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1 No Preservatives Following the Eames Legacy: A Discussion with Daniel Ostroff by Richard McCoy As originally appeared in art:21 blog, October 3 and 4, 2011 While interest in the work of Charles and Ray Eames remains high, this fall it seems to be peaking: there are countless exhibitions, projects, publications, and auctions that will feature their work, or projects inspired by them. At the Indianapolis Museum of Art, I have been working with Tricia Gilson, Ball State University professor and independent researcher, to study the Eames material contained within the Eero Saarinen-designed Miller House and Garden, located in Columbus, Indiana. Although the Miller House and Garden opened just this year, we’ve already had a lot of scholarly interest in it and its mid-century modern contents. One of the most memorable and knowledgeable visitors we’ve had recently was Daniel Ostroff, who came with some folks from Herman Miller to look at the furnishings in the house. To expand on the conversations we had with him at the Miller House, I invited Tricia to help interview Dan about his work with the Eameses. Daniel Ostroff is a Los Angeles-based film producer, researcher, curator, and collector. He is also the producer and editor of EamesDesign.com, a consultant for Herman Miller, and has been sitting on an Equa Chair behind an Action Office System desk for the past 10 years. Today the exhibition he curated, Collecting Eames: The JF Chen Collection, opens at JF Chen in Los Angeles. The exhibition is part of the Getty’s massive Pacific Standard Time project and consists of 450 pieces, with a corresponding 135 page catalog with a preface by Eames Demetrios and an essay by Dan (available soon on Amazon, or by e-mail here). Also, next month Dan will have an Eames-related book out and another in 2012. Development of Aluminum Chairs, with Ray and Charles at leſt, circa 1958, photograph from Library of Congress.

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No PreservativesFollowing the Eames Legacy: A Discussion with Daniel Ostroff

by Richard McCoyAsoriginallyappearedinart:21blog,October3and4,2011

While interest in the work of Charles and Ray Eames remains high, this fall it seems to be peaking: there are countless exhibitions, projects, publications, and auctions that will feature their work, or projects inspired by them. At the Indianapolis Museum of Art, I have been working with Tricia Gilson, Ball State University professor and independent researcher, to study the Eames material contained within the Eero Saarinen-designed Miller House and Garden, located in Columbus, Indiana.

Although the Miller House and Garden opened just this year, we’ve already had a lot of scholarly interest in it and its mid-century modern contents. One of the most memorable and knowledgeable visitors we’ve had recently was Daniel Ostroff, who came with some folks from Herman Miller to look at the furnishings in the house.

To expand on the conversations we had with him at the Miller House, I invited Tricia to help interview Dan about his work with the Eameses.

Daniel Ostroff is a Los Angeles-based film producer, researcher, curator, and collector. He is also the producer and editor of EamesDesign.com, a consultant for Herman Miller, and has been sitting on an Equa Chair behind an Action Office System desk for the past 10 years.

Today the exhibition he curated, Collecting Eames: The JF Chen Collection, opens at JF Chen in Los Angeles. The exhibition is part of the Getty’s massive Pacific Standard Time project and consists of 450 pieces, with a corresponding 135 page catalog with a preface by Eames Demetrios and an essay by Dan (available soon on Amazon, or by e-mail here). Also, next month Dan will have an Eames-related book out and another in 2012.

Development of Aluminum Chairs, with Ray and Charles at left, circa 1958, photograph from Library of Congress.

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richard mccoy and tricia gilson

HowdidyoufirststartcollectingandresearchingtheworkofCharlesandRayEames?

daniel ostroff

Iamafilmproducernow,butIwasaHollywoodagentbeforethat.In1987IopenedTheDanielOstroffAgencyinLosAngeles,anagencyforscreenwriters,directors,andbookstofilm.WhileIhadworkedbeforethatasanagent,Ihadeitherworkedforothercompaniesorwithapartner.

WithmyownofficeIwasfacedwiththeprospectofhavingtofurnishtheplace.Istartedwithrentedfurniture,andthenanartistfriendcametovisit.HepointedoutthatgiventhebusinessthatIwasin,rentedfurniturewouldn’tdo,andsoIaskedhimwhatIshouldget.Herepliedwithaquestion:“Whybuyfurniturethatdepreciatesinvalue?”HetoldmeaboutarareEamesdeskforsaleinSanDiego,andmyjourneybegan.

Iboughtthatdeskforacouplethousanddollars.Ialsomademyfirstcollector’smistakewithit:Ididn’tlistentothedealer,whowasexperiencedandknowledgeable.Therewassomerustonthesteelframes,andIinsistedthathere-chromeit.Iwasn’thappywiththeresults;itwasanearlylessoninhowyoushouldappreciateantiquefurnitureforitshonestsignsofage.

Eventuallymycollectionexpanded,andatonepoint,Ihadfantasticexamplesofdesignsbyallofthegreats,particularlyfromtheperiod1946to1989.Mycollectionencompassedbothpost-warmodernism,andpost-moderndesigns.

Atonepoint,IhadalivingroomfullofgreatvintageGeorgeNakashimacasegoods,arareEames3473SofaCompact,aFinnJuhlChieftainChair,anAchilleCastiglioniSanLucaLoungeChair,aRonAradRoverChair,andaHansWegnerPeacockChair.ThroughoutmyplacewereclassicEttoreSottsassdesigns,too:lighting,casegoods,ceramicsandenamels.

Daniel Ostroff in his favorite place in all of Los Angeles, The JF Chen Storage and Study Area. Photo by Grant Taylor.

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ButthemoreIcollectedandthemoreIlearnedaboutdesignanddesigners,themoreIfocusedonEames.Finally,itwasonlyEamesdesignsthatIcouldn’tlivewithout.

rm/tg Andtoday,you’veproducedandcontinuetoeditthefantasticwebresource,EamesDesigns.com,whichisa“AVirtualEncyclopediaofallthingsEames.”Whatwastheimpetusbehindstartingthiswebproject?

do ImadethatsiteincollaborationwiththeEamesfamily(andwithsupportfromtheEamesOffice),whocarryonthelegacyofCharlesandRayEames.ThefamilyisveryactiveincarefullysupervisingtheongoingproductionofauthenticEamesdesigns,butjustasimportantlytheyembodyandexemplifytheirgrandparent’sbestattributes.

CharlesandRaydidnotbelieveinthe“giftedfew”concept.Theythoughtthatmanyofuscoulddogoodwork,ifwecareaboutwhatwearedoing,andaregivenachancetotryandtryagain.TheEamesfamilyfirstdidthiswithmewhentheyaskedmetowritethebookModernClassic:theEamesPlasticChair.Followingonthat,theyaskedmetobetheirin-housevintageEamesexpert,andeventhoughEamesDemetriosverykindlycalledmea“scholar”whenIdidthatfirstbook,Iwasn’tthen,buttheyallowedmetotryandlearn.ForthenextfiveyearsIansweredvintageEamesquestions,andI’vedoneafairamountoftryingandtryingagain.

IactuallyfeelthatstudyingEamesdesignsisamoralimperative.IgotmyfirstclueofthiswhenIreadsomethingthatthegreatgraphicdesigner,MiltonGlaser,saidaboutCharlesandRay:hesaidwordstotheeffectof,“CharlesandRayEamesshowedusallthatadesignofficecouldhaveamoralcenter.”Andasyoustudywhattheydid,whattheydesigned,andhowtheywentaboutdesigningit,andthedepthtowhichtheythoughtaboutnotonlytheuserofthedesign,butalsothemenandwomenwhowouldbeproducingtheirdesigns,youreallyunderstandthatMiltonGlaserwasunderstatingthecase.

SoafteransweringVintageEamesquestionsforfiveyears,theEamesfamilyfeltIwasreadyforastandalonewebsite,andtheypaidforitsarchitecture,bythegreatdesignstudiot-Sign.BythistimeInolongerthoughtofmyselfasa“vintageEames”personandIdidnotthinka“vintageEames”sitewaswhattheworldneeded.

EamesDesigns.com

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SowithsupportfromEamesOfficeImadeEamesdesigns.com,avirtualencyclopediaofallthingsEames.Isay“allthings,”becauseanotherthingyoulearninEamesscholarshipisthat,toparaphraseCharles,“Theprocessisalwaysthesame.”Thedesignofafilm,thedesignofatoy,thedesignofachair,theyfollowedthesameprocess.

There’sanotherpointtothiswebsite,it’snotthatfolksshouldonlystudyEamesthewaytheystudyhistoricalthings:it’sthattheEamesmessageiscurrentandongoing.

rm/tg SoinwhatwayisthestudyofEamesdesignsamoralimperative? do CharlesandRaywerebusinesspeople.Towardstheendoftheirlives

theylikedtorefertothemselvesas“tradesmen.”Peoplewouldcometothemwithproblems,andpaythemtosolvethoseproblems,andalsopaythemtodesignproductstobemanufacturedforaprofit.Buteventhoughtheywereinbusiness,andtheymademoneyperformingaservice,andtheymademoneydesigninggoodswhichweresoldforaprofitandtheygotroyalties,theyneverdidthiswithoutthinkingabouttheimpactoftheirworkonsocietyasawhole.

Theydidnotmakedesignswithoutconsideringwhatitwouldbelikefortheworkerontheassemblyline.Theydidnotworkwithoutconsideringeverypossibleaspectoftheuserexperience,andnotjusttheuserexperienceforthefirstfewdaysafteryougetaproducthome,butwhatit’sliketoownthatproducttenyearslater.Theyalsolivedgoodlives,becausetheyonlywouldworkonprojectsandproductsthattheypersonallyenjoyed—anotherimperativeforthem.

ThelastcarsCharlesandRayEamesdrovewereaJaguarandaMercedes.Theylivedarichfulllife,livedinagreathousewithareallybigyard,ownedtheirownbusiness,traveledallovertheworld,andhadmanyfriends.Isthatsobad?Theyhadfivebeautifulgrandchildren.Buttheydidnotdoitattheexpenseofsocietyasawhole.

CharlesandRayEamesfeltthatfunisasanimportantpartoflifeasjustaboutanythingis.Ithinktheworldwouldbeabetterplaceifbusinessmenandwomenconsideredwhethertheyreallyenjoywhattheyaredoing.

CharlesandRayEamesandtheirmanufacturingpartnersmademoneygivingfolksgoodproductsthatareagoodvalueforthemoney.WeoughttoapplytheEameswayofthinkingtobusinessmore,insteadofrewardingexecutivesforfiringemployees.HermanMillerdoesverywellsellingEamesdesigns,andyettheyareoftenrankedasoneofthe100bestcompaniestoworkforinAmerica.

rm/tg WhydidyoudecidetoputtheEamesEncyclopediaonlineinsteadofasabook?

do WhenEamesDemetriosaskedmewhyIwantedtodothisEamesencyclopediaonline,insteadofasabook,ItoldhimIwanteditonlineasan“encyclopedia”forseveralreasons:

Folksunderstandthatencyclopediasgetupdated,andthisonewill

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andcanbecontinuouslyupdated. Encyclopediashavemanycontributors;Ihopetheworldofscholars

willparticipateinthisongoingproject. Somemightfinditoddthatscholarshipisbeingdoneonasite

presentedbyafor-profitbusiness,theEamesOffice,butactually,thatisconsistentwiththeworkoftheEamesOfficewhenCharlesandRaywerealive,andthisisjustoneofmanyareasofdiscoverythatunfoldedformewhenstudyingEameswork.

I’mgoingtoneedthehelpofeveryoneinthescholarlycommunities:themuseums,universities,collectors,andtheknowledgeabledealers,tocontinueinthehighstandardsofscholarshipsetbyCharlesandRayEames,withthisscholarlysite.

rm/tg Wheredidyougetalloftheobjectsthatarephotographedonthewebsite? do JustassupportiveastheEamesfamilyinthisprojectistheJFChen

family:JoelChen,MargaretChen,BiancaandFiona,whoboughtacollectionofEamesmaterial,grewit,andsubsidizedmyworkstudyingthecollectionthewaythatCharlesEamessaidisthebestwaytostudydesign:byphotographingit.(ThephotographerforthisprojectwasGrantTaylor,whodoesreallygreatwork).

Actually,TheJFChenEamesCollectionstartedoutasmypersonalcollection.Eventuallyithadgrownto175Eamespieces,andmystoragebillswerehigherthanmyrent.TheChensboughtthecollectionandgrewitto400-pluspieces.Asyoumentionedintheintroduction,thiscollectionisthebasisoftheexhibition,CollectingEames:TheJFChenCollection.

rm/tg WillyoudescribetheJFChenEamesCollection? do TheJFChenCollectionisthemostextraordinaryEamescollectionin

theworldbecauseitshowsgreatexamplesfromeverydecadeofEamesdesignproduction,anditisinthatchronologythatyoucanfindmanyofthemostimportantmessages,includingthemoralones.

ThatcollectionstartswiththeKleinhansChairof1939,byCharlesEamesandEeroSaarinen,andincludesanamazinghighbackRelaxationChair,fromthelandmark1941OrganicDesigncompetitionatMoMA.Thelastchairinthetimelineisa1998LaChaise.

Ifyougotoseethisexhibition,you’llalsoseeanearlierEames-

Catalog Entry for dax 1954 on EamesDesigns.com.

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Saarinendesign,anincrediblyrare1939desktheydesignedfortheCrowIslandSchool,whichisonloantoJFChenforthedurationoftheexhibition.

TheimportanceofthiscollectionandtheChenfamily’scontributiontoworlddesignhistorycanbeseenonEamesDesigns.com,becausetheygenerouslydonated6000photostothesite:photosthattheypaidforasIstudiedthiscollectionoveraperiodoffouryears.

rm/tg Inyourbook,ModernClassic:theEamesPlasticChair,youwriteabouttheEames’desiretocontinuetoimproveontheirdesigns.Fromacollector’sperspective,howdothechangesinthematerialoftheplasticchairinfluencenotionsofconnoisseurship?

do Let’stakeforexampleonesmallaspectofanEameschair,theshockmounts:thoserubberelementsthatareusedtoattachthechair’slegstoitsbody.ShockmountsrepresentonasmallscalesomethingthatCharlesandRayalwaysdid:theyalwayslookedtoimproveupontheirpastwork,tomakesomethingbetter,andtheirimprovementswerealwaysinfavoroftheconsumer.

Theveryfirstshockmountsweresolidrubber,andtherewasnoscrewinvolved( justadhesive).WeseethatonchairsinthefamousBarclayHotelshowof1945,andthenintheMoMAexhibitionofspring1946,NewFurnitureDesignedbyCharlesEames.IonceownedararechairthatwasexhibitedinthatMoMAshowwhichhadsurvivedwith

Grant Taylor photo-graphing a RAR 1950 for EamesDesign.com. Photo by Daniel Ostroff.

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itsshockmountintact.Itwasamiraclethatthisshockmountdidn’tcomeoff!

Thenextiterationinvolvedascrew,andanexternalmetalplate.Themetalplatehadtobemachinedseparatelyandthisinvolvedaddedcost,butitwasnecessaryinordertogivethescrewasecurehold.Inthenextstep,theEamesescameupwithawaytomakethemetalbitintegraltotherubber.Andwiththisfinalstep,theygaveabetterlookingproduct,andonethatwouldcostlesstomake.CharlesandRaywerealwaysaboutpassingthesavingsalongtotheircustomers.

Thefirstshockmountwasinteresting,butultimatelycouldn’tholdupunderalotofuse,butwhenyoustudyEamesdesignsclosely,youlearnthatthereisoneconsistentthread,thattheyweredesignedwitheasilyrepairable,easilyreplaceableparts.Theshockmountisaclassicexampleofthispractice.PlentyofEameschairsfromthe1940sand1950shavesurviveduntiltodaywithintactshockmounts.Thosethatneednewshockmountsarerelativelyeasytofix.Whatotherconsumerproductsfrom1946stilllooksogood,worksowell,andaresoeasytorepair?

rm/tg Whenyouvisitedtheima’sMillerHouse&Gardenthisyear,welookedatalloftheEamesfurnitureinthehouse.OfparticularnoteisthatyoudescribedtheEamespsc-1inagirl’sbedroomasa“marriageofchairs,”a“historicEameschair;”“likeaJapaneseceramicwithstaplesinit.”Isthis

The underside of a rar 1950 showing early shock mounts from the JF Col-lection, copyright Eames Office. Photograph by Grant Taylor.

The underside of a rar 1950 showing later shock mounts from the JF Col-lection, copyright Eames Office. Photograph by Grant Taylor.

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acommonpractice,forownerstomarrydifferentEameschaircomponentstogether?

do Ican’tsaywhetherornotitisacommonpractice,butIamdelightedwhenIseepiecesthatshowsignsofattentionfromtheiroriginalowners.Itmeansthatsomeonevaluedthispieceenoughtomodifyittosuittheirneeds.

Now,animportantdistinctionshouldbemadebetweenthispractice,whattheoriginalownersdid,andwhatsomedealersdo.Ithinkwhenanantiquedealermakessuchchangesinordertoenhancethevalueofapiece,heisrenderingitvalueless.

Ihavemyowncollectionofwell-loved,well-usedEameschairs.Acouplefavoritescometomind:awalnutdcwthatIrescuedfromadealerbeforeitwasrefinished;itsfinishisoriginalanditisengravedoverallwithacoupledecadesofwhatIimaginetobeschoolkidsscratchingtheirnamesintotheveneerwithpensandpencils.

AndthenIhaveamid1950sEameslcmthatwasoriginallycoatedwithEamesredanilinedye.Butatsomepoint,someownerdecidedthattheyneededachairwithantiquewhitepaint,andthat’swhattheyputonit,verythickly.Irememberfrommychildhoodwhen

Daniel Ostroff inspects the underside of a cus-tomized Eames compact sofa at the Miller House and Garden. Photo by Tricia Gilson.

PSC-1 Chair at the Miller House and Gardens (MH2010.41.1). The chair consists of a later base added to an earlier shell. Photo by Tricia Gilson, Copyright Eames Office and the Indianapolis Museum of Art

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“antiquewhite”wasinvogue.Ithinkmyparentspaintedmychildhoodbedroomfurniturewithantiquewhite,withthatstreakyblackstuffinit.

Ithinkexampleslikethesetwoarebeautifulinandofthemselves,butifyouhavetothinksomethingaboutthem,thinkthis:Eamesdesignslookbetterwithage,andalso,youcanpersonalizethemtoyourownneedsandtheystilllookgreat.

rm/tg WhatdoyouthinktheEameseswouldhavethoughtofthispractice? do Theydiditthemselves.IntheEamesHouselivingroomthere’sa

roundGeorgeNelsonwalnuttabletoponanearlyEamessolidcastaluminumbase.IntheEamesHousekitchenisanotherEamescastaluminumbasewhichsupportsasquarepieceofplywoodthathasatvontop.

Again,thisismuchdifferentthanwhatmanydealersandcollectorsdonow,wheretheymarryvariousEamespartstocreatesomethingthattheythinkismoredesirable.IhaveheardthatcollectorsinEuropearebuyingEamesshellsandbringingthemoverandputtingtheshellsonreproductionbases.Idon’tknowwhattocallthose.Iguesstheyarechairs,buttheydonothaveanyvalueintermsofscholarshiporconnoisseurship.

CharlesandRayEamesmadecompletedesigns,theydidnotdo“mixandmatch”kits.IfyouboughtanEamesdesignforthemostpartyougotitandyougetitnow,intact,fromthefactory.That’swhatprobablyhasthemostvalue:intact,alloriginalparts,asitleftthefactory,Eamesdesign.However,Ithinkit’sjustasvalidtoconsiderseriouslypiecesthatwerewell-lovedandwell-usedandsometimeswell-repairedbytheiroriginalowners,justlikewetreasureWindsorchairsthathavetwocenturiesofvariousoverpainting.

rm/tg Sotheylikedtheirfurnituretodevelopacertainkindofpatina? Idon’tthinktheywantedtheirfurnituretodevelopapatina,Ithink

theywantedtogivetheircustomersproductsthatwouldprovideyearsofserviceandperformance.However,thatsometimesfolkswouldlovetheirEamesdesignssomuchthattheywouldrepairthem,mayberelatestosockdarning.Charlesoftensaidthathisambitionwastohavereallywell-darnedsocks.AndIthinkdarnedsocksarelikeanEamesltrIhave,whichdevelopedabitofaseparationinthewirebase,andthishappenedaftertheuserusedthetableasastepstoolfortwentyyears,andthisseparationwasrepairedbyitsoriginalowner,whoworkedfortenyearsattheEamesOffice,withabitofcoathangerwire.

Raywasthesameway.TheEamesfamilydoesfantastic,historicandmeaningfulexhibitsattheEamesOfficeat850W.PicoinSantaMonica.OncetheyexhibitedsomeofCharlesEames’shirtsandsomeofRayEames’dresses.Onmanyyoucouldseesignsofre-weavinganddarning.

CarlaHartman,theEducationDirectoroftheEamesOffice,tellsa

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wonderfulstoryaboutRay.RayandCharleswereataparty,andtheyrarelyattendedparties,theymostlyworkedsevendaysaweekuntilelevenatnight,andthatisnotanexaggeration.AtthepartyRayhadherbacktoonewomanwhowhisperedtohercompanion,uponseeingadarnedbitonthebackofRay’scape,“You’dthinkMr.Eameswouldbuyhiswifeanewcape!”There’samoralityinthattoo,whythrowsomethingawaythatyouloveandenjoyandcanstilluse,justbecausethere’saholeinit?

RM/TGLastmonthJeffJamiesonspokeabouthowthelookofDonaldJudd’sfurniturehasevolvedovertime;haveyoufoundmaterialthatdiscusseshowtheEamesthoughtabouttheirworkchangingovertime?

do Ihavefound,overtheyears,thatCharlesandRayexpressedthemselvesvery,verywellwithregardtotheirdesigns,andwhattheywerethinkingwhentheydesignedthem.RightnowIamworkingonananthologyofEamesspeeches,letters,andinterviews.InthisprojectIhavefoundthattheEames’wisdomisasrelevanttotoday’sproblems,asitwastoproblemsinthepast.Theydidnotjusttalkthetalk,theywalkedthewalk.

CharlesandRaynotedthattheythoughtabouthowsomethingwouldlookintenyears,intwentyyears,infiftyyears.EarlierthisyearIacquiredanEamesSoftPadChair(ea434),inleather,thatwasintheSaarinen-designedbank(IrwinUnionBankandTrust)inColumbus,

Ray Eames Dress Designs. Photograph from Library of Congress.

Eames Soft Pad Chair acquired from Euro Saarinen-designed bank in Columbus, in. Photo Daniel Ostroff. Copyright Eames Office.

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Indiana.Icantellfromthemarkingsandtheinkstampedmodelnumberonthechair,thatthebankacquiredthischairin1970.Iacquireditin2011.Thatmeansfor41years,bankerssatonit.Well,thatchairlooksmorebeautifulinsomeways,thananewEamesSoftPadChairdoes.AndthathappenedbecauseCharlesandRayconsideredthatwhentheydesignedit.

Thereareplentyofthingsthatwebuyandselltooneanotherthatlookworsewhenwegetthemhomeandusethemforaweek.InmanycasesEamesproductslookbetterwhentheyareusedforalittlewhile.

rm/tg Asyounoteinyourbook,ModernClassic:theEamesPlasticChair,overthepast60yearstheplasticshellsofEameschairshavechanged;wouldyoutalkabouthoworifthesuppliersfortheshellshavehadanimpactontheappearanceofthefinalproduct?

do Isuspectthatitwasmoreoftenthat“theEames”(AlexanderGirardreferredtoCharlesandRayas“TheEames”)hadanimpactonthesuppliers,thanthatthesuppliershadanimpactonthem.

Startingwiththegeneral,thinkaboutanythingyoudoinlife.Ifyouplaytenniswithpeoplewhoarebetterthanyou,yougetbetteratyourgame.Andbetterisprobablythewrongword,becauseasCharlesEamesoncesaid,“Genius,baloney,wejustworkharder.”Andthatwastrue,evenintheirseventies,CharlesandRaywouldstillbeattheirofficeatten-thirtyatnight,andoftenbarelymadeithomeintimetowatchtheeleveno’clocknews.CharlesandRayEameswouldnotdelegateunderstanding,sowhentheyworkedwithanewmaterialoronanewsubject,theyworkedveryhardtounderstanditspropertiesoritsqualitiesverywellthemselves.

OnEamesDesigns.comtherearemarvelousinterviewswithSolFingerhutandIrvGreen,twomenwhoCharlesandRayimpressedintoservicetomakethefirstindustrially-producedplasticfurniture.

Itwouldbebetterforpeopletoactuallygoreadtheinterviews,butI’llquicklysummarizeit:WorldWariiwasover,andthosetwomenwerelookingforclients.Duringthewartheyhaddonesomeworkwithplastics,andhadworkedforCorning.IntheinterviewstheyvividlydescribehowCharlesEamesalternatelygrilledthemabouttheir

Irv Green and Sol Fin-gerhut at Zenith Plastics in California. Image Courtesy and Copyright Eames Office.

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knowledgeofworkingwithplastic,andsoldthemontheideathatplasticfurnitureasagoodidea.Astherelationshipdeveloped,SolandIrvtellstoriesofworkinguntilmidnighteverynight,withCharlesandRaystirringthe“soup”sotospeak,asCharlesandRayinventednewcolorsforplastic,withnameslikeElephantHideGreyandSeaFoamGreen.

Thesewerenotcutesynames,anymorethanthenamesoftheirdesignslikedcmanddcwarecutesynames.ThenamesthatCharlesandRaygavetheircolorsarequitedescriptiveandpractical.MeetingCharlesandRaywasthebestthingthateverhappenedtoSolandIrv,andIunderstandthatevenafterCharlesdied,SolandIrvwereveryattentiveandappreciativeofRay.I’msurethiswastrueofothermanufacturers,althoughIhaveonlybeguntoscratchthesurfaceofthisresearch.ThereissomuchscholarshipyettobedoneinregardtotheEamesesandmanufacturers.

Ifpeopleneedtoknowsometopicsthatneedresearching,dropmeane-mailorgetintouchwithmethroughthewebsite.

rm/tg It’sveryinterestingtoconsiderhowtheEameseswouldhaveadaptedtheirpracticetothe“GreenMovement.”DoyouthinktheEameseswouldhaveseenacontradictionbetweentheModernsenseof“GoodDesign”andtheGreenMovement?

do WithregardtogooddesignandCharlesandRayEamesIwillsimplysharewithyouoneofmyfavoritequotesfromCharles.ThatwehavethisquoteiscourtesyofthevisionaryceoofHermanMiller,HughDePree,whocitedthisinhisdelightfulbook,BusinessasUnusual:ThePeopleandPrinciplesatHermanMiller:

Once,indiscussingthedesignofHermanMiller’sNewYorkshowroom,thewords“gooddesign”wereused.CharlesEamessaid,“Don’tgiveusthatgooddesigncrap.Youneverhearustalkaboutthat.Therealquestionsare:Doesitsolveaproblem?Isitserviceable?Howisitgoingtolookintenyears?

Thisrelatestogreendesign.Let’snotforgetsomethingelsethatcanbe“green,”aproductthatistimeless,aproductthatdoesn’twearout,aproductthathaseasilyreplaceableandeasilyrepairableparts.Howisaplasticspoon,madefromsoymilkandcorn“green”?Weuseitonce,wefeelgoodbecausetheplasticismadeof“sustainablesoyplastic”orsomesuch,andthenwethrowitaway?Ithinkit’smaybemore“green”tomakesomethingthatnevergoesoutofstyleandalwaysworks.

IwasdelightedtheotherdaytoseeintheAppleStoreinSantaMonica,Eamesairporttandemseating.YouknowhowgreatAppledesignis,butIthinkthatifyougointhatstoreyou’llagreewithme,thattheEamesseating,whichhasn’tchangedsinceitwasfirstdesignedandintroducedin1961,isthebestlookingstuffinthestore.Andit’spracticalandcomfortable.

FundamentaltoCharlesandRay’sdesignofthattandemseatingisthefactthattheseatandbackcushionsareinterchangeable.It’soneof

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thegreatestEamesdesignseverandwetakeitforgrantedbecauseweseeitinhundredsofairportsallovertheworld.

TherearemanythingsIloveaboutairporttandemseating,butherearetwo.CharlesandRaythoughtaboutthesetwoconstraints,amongothers:thatthetandemseatingbesturdyenoughthatawearyadultbusinessmanorwomancouldflopthemselvesdownonit,withaheavybriefcase,andbesupported.Butlightenoughand“slide-y”enough,thatattheendoftheevening,ajanitorcouldeasilymoveitformopping.Andsecondly,thoseinterchangeablepads:Imagineyouareinchargeofresourcesforanairport.Becausethebackandseatpadsareinterchangeable,youonlyhavetoorder“replacementpads.”Youdon’thavetosendsomeclerkonyourstaffaroundtotellyouhowmany“backs”youneedandhowmany“bottoms.”Thepadswilllastfortwentyyearsormorebeforetheyneedreplacing,andwhentwentyorthirtyyearsareup,thealuminumandsteelframesstilllookawesomeandworkgreat.

rm/tg It’salmostasifmanyoftheideasthattheEameseswerepursuingareasrelevanttodayastheywerejustaftertheendofWorldWarii.

do Toanswerthisquestion,I’dliketoreferencetheEamesSolarToyof1959,whichisoftenmisunderstoodandmisnamedthe“DoNothingMachine.”InthebookIamworkingonnowitbecomesclearthatCharlesandRayEameshadgenerousandwisehearts.WhenaskedbyAlcoatomakea“toy”outofaluminum,theydemurred.Theydidn’tthinktheworldneededan“aluminumtoy”justforfunandadvertising.

ManydesignersparticipatedintheAlcoaForecastProgram,andvariousthingswereproducedinaluminum,includingsomefurnitureandstoragesystems.WhenpressedbyAlcoa,CharlesandRaydidthinkthattherewassomethingtheworldneeded.Itoccurredtothem,in1959,a“MadMen”ishworldofbiggasguzzlingcarsandmartiniguzzlingadmen,thattheworldneededremindingthatourresourcesarenotinfinite,andtheymadeatoythatshowedthevirtuesofarenewableenergysource:thesun.

Aboutasfarfroma“Donothing”deviceasthereeverwas,Charles

Staff Member Jim Som-mers Sitting in Eames Tandem Sling Seating, circa 1962. Image cour-tesy Library of Congress.

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andRayshowedus,inadelightfulmanner,thatthesuncanpowerourdevices.Here’stomuchmorerealscholarshiptocome,aboutaveryrelevantdesignduo,whotheworldneedsnowmorethanever.

Alcoa Solar Toy adver-tisement. Charles and Ray wanted to make the world aware of a sustainable, renewable, powerful, cheap, and clean source of energy. Copyright Eames Office.