Vitra steht für Einrichtungskonzepte, Möbel und Accessoires, die so individuell sind wie die Menschen, die sich damit umgeben. Der Vitra-Online-Shop macht es Ihnen ganz einfach, sich den Wunsch nach den Klassikern des Möbeldesigns und nach innovativen zeitgenössischen Entwürfen zu erfüllen. Auf diesen Seiten finden Sie viele inspirierende Vitra Angebote, langlebig in Material, Konstruktion und Ästhetik – entworfen von führenden Designern wie Charles & Ray Eames, Maarten Van Severen oder Frank O. Gehry. Sie kaufen diese Produkte von Vitra online und in der Gewissheit, dass Sie ein Original erwerben: Willkommen im Vitra-Online-Shop.VitraEames Plastic ChairInformationProducts of the familyDesigner Eames Plastic ChairsCharles & Ray Eames, 1950'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. None of their other designs come as close to achieving this ideal as the Plastic Chairs.
For years, the designer couple explored the fundamental idea of a one-piece seat shell moulded to fit the contours of the human body. After experiments with plywood and sheet aluminium in the 1940s produce unsatisfactory results, their search for alternative materials led them to glass-fibre reinforced polyester resin.The Eameses recognised and fully exploited the advantages of the material: mouldability, rigidity, pleasant tactile qualities, suitability for industrial manufacturing methods. With this material, which was previously unknown in the furniture industry, they successfully developed the shell designs for serial production. After their debut at the 'Low-Cost Furniture Design' competition organised by the Museum of Modern Art in 1948, the Plastic Armchair (A-shell) and Plastic Side Chair (S-shell) were launched on the market in 1950 as the very first mass-produced plastic chairs in the history of furniture.The Eames Plastic Chairs also introduced a new furniture typology that has since become widespread: the multifunctional chair whose shell can be joined with a variety of different bases to serve diverse purposes.
As early as 1950, Charles and Ray Eames presented a series of bases that enabled various sitting positions. An especially striking model is the so-called Eiffel Tower base – an intricate and graceful design made of steel wire that inimitably combines light, elegant forms with structural strength.Today Vitra manufactures the comfortable seat shells of the Plastic Side Chairs and Plastic Armchairs in polypropylene, offering a multitude of bases, shell colours and upholstery options. This allows customers to specify countless different combinations and to use the chairs in the widest range of settings – from dining rooms, living rooms and home offices to office workspaces and conference rooms; from restaurants and cafés to break rooms and cafeterias; from waiting areas and auditoriums to terraces and gardens.In 2016 Vitra has added approximately 20 mm to the height of the Eames Plastic Chairs DSX, DAX, DSR, DAR, DSW and DAW, while also revising the seat geometry. These modifications, which are aesthetically almost imperceptible, increase the comfort of this classic chair design, especially in combination with contemporary tables.
Seat shell (14)Other coloursHopsak (28)Other colours2)4)2)1)1)2)2)Seat shell: dyed-through polypropylene. All models (except RAR) are available with a seat cushion (screwed to the seat shell) or full upholstery. The fully upholstered version has moulded polyurethane foam padding covered in Hopsak fabric, attached to the shell with a welted edge. Covers are available in all Hopsak fabric colours. Different shell and upholstery colours and various bases provide a multitude of possible combinations.Options: the Eames Plastic Chair is available as a visitor chair, dining chair, rocking chair, swivel chair or in stacking versions and with ganging brackets for row seating. Beam-mounted shells are suited for use in waiting areas. The Eames Lounge Chair and ottoman are furnishings made of molded plywood and leather, designed by Charles and Ray Eames for the Herman Miller furniture company. They are officially titled Eames Lounge (670) and Ottoman (671) and were released in 1956 after years of development by designers.
It was the first chair that the Eameses designed for a high-end market. Examples of these furnishings are part of the permanent collection of New York's Museum of Modern Art. Charles and Ray Eames aimed to develop furniture that could be mass-produced and affordable, with the exception of the Eames Lounge Chair. This luxury item was inspired by the traditional English Club Chair. The Eames Lounge Chair is an icon of Modern style design, although when it was first made, Ray Eames remarked in a letter to Charles that the chair looked "comfortable and un-designy". Charles's vision was for a chair with "the warm, receptive look of a well-used first baseman's mitt." The chair is composed of three curved plywood shells: the headrest, the backrest and the seat. In early production, beginning in 1956 and running through the very early 1990s, the shells were made up of five thin layers of plywood which were covered by a veneer of Brazilian rosewood. The use of Brazilian rosewood was discontinued in the early 1990s, and current production since then consists of seven layers of plywood covered by finishing veneers of cherry, walnut, Palisander rosewood (a sustainably grown wood with similar grain patterns to the original Brazilian versions), and other finishes.
The layers are glued together and shaped under heat and pressure. Earlier models are differentiated from newer models by the sets of rubber spacers between the aluminum spines and the wood panels first used in the earliest production models (and then hard plastic washers used in later versions) early first series versions of the chair used three screws to secure the armrests, second series models used two, the domes of silence (glides/feet) on the chair base had thinner screws originally (1950's era) attaching them to the aluminium base, these are not compatible with later chairs. In the earlier models, the zipper around the cushions may have been brown or black as well, and in newer models the zippers are black. The shells and the seat cushions are essentially the same shape, and composed of two curved forms interlocking to form a solid mass. The chair back and headrest are identical in proportion, as are the seat and the ottoman. Early ottomans had removable rubber slide on feet with metal glides.
Early labels are oblong foil type. The Eameses constantly made use of new materials. The pair's first plywood chair—the Eames Lounge Chair Wood (LCW)—made use of a heavy rubber washer glued to the backrest of the chair and screwed to the lumbar support. These washers, which have come to be called 'shock mounts', allow the backrest to flex slightly. This technology was brought back in the 670 Lounge chair. The backrest and headrest are screwed together by a pair of aluminum supports. This unit is suspended on the seat via two connection points in the armrests. The armrests are screwed to shock mounts which are connected only via glue to the interior of the backrest shell, allowing the backrest and headrest to flex when the chair is in use. This is part of the chair's unusual design, as well as its weakest link. The shock mounts have been known to tear free causing catastrophic collapse and damage. Other creative uses of materials include the seat cushions - which eschew standard stapled or nailed upholstery.
Instead, the cushions are sewn with a zipper around the outer edge that connects them to a stiff plastic backing. The backing affixes to the plywood shells with a series of hidden clips and rings. This design, along with the hidden shock mounts in the armrest allow the outside veneer of the chair to be unmarred by screws or bolts. The chair has a low seat which is permanently fixed at a recline. The seat of the chair swivels on a cast aluminum base, with glides that are threaded so that the chair may remain level. The Eames Lounge Chair first appeared[1] on the Arlene Francis Home show broadcast on the NBC television network in the USA in 1956. Immediately following the debut, Herman Miller launched an advertising campaign that highlighted the versatility of the chair. Print ads depicted the 670 in a Victorian parlor, occupied by a grandmother shelling peas on the front porch of an American Gothic style house, and in the middle of a sunny field of hay. One notable advertisement was produced by the Eameses for Herman Miller warning consumers against imitations and knockoffs[].
It has been frequently featured in Frasier as a piece of furniture in the title character's apartment. In the final episode of the series, Martin Crane remarks that he finds it comfortable and hints that he may not have needed his recliner after all. A knockoff of the Eames Lounge Chair has been frequently featured in the show House, in the protagonist's office. Malory Archer's office chair in Archer is also an animation of the Eames Lounge Chair. Since its introduction, the chair has been in continuous production by Herman Miller in America. Later, Vitra (in cooperation with the German furniture company Fritz Becker KG) began producing the chair for the European market. It was licensed in the UK for 10 years to Hille International LTD from 1957. Immediately following its release, other furniture companies began to copy the chair's design. Some made direct copies, others were merely 'influenced' by the design. Most notably the former Plycraft Company issued dozens of chairs that were direct copies of or in-the-style-of the Eames 670.