Who else but Philippe Starck would dare mess with a king? Reinventing the classic Louis XVI armchair for Kartell, the playful Louis Ghost Armchair (2002) is a postmodern triumph of technical innovation and historical style. Translating the varied lines and formal geometry of its predecessor into a single form of translucent injection-molded polycarbonate, the Louis Ghost is a robust chair with a medallion backrest for leisurely comfort. When interviewed about the collection by the Dallas Morning News, Starck commented that it “has a mix of materials and styles based on our shared memories. We all own this piece in a way. The chair is well balanced; I try to be balanced myself.” Suitable for indoor and outdoor use in residential and commercial settings. Stacks six high. Stable and durable, shock and weather resistant Made in Italy. This article has great charm and considerable visual appeal and brings a touch of elegance and irony to any style of home or public area.
Charles Eames, born 1907 in St. Louis, Missouri, studied architecture at Washington University in St. Louis and opened his own office together with Charles M. Gray in 1930. In 1935 he founded another architectural firm with Robert T. Walsh. After receiving a fellowship in 1938 from the Cranbrook Academy of Art, he moved to Michigan and joined the faculty the following year. In 1940, he and Eero Saarinen won first prize for their joint entry in the competition ‘Organic Design in Home Furnishings’ organised by the New York Museum of Modern Art. During the same year, Eames became head of the department of industrial design at Cranbrook, and in 1941 he married Ray Kaiser.
Ray Eames was born as Bernice Alexandra Kaiser in Sacramento, California, in 1912. She attended the May Friend Bennet School in Millbrook, New York, and continued her studies in painting under Hans Hofmann through 1937. During this year she exhibited her work in the first exhibition of the American Abstract Artists group at the Riverside Museum in New York. She matriculated at the Cranbrook Academy of Art in 1940 and married Charles Eames the following year.
Charles & Ray Eames designed and developed stretchers and leg splints made of moulded plywood between 1941-43, and showed an exhibition of their experimental moulded plywood furniture at the New York Museum of Modern Art in 1946. The Herman Miller Company in Zeeland, Michigan, subsequently began to produce the Eameses’ furniture designs. In 1948, Charles and Ray Eames participated in the ‘Low-Cost Furniture Competition’ at MoMA, and in 1949 they built the Eames House as their own private residence. Around 1955 they began to focus more on their extensive work as photographers and filmmakers, and in 1964 Charles received an honorary doctoral degree from the Pratt Institute in New York.
The Eames Office designed the IBM Pavilion for the 1964-65 World’s Fair in New York, and the year 1969 offered the opportunity to participate in the exhibition ‘Qu’est-ce que le design?’at the Musée des Arts Décoratifs in Paris. In 1970-71, Charles was invited to hold the Charles Eliot Norton Professorship of Poetry lecture series at Harvard University. MoMA again presented an exhibition of their work, entitled ‘Furniture by Charles Eames’, in 1973. Charles Eames died in St. Louis in 1978; Ray’s death followed in 1988.
Charles and Ray Eames have had a profound and lasting influence on Vitra. Its activity as a furniture manufacturer began in 1957 with the production of their designs. Yet it is not just the products of Charles and Ray Eames that have left their mark on Vitra. Even today, their design philosophy continues to profoundly shape the company’s values, orientation and goals.
Source : Charles & Ray Eames by Vitra
The Bouroullec brothers, a pair of designers with a highly iconic, sophisticated and conceptual style, have designed the transparent polycarbonate Papyrus chair for Kartell. An admirable marriage of simplicity and refinement, grace and memory, Papyrus is a remake of the archetypal antique rush chair, from a time when chair structures were decisive and strong. This chair combines a translucent support with a slender vertical pebbling, running along the entire outside of the rounded backrest, with its soft and snug lines. The seat is comfortable and welcoming, and the entire structure is light. Papyrus’ wide range of brand-new “old-fashioned” colours make the detail of its worked surfaces even more evident and attractive.
Ronan and Erwan Bouroullec‘s interest in organic shapes already manifested itself in 2004 with the design of Algues for Vitra. Based on these experiences, the two brothers collaborated with Vitra over a period of four years to develop Vegetal.
The process involved countless prototypes and an intense exploration of injection moulding technology. The goal was create a chair that aspires to look like natural vegetation while simultaneously incorporating the necessary strength, stability and comfort. The flat, branch-like ribs are asymmetrically intertwined on three levels to form the seat shell, which is shaped as an irregular circle and supported by four legs that appear to sprout from the ground.
Vegetal is available in six colours that are unusual for plastic chairs, emphasising the underlying concept of replicating structures found in nature. It is suitable for indoor or outdoor applications and can be stacked up to three chairs high, which permits flexible use in a variety of settings and in large numbers. The chair is manufactured using a highly energy-efficient process and is made from 100% recyclable polyamide.
The key feature of any lamp – the naked light bulb – may be effective, but it is also merciless. The more light it gives, the more potentially destructive it is to its surroundings. Its hard light blinds the eye and does nothing good for the atmosphere in a room.
The job of a good lamps is to transform the light from the bulb before this light meets its surroundings. To disperse the rays with purposeful direction, leading them to exactly where we need them and to waste as few rays as possible in the process. To create light which is as comfortable as it is useful, for both eyes and souls.
LC Shutters has been design with the purpose of transforming hard to soft.
The hard light of a single powerful bulb is filtered through this perforated shade, resulting in a completely different, gentle ambience. Close to the intimacy of candlelight, yet far more effective.
An initially flat sheet of dense aluminium is machined until a soft rolling landscape is achieved. By slicing and punching the form throughout, the shade is given two interacting layers, in between which the light can tease its way through, giving the shade a life of its own, where shadows play, but nothing is left in darkness.
LC Shutters is an accommodating lamp. It is rounded and easy on the eye. The lamp blends very naturally into its surroundings, regardless of the lifestyle or interior design.
LC Shutters spreads light softly and comfortably. The diffused light is particularly suitable for illuminating a conference table. Diffusion provides participants at your meeting with comfortable and honest lighting – essential for effective communication. The lamp also helps create a homely atmosphere if the often cold, functional nakedness of a conference room. Good lighting creates good dialogue.
Watch the video : LC Shutters designed by Louise Campbell
The Panton Chair is a classic in the history of furniture design. Conceived by Verner Panton in 1960, the Panton Chair was developed for serial production in collaboration with Vitra. It was the first chair to be manufactured completely out of plastic in one single piece. Since its market launch in 1967, it has advanced through several production phases. Only since 1999 has it been possible to produce the chair in accordance with its original conception – out of durable, dyed-through plastic with a lustrous matte finish.
The comfort of this chair results from the combination of a cantilever structure with an anthropomorphic shape and a slightly flexible material. It can be used individually or in groups and is suited for indoor and outdoor environments. The Panton Chair has received numerous international design awards and is represented in the collections of many prominent museums. Due to its expressive shape, it has become an icon of the twentieth century. Come and get this legendary chair, here at Decorous!
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Lucia Eames, daughter of Charles Eames, passed away on 1st April this year. We are mourning the loss of a dear friend and our partner of many years who worked with us on the Eames Project.
After the death of Ray Eames (1988), she came into the Eames inheritance and took over the Eames Office. Together with Lucia and her son, Eames Demetrios, we were able to issue publications, create and design re-editions of Eames products and put on the Eames exhibition at the Vitra Design Museum. We have Lucia to thank that the Vitra Design Museum was able to inherit so much of the legacy left behind by Charles and Ray Eames. Our Eames collection was also enriched by gifts from Lucia. The Eames Office shall remain our contact for all questions relating to the work of Charles and Ray Eames. It is now run by Eames Demetrios. He and his siblings put together publications, presentations and exhibitions to spread the ideas of Charles and Ray Eames. They also look after the maintenance of the Eames House and make it open to the public.
Charles and Ray Eames were the great defining figures for Vitra. We have Lucia and her family to thank that the Eames bond was never broken. It is this bond and the security it gives us that allow us to continue exploring and disseminating the work of Charles and Ray Eames.
Almost no other animal is as popular as the elephant. Admired for its majestic size and loved because of its gentle nature, the elephant is an everyday presence in our lives – as a stuffed toy, storybook figure or heraldic animal. Charles and Ray Eames also succumbed to the pachyderm’s charm and developed a toy elephant made of plywood in 1945. However, this piece never went into production. Now manufactured in plastic, the Eames Elephant is available for the first time to the target group for which it was originally intended: children.
Whether as a sturdy indoor-outdoor toy or simply as an attractive object in a child’s room, this friendly looking animal with prominent, oversized ears will bring delight to children and parents alike.
GET YOUR OWN EAMES ELEPHANT HERE AT DECOROUS
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The Masters chair is a powerful tribute to the three symbolic chairs, re-read and re-interpreted by the creative genius of Starck. The “Series 7″ by Arne Jacobsen, the “Tulip Armchair” by Eero Saarinen and the “Eiffel Chair” by Charles Eames interweave their unmistakable silhouettes into a sinuous hybrid giving life to a fusion of original and engaging styles.
On its four slim legs, the Masters chair is roomy and comfy. The special finish on the chair makes it feel sensual and velvety to the touch. The back of the chair is naturally its most distinctive feature, characterised by the fullness and empty spaces created by the curvaceous criss-crossing lines of three different backs which descend to meet at the seat edge.
The Masters is light, practical, comes in various colours and can be stacked and used outdoors as well. The Masters chair was honoured with the prestigious “2010 Good Design Award” presented by the Chicago Athenaeum – Museum of Architecture and Design. Get this iconic chair from Kartell only at DECOROUS!
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