bases was offered. The early “H” metal base (the SAX standard model and the LAX lounge lower model), “X” metal base (the DAX dining model), a lower model with metal rod base (the LAR model), a wooden base (the DSW model), a steel-wire base (the DSR model, also known as the “Eiffel-Tower base”), a cast aluminium base with castors (the PACC model), and a wood-rocker base (the RAR model).
All of the bases were attached to the seat using hard rubber disks to allow flexibility. Despite the fact that Herman Miller ceased production of the rocker in 1968 (until they reintroduced it 30 years later), pregnant employees continued to receive these chairs as a company gift until 1984, solidifying the rocker as a token of high-end nursery decor.[7] The plastic shell became available in an upholstered (fabric or vinyl) version a year after the introduction of the chair. After the success of the arm chair, the side chair (without arms) was introduced (in the DSW, DSX, and DSR models). Over the years, the plastic chair has undergone some modifications: the curve of the back has become more inclined and upholstery is now glued to the plastic shell. The Eames plastic armchair immediately became an iconic design and eventually the chair was used in schools, airports, restaurants, and offices around the world. From 1954, the chairs were used as stadium seating with metal rods put together in rows, the Tandem Shell Seating.
The chairs are still in production by Herman Miller, Vitra and Modernica. However, each producer uses different material for their chair. In 1993, Vitra discontinued production of the fiberglass shells for ecological reasons. The company resumed manufacture of the shells in 1989 and 2004, respectively, making them available in polypropylene, a more environmentally friendly material.[8] Also, Herman Miller uses the polypropylene material for their production of the chairs.[9] The production process for the new fiberglass chairs by both manufacturers is now emission-free and uses a new, monomer-free resin which creates a safer environment for workers and a more environmentally friendly, recyclable shell. The chairs are still available and, after more than sixty-years, still commonly used by popular interior designers and featured in many magazines. ^ a b c La Eames House (nota anche come la Case Study House No. 8) a Pacific Palisades, California. Costruita nel 1949 da Charles and Ray Eames
Charles Ormond Eames, Jr (Saint Louis, 17 giugno 1907 – Saint Louis, 21 agosto 1978) è stato un designer, architetto e regista statunitense. Charles Eames iniziò molto precocemente l'attività di progettista tanto da essere impiegato, già all'età di soli 14 anni, nei laboratori della Laclede Steel Company. Studiò architettura alla Washington University a St. Louis. Propose ai suoi professori lo studio dell'opera di Frank Lloyd Wright ma, dapprima dissuaso dall'intento, fu poi espulso dalla scuola in quanto – si legge nel commento di uno dei professori - "il suo punto di vista era troppo moderno". Una grande influenza ebbe su di lui l'architetto finlandese Eero Saarinen con cui condivise alcune esperienze professionali e di cui divenne amico. Nel 1938, su invito di quest'ultimo, si trasferì nel Michigan, dove studiò architettura alla Cranbrook Academy of Art, per poi insegnarvi successivamente divenendo anche direttore del dipartimento di Disegno industriale.
Nel 1941 vinse, con Eero Saarinen, il concorso per il MoMA di New York relativo all'"Organic Design in Home Furnishing" (Design organico nell'arredamento domestico). Il loro lavoro mostrò un nuovo modo di concepire il mobile in legno, sperimentando l'uso di compensato in legno curvato, come fatto pochi anni prima da Alvar Aalto. Nel 1941 si congiunse in seconde nozze con Ray Kaiser, pittrice, con cui condivise la successiva vita professionale. A seguito del matrimonio si trasferì a Los Angeles in California, dove fondò con la moglie quello che da allora in poi fu conosciuto come lo studio degli "Eames". Alla fine degli anni '40 fu coinvolto nel programma sperimentale Case Study Houses di edilizia residenziale, disegnando tra l'altro la propria casa, successivamente indicata come un esempio antesignano dell'architettura high-tech. La produzione poliedrica degli Eames si sviluppò in diversi campi comprendendo, oltre al design, anche l'architettura e il cinema. Fu insignito di diversi prestigiosi premi tra cui si citano: il Kaufmann International Design Award nel 1961, il 25 Year American Institute of Architects Award nel 1977, il Queen's Gold Medal for Architecture nel 1979.