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#minimal #minimalart #minimaldesign #minimalist #minimalistdesign #minimallove #minimalstyle #minimaltattoo #minimalzine #modern #modernart #modernfurniture #monochrome #outfitinspiration #photoshop #producer #productdesign #productdesigner #simple #simplicity #space #tattoos #techhouse #techhousemusic #techno #technolovers #texture #urban #vinyl #vinylcollection
Anchoring the corner of Oakdale Avenue and Mendell Street in San Francisco’s Bayview neighborhood, Providence Baptist Church is a bold and dignified example of mid-century modern religious architecture. With its angular roofline, asymmetrical bell tower, and spare white façade punctuated by tall stained-glass windows, the church is both architecturally striking and spiritually grounded.
Founded in 1944 and housed in this modernist structure since the 1960s, Providence Baptist Church has long been a pillar of the Bayview community—serving as a house of worship, cultural hub, and center of Black spiritual life in San Francisco. The sharply sloped roof and exposed wood beams inside hint at Scandinavian modernist influences, while the front tower—with its thin metal cross reaching skyward—adds a vertical flourish to the otherwise horizontal building.
Though simple in materials, the building commands attention through proportion and purpose. The entryway, flanked by clean signage and low-maintenance landscaping, opens onto a sanctuary known for both its intimacy and resonance. The structure’s minimalism allows the stained glass—each window a vertical strip of color and light—to take on added significance as a design feature and source of inspiration.
In the context of Bayview’s history of resilience and community strength, Providence Baptist stands as both a sanctuary and a symbol. It’s a place where faith meets form, and where architecture serves the spirit of service.
The D.T. Suzuki Museum in Kanazawa is a serene architectural masterpiece dedicated to the life and philosophy of Daisetz Teitaro Suzuki, a Zen Buddhist scholar who introduced Zen to the Western world. Designed by renowned Japanese architect Tadao Ando, the museum exemplifies the harmony between modern minimalism and traditional Japanese aesthetics.
Set against a lush backdrop of seasonal greenery, the museum’s clean lines and reflective water features evoke a sense of tranquility and introspection. The exterior façade, captured here, showcases Ando’s signature use of concrete, light, and shadow. Vertical louvers on the wall add texture and create a dynamic interplay with sunlight throughout the day, while the meticulously placed steps and subtle guiding paths provide a seamless transition between nature and structure.
Visitors are invited to engage with Suzuki’s legacy through the museum’s three interconnected spaces: the Entrance Wing, Exhibition Space, and the Contemplative Space. The architectural design encourages mindfulness, with framed views of the surrounding gardens and a meditative water mirror that reflects both the sky and the soul. The subdued color palette and tactile materials create a profound sense of stillness, making the museum a destination for both art and philosophy enthusiasts.
This minimalist sanctuary offers a modern interpretation of Zen principles, blending simplicity with depth. While the museum is a tribute to Suzuki’s teachings, its design invites each visitor to embark on their own personal journey of reflection and discovery. Located just a short walk from Kenrokuen Garden, the D.T. Suzuki Museum is a must-visit for those seeking both architectural inspiration and spiritual peace in Kanazawa.
Tucked into the upscale enclave of Sea Cliff in San Francisco, this corner residence is a striking study in mid-century modernism—an unexpected but welcome contrast to its more traditional neighbors. Clean lines, minimalist facades, and an emphasis on horizontal volumes give the home its modernist credentials, while the restrained material palette—textured concrete, smooth stucco, and dark metal-framed windows—adds architectural depth. The subtle terrazzo-like façade offers visual texture without disrupting the home’s otherwise monochromatic elegance.
What makes this home especially captivating isn’t just its geometry but its context. Sea Cliff is famed for its early 20th-century mansions and Spanish Revival villas, but this residence bucks the trend, opting instead for a Zen-like simplicity reminiscent of 1960s and '70s design philosophies. Framed by meticulously sculpted trees and manicured greenery, the landscaping further underscores the influence of Japanese and California Modern design—a tranquil foreground to a boldly restrained home.
Though the architect remains unidentified, the design ethos feels informed by the likes of Edward Killingsworth or perhaps even Joseph Eichler’s influence, with its clear focus on indoor-outdoor harmony and unadorned elegance. This is modernism built for longevity—not to shout, but to last.
Located just minutes from the Lands End Lookout and China Beach, this Sea Cliff gem speaks to the power of architectural restraint in a neighborhood known for opulence. It's a quiet showstopper, and for lovers of design, an under-the-radar must-see on any San Francisco architecture tour.
The D.T. Suzuki Museum in Kanazawa, Japan, is a tranquil sanctuary that pays homage to Daisetz Teitaro Suzuki, a scholar who profoundly influenced the understanding of Zen Buddhism in the Western world. The museum's Contemplative Space, shown here, embodies the Zen philosophy of mindfulness, balance, and simplicity. Designed by Tadao Ando, one of Japan’s most celebrated architects, this space integrates minimalist architecture with serene natural elements, creating an environment that encourages deep introspection.
The structure’s stark white walls are framed by a shallow reflective pool that mirrors the sky, trees, and architectural lines, blurring the boundaries between nature and the built environment. Ando’s use of clean geometry, concrete, and light invites visitors to focus on the essential—what lies beyond the material. The Contemplative Space is particularly notable for its interplay of openness and enclosure, with a single open doorway offering a framed view of the water and greenery, further emphasizing the Zen principle of awareness in the present moment.
Seasonal shifts enhance the experience, as autumn’s fiery foliage or spring’s cherry blossoms provide a dynamic, living canvas surrounding the museum. Inside, the space remains minimal yet purposeful, with wooden benches inviting quiet reflection. The seamless integration of architecture and landscape transforms this site into more than just a museum; it becomes a meditative retreat.
Situated near Kanazawa’s renowned Kenrokuen Garden, the D.T. Suzuki Museum offers a holistic experience for those seeking to connect with Zen ideals through architecture, history, and nature. Visitors leave with a deeper appreciation for Suzuki’s teachings and the transformative power of simplicity.
Modern Flat Villa in Golpayegan, Isfahan
Designed by Modern Villa Co., this contemporary masterpiece blends minimal lines with warm materials and open spaces — a true harmony between modern lifestyle and nature.
ویلای فلت مدرن در گلپایگان، اصفهان — ترکیبی از طراحی مینیمال، نور طبیعی و حس زندگی لوکس در دل طبیعت.
📍Location: Golpayegan, Isfahan, Iran
🏡 Area: 245 sqm built-up | 995 sqm land
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#ModernVilla #FlatVilla #LuxuryArchitecture #IranArchitecture #ContemporaryDesign #ModernHome #VillaDesign #ArchitecturePhotography #Golpayegan #Isfahan #MinimalDesign #مدرن_ویلا #ویلا_مدرن #طراحی_ویلا #اصفهان
یک ویلای دوبلکس لوکس با معماری مدرن، خطوط مینیمال و متریالهای پریمیوم. طراحی باز، نورپردازی حرفهای و هارمونی طبیعت با فضاهای زندگی؛ نمونهای برجسته از Luxury Modern Villa Design.
Biblioteka Multimedialna Grafit - Public library "Grafit"
Location: Wroclaw, Poland
Built: 2015
Architects: Grupa Synergia, 2MPS (Wroclaw, Poland)
Biblioteka Multimedialna Grafit - Public library "Grafit"
Location: Wroclaw, Poland
Built: 2015
Architects: Grupa Synergia, 2MPS (Wroclaw, Poland)
modern furniture series: "pep semae" sticker / tee logo / card, des. #2
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "diablo semae" sticker / tee logo / card, des. #8
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "red cross semae" sticker / tee logo / card, des. #8
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "orangena semae" sticker / tee logo / card, des. #10
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "oreo semae" sticker / tee logo / card, des. #7
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
Arne Jaconben:
The Model 3107 chair is one of the most popular chairs in Danish design history. It was designed by Arne Jacobsen, using a new technique in which plywood could be bent in two dimensions. It has been produced exclusively by Fritz Hansen A/S ever since its invention in 1955. It is also the most copied chair in the world.
Being a "copy" itself contributes some irony to that fact. The chair, along with the Jacobsen's Ant chair, was, according to Jacobsen himself, inspired by a chair made by the husband and wife design team of Charles and Ray Eames.
The chair comes with a number of different undercarriges - both as a regular four-legged chair, an office-chair with five wheels and as a barstool. It comes with armrests, a writing-table attached, and different forms of upholstring. To some extent, these additions mar the simple aesthetics of the chair, while contributing with some practical elements.
Arne Jacobsen is the Danish architect who mastered the most personal and successful interpretation of the international functionalism. His architecture includes a considerable number of epoch-making buildings in Denmark, Germany and Great Britain. Arne Jacobsen initially trained as a mason before studying architecture at the Royal Danish Academy of Arts, Copenhagen, graduating in 1927.
From 1927 until 1930, he worked in the architectural office of Paul Holsoe. In 1930, he established his own design office, which he headed until his death in 1971, and worked independently as an architect, interior, furniture, textile and ceramics designer. He was professor of Architecture at the Royal Academy of Arts, Copenhagen, from 1956 onwards. His best known projects are St. Catherine's College, Oxford, and the SAS Hotel, Copenhagen.
Arne Jacobsen's designs came into existence as brief sketches and were then modeled in plaster or cardboard in full size. He kept on working until his revolutionary ideas for new furniture had been realized at the utmost perfection. The "Ant" from 1952 became the starting point of his world fame as a furniture designer and became the first of a number of lightweight chairs with seat and back in one piece of moulded wood.
graphics: a.golden, eyewash design c. 2007
the "yellow fever" semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "burned semae" sticker / tee logo / card, des. #1
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
New custom background and folder icons for my workhorse machine ... definitely has a retro sci-fi feel. I might eventually try to animate the energy bar at the bottom and/or add some more techno-graphics, but for now it’s static. #ui #uidesign #minimaldesign #design #graphics #blackandwhite #darktheme #scifi #scifidesign #background #desktopbackground #wallpaper #personalbrand #welcometothemachine #obedientmachine
modern furniture series: "illegal alien semae" sticker / tee logo / card, des. #4
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "barney semae" sticker / tee logo / card, des. #1
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "grassy knoll semae" sticker / tee logo / card, des. #4
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "semae sings the blues" sticker / tee logo / card, des. #9
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
- a. golden, eyewash design, c. 2008
After years of freelance work to "pay the bills", I've decided to go back to university. That's right! I'm going for a MPS in Art Therapy. I'm shooting for Pratt Institute. For more information on the program: www.pratt.edu/creative_arts_therapy
My concentration will be on children. More specifically, those most in need. Those who've suffered the most terribly ---> in other words, the socio & economically disadvantaged, those sexually, emotionally and/or physically abused, the neglected & the abandoned children, as well as children diagnosed with Autism.
Let me know what you think --->
Any constructive criticism is also most welcome! I'm trying to earn my Master's in Art Therapy. BUT, I MUST FIRST take 19 additional undergraduate courses which will qualify my eligibility to apply. I WILL get in!
I firmly believe that together we CAN make a difference.
Thanks, in advance!
THE SKINNY -------------------------------------------------------------------------------------------->
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "miami the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "pink punk semae" sticker / tee logo / card, des. #2
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "charcoal semae" sticker / tee logo / card, des. #3
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "semae in the black" sticker / tee logo / card, des. #1
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "bumble the semae" represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "grey ghost semae" sticker / tee logo / card, des. #11
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
modern furniture series: "cloudy semae" sticker / tee logo / card, des. #3
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
I so enjoyed creating this airy new space for the work of one ridiculously talented client, Laura Gordon. Her vibrant, light-filled work jumps off of the screen, accented by open spaces and lovely calligraphy.
live at lauragordonphotography.com and lauraogordonblog.com
I so enjoyed creating this airy new space for the work of one ridiculously talented client, Laura Gordon. Her vibrant, light-filled work jumps off of the screen, accented by open spaces and lovely calligraphy.
live at lauragordonphotography.com and lauraogordonblog.com
modern furniture series: "halloween semae" sticker / tee logo / card, des. #10
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007