The Wire Chair, at a first look, could look like the earlier fibreglass side-chairs, such as the DAR (1948) and the DSR (1950) even though Charles and Ray Eames developed a brand new production technology obtaining one of the most iconic Mid-Century designs.
The transparency of this single-piece seat proposes a sculptural quality rarely seen in postwar furniture design. The influence of fine art is often considered secondary to the industrial processes and ideology of systems favoured by Charles and Ray Eames. however, in this instance, the piece's artistic value combines with its industrial process to achieve its landmark status. The artistic input of Ray Eames is married with the more engineering sensibilities provided by Charles to create a design of balanced values from both disciplines.
The Wire Chair falls within a series of wire-based designs and is closely related to earlier fibreglass side-chairs, such as the DAR (1948) and the DSR (1950). Although its outline is almost identical to the shell of the DSR and other models from this range, the wire Chair is characterized by quite a different technology. The Wire Chair is symbolic of the success of the couple's design philosophy.
As the Molded Fiberglass and Plywood Chairs, also the Wire Chairs were designed to be comfortable without any upholstery, however they also designed 'special' pads. The first pads were, in fact, too 'movable' on the seat wired web and that's why Charles and Ray Eames developed a special pad that was more 'stable' avoiding the original issue. The pads were originally made of fabric and afterwards of leather; especially the so called 'bikini' pad creates an amazing motif.
The use of the new technology of resistance-welding in furniture design expressed a futuristic vision through lightness and form. Although there is still some debate over whose design come first, the Charles and Ray Eameses' chair or Harry Bertoia'a mesh furniture for Knoll, the first American mechanical patent was awarded to the Eames design.
Charles and Ray Eames led the international postwar design period with industrially produced furniture designs and systems for seating. Using a manufacturing base that was unaffected by the war, they utilized technology to create rational and sculptural designs, advocating organic Modernism. Their revolutionary designs made Herman Miller a world leader in the production of office and domestic furniture. The couple went to excel in the creation of film and exhibition design. The wire chair proved to be immediately successful and the international market for this now timeless design remains strong.
The transparency of this single-piece seat proposes a sculptural quality rarely seen in postwar furniture design. The influence of fine art is often considered secondary to the industrial processes and ideology of systems favoured by Charles and Ray Eames. however, in this instance, the piece's artistic value combines with its industrial process to achieve its landmark status. The artistic input of Ray Eames is married with the more engineering sensibilities provided by Charles to create a design of balanced values from both disciplines.
The Wire Chair falls within a series of wire-based designs and is closely related to earlier fibreglass side-chairs, such as the DAR (1948) and the DSR (1950). Although its outline is almost identical to the shell of the DSR and other models from this range, the wire Chair is characterized by quite a different technology. The Wire Chair is symbolic of the success of the couple's design philosophy.
As the Molded Fiberglass and Plywood Chairs, also the Wire Chairs were designed to be comfortable without any upholstery, however they also designed 'special' pads. The first pads were, in fact, too 'movable' on the seat wired web and that's why Charles and Ray Eames developed a special pad that was more 'stable' avoiding the original issue. The pads were originally made of fabric and afterwards of leather; especially the so called 'bikini' pad creates an amazing motif.
The use of the new technology of resistance-welding in furniture design expressed a futuristic vision through lightness and form. Although there is still some debate over whose design come first, the Charles and Ray Eameses' chair or Harry Bertoia'a mesh furniture for Knoll, the first American mechanical patent was awarded to the Eames design.
Charles and Ray Eames led the international postwar design period with industrially produced furniture designs and systems for seating. Using a manufacturing base that was unaffected by the war, they utilized technology to create rational and sculptural designs, advocating organic Modernism. Their revolutionary designs made Herman Miller a world leader in the production of office and domestic furniture. The couple went to excel in the creation of film and exhibition design. The wire chair proved to be immediately successful and the international market for this now timeless design remains strong.
About the Author:
If you want to see and read more about mid-century modern homes and interiors , you should check theMid-Century Modern Design Blog now!
No comments:
Post a Comment