Production today continues in much the same way.
Employees at the Herman Miller factory polish the molded plywood shells in the seventies.
A 1959 advertisement for the Lounge set emphasizes its comfort. Another ad from the era reads “A good chair, nowadays, is hard to find,” and suggests that it’s “the only modern chair designed to relax you in the tradition of the good old club chair.” Charles took on the project because he was “fed up with the complaints that modern isn’t comfortable.”
The Eames Lounge and Ottoman is another timeless icon of mid-century design, held in the design collections of the MOMA in New York and the Art Institute of Chicago.
Charles Eames (right) visiting the Herman Miller factory, where the Eames Lounge and Ottoman has been produced since its 1956 debut.
In the lobby of the Eames Archives, visitors are greeted by a wall decal portrait of Ray and Charles Eames.
A small shop in the lobby of the Eames Archives offers toys, books, and collectible chair miniatures.
The gallery is launching with a show about the design process for Ray and Charles Eames’s molded plywood series of furnishings and toys, including a freestanding wood sculpture by Ray, a room screen, and the first edition of the Eames elephant.
The Eames Institute has transformed a warehouse in Richmond, California, into a gallery to showcase its collection of 40,000 design objects, many of which will be shown publicly for the first time.
Guided tours will be led by chief curator and Charles Eames’s granddaughter, Llisa Demetrios.
Early prototypes of molded plywood chairs are on display in the gallery, revealing the design couple’s iterative process.
A selection of seating in the gallery allows visitors to sit on some of their most famous designs, including a molded plastic rocker, an Eames lounge, and a La Chaise.