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First introduced in 1958.

Originally developed as a special project for a private residence being designed by Eero Saarinen and Alexander Girard.

Was first conceived as a challenge for Charles and Ray to develop a high-quality seating product for outdoor use.  After a short time the product moved exclusively inside.

The seat-back suspension was a new technical achievement and was a departure from the concept of the chair as a solid shell. 

The chair explored the newly affordable aluminum on the market.  This resulted in the design of a lightweight, corrosion-resistant and die-cast frame

 
The seat frame was initially designed to support a stretched fabric (woven saran-mesh). Although the mesh was discontinued shortly after its introduction. Herman Miller recently (2001) reintroduced a new mesh material for the Aluminum Group.

Managment: H 31-34" D 23" W 23" Seat H 17-20"
Arm H 26-29"

Side Chair: H 34" W 23" D 23" Seat H 18.5"

Lounge: H 37" D 32.5" W 26" Seat H 15"

Ottoman: H 20" D 22" W 21.75"

Available in Side | Management | Executive | Lounge models and was the precurser to the Soft Pad version shown below.

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Designed by Ray and Charles Eames in 1969

The chair evolved from the Eames aluminum group

With the addition of 2 inch-thick seat cushions, the soft pad chair retains the style of the earlier group, but makes gains in comfort.

Features adjustable tilt and height, soft, thick cushions, and a solid die-cast aluminum base, frame, and arms.

Management: H 34" D 17.5" W 23"
Seat Height 18.5-21" adjustable
Arm Height 26-29"

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26.5"w · 29.5"d · 35.5"h
seat height 18.5" (max)

Charles and Ray Eames designed Eames executive chairs in 1960 to grace the lobbies that they designed for the Time-Life Building in New York City. That's why some people call them Time-Life chairs.

Was originally referred to as the 3474 Tilt-Swivel chair.

Developed to meet the need for a comfortable chair that was smaller than the Eames lounge chair.

In 1972, chess grand master Bobby Fischer specifically requested the Eames executive chair while he competed in the World Chess Championship in Reykjavik, Iceland. He said he could concentrate well in the chair. When opponent Boris Spaasky saw it, he refused to play until he was given one as well.

By 1970, Herman Miller changed the designation of this chair. What was known here as the "3474" chair was given a new "name" in 1970 and thereafter: the "ES 104 adjustable tilt swivel chair."  You can see one of the original promotional brochures HERE .

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Motivated by the urgent need for low-cost housing and furnishing designs in the immediate postwar period, MoMA sponsored the "1948 International Competition for Low-Cost Furniture Design." Charles made prototypes of "La Chaise" for this competition

the seat was inspired by Gaston Lachaise, the floating figure sculpture.

This model was reproduced around 1990 by Vitra.

Philippe Starck and Woo Bajolyodin are two of the fans of this model, which they proudly display in thier homes.

Dimensions:
H 34.25" D 35.5" W 53"
Seat Height 15.5"

Materials:
Chromed steel legs; fiberglass shell; solid oak base.

Just 18 inches wide, this lightly scaled chaise fits in a study, an office - even a hallway. Its soft foam cushions rest atop a gently sloping frame and two loose cushions give added support under the neck, back or legs. Remarkably comfortable, the development of the chaise was inspired by Hollywood director Billy Wilder. In a conversation with friends Charles and Ray Eames, Wilder mentioned that he often took his afternoon nap on a foot-wide plank slung between two sawhorses in the Nova Scotia lighthouse where he was filming "The Spirit of St. Louis." Wilder's unique solution stayed with the Eameses, who introduced their beautifully sculpted chaise in 1968.

Dimensions:

H 29.5" D 76.5" W 18"

Materials:

Black leather upholstery; 2-inch-thick urethane foam cushions with polyester fiber batting; nylon supporting sling. Die-cast aluminum frame coated with eggplant-colored, electrostatically applied nylon; high-impact, black nylon glides.

It was selected as "best design of the century" by Time magazine in 1999. 

The chair is in the permanent collection of New York's Museum of Modern Art.

In the early 1940s, when Charles Eames was working on MGM set designs, he would return to the small apartment where he and his wife, Ray, were experimenting with wood-molding techniques that would have profound effects on the design world.  Their discoveries led to a commission from the U.S. Navy in 1942 to develop plywood splints, stretchers, and glider shells molded under heat and pressure.

After World War II, they adapted this technology to create inexpensive, high-quality chairs that could be mass-produced. The process eliminated the extraneous wood needed to connect the seat with the back, which reduced the weight and visual profile of the chair.

Other designers like Swedish designer AlvarAalto, had employed bent and laminated plywood in their modern furniture designs earlier, it was the Eameses process that allowed for sculptural and organic compound curves in their plywood designs.

In 1941 the Museum of Modern Art held a competition organized by Eliot Noyes to discover imaginative designers for contemporary living. Prizes were awarded to Eames and Saarinen for these chairs and storage pieces, by a jury that included Edgar Kaufmann Jr., Alfred H. Barr of the Metropolitan Museum of Art, Eliot Noyes, Marcel Breuer, Frank Parrish, and architect Edward Durrell Stone.

The chairs were shown in 1946 in a Museum of Modern Art exhibition, New Furniture Designed by Charles Eames. At the time of the exhibit, the chairs had only three legs, and problems of stability discouraged mass production.

Designs with four wooden legs were first produced in 1946 by Evans Products Company (Eames' wartime employer) and distributed by the Herman Miller Furniture Company.

Later versions with metal legs were produced in 1951, including the LCM (Low Chair-Metal) and DCM (Dining Chair-Metal) models. Matching dining and coffee tables were also produced. The line was produced until 1957, then re-issued in 1994.

Earned the nickname "the potato chip chair" for it's organic looking plywood seat and back.

Sometimes referred to as the "most famous chair of the century,"

Materials:
Molded 5-ply seat and back; 8-ply legs and back brace; rubber shock mounts; self-leveling nylon glides.

Plywood Dining Chair,

DCW (wooden legs)

Dimensions:
H 28.75"  D 21.75 " W 19.5"  Seat H 18"

DCM (metal legs)

 
Plywood Lounge Chair

LCW (wooden legs)

Dimensions:

H 26.5" D 24.5" W 22"

LCM (metal legs)

Dimensions:
H 26.5" W 22" D 24.5" Seat H 15.5"

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  The current models looks exactly the same as the originals. They remain unupholstered, in keeping with the Eameses requirement that materials be expressed honestly and unselfconsciously. In fact, these were the first one-piece plastic chairs to be left uncovered.

At the same time, the chairs are better than ever. For example, the shell is now manufactured using more environmentally friendly, high-impact plastic.

The first successfully mass-produced molded plastic chairs, these were molded in fiberglass reinforced polyester and designed by Charles Eames (1907-1978) in 1948.

They were introduced in 1951 by the Herman Miller Furniture Company and were produced in a variety of individual variations through 1995.

This DAR (dining and desk chair) model illustrated has a lightweight structural wire base, often called the "Eiffel Tower". The RAR version had birch wood rockers on the bottom. Other standard models (DAX, LAX and SAX) had more traditional bent metal legs, some with swivel seats.

This design was originated by Eames in a similar organically-shaped one-piece stamped metal bucket seat in his winning design in the Museum of Modern Art's international competition for Low Cost Furniture Design in 1948. The competition was in collaboration with furniture retailers like Herman Miller, who agreed to produce the winning designs commercially.

In 1946, Eames' original molded plywood chairs had been made by Evans Products Company and distributed by Herman Miller. In 1947 George Nelson (1908-1986) bought the tooling for Herman Miller, which then continued production until 1957. In 1994, they were re-introduced.

Plastic Armchair: DAW, PAW
(dining height armchair wood base)
(pivot armchair wood base)

PAW: This is also the plastic armchair manufactured by Zenith. The steel rods support the wood legs ("dowel legs") with a swivel. As this wonderful model illustrates, Charles was particularly skillful at combining different kinds of materials. Because the wood legs break easily, very few of these Plastic Armchairs remain in complete and good condition.

Plastic Armchair: DAR, LAX
(dining height armchair r-wire base)
(lounge height armchair x-base)

The chair bases were made of metal rods that were resistance-welded for stability. Like most of the Eames' furniture, the bases aquired funny descriptive names from consumers, names like cat's cradle, X-base, and the Eiffel Tower. The Eames' fiberglass chairs were eventually offered with over two-dozen different bases that rocked, swiveled, rolled, adjusted, or just "sat" there.

Plastic Armchair: LAR, RAR
(lounge height armchair r-wire base)
(rocking armchair r-wire base)

RAR: This plastic armchair on a rocker-base comprised of wood rockers and steel rod legs was manufactured by Zenith. This model is rare, for it was only produced during the first year of the Eames rocker-based chairs, and subsequent models had a slightly different rod configuration. The rocker version of the Plastic Armchair was produced for commercial sale until 1968. Until 1984, Herman Miller gave this chair as a gift to everyone of his employees who became a parent.

The Eames Molded Plastic Rocker (1948), often known as the RAR (rocking armchair rod), was out of production for 30 years before being brought back with the blessings of the Eames Office. Originally manufactured in fiberglass-reinforced plastic, this classic rocker was updated in durable and environmentally friendly molded polypropylene. This molded shell has a deep seat pocket, integrated armrests and a high backrest. The waterfall seat edge promotes comfortable seating for extended periods of time by reducing pressure on the backs of thighs. The iconic Eames wire base is set atop two maple runners for a smooth rocking motion that brings enjoyment to contract and residential settings. This original is an authentic, fully licensed product of Herman Miller, Inc. Eames is a licensed trademark of Herman Miller, Inc.

Dimensions:

H 26.5" W 24.5" D 27" Seat H 16" Arm H 23.5"
Materials:
Batch-dyed polypropylene shell; chromed steel base; hard maple runners with clear laquer finish.

Plastic Armchair: PAC, DAT
(pivot armchair on cast base)
(dining height armchair tilt swivel base)

DAT: Manufactured by Herman Miller, the height of this armchair can be adjusted by a tilting unit located under the shell. The base with full swiveling casters is common to all Eames chairs designed for office use. The die-cast aluminum foot pieces are characteristic of the works after the Aluminum Group (1958). The rather Spartan design of this base has a very different charm from the earlier chairs.

Commonly referred to as Eiffel chairs, the Eames Molded Plastic Armchair and Side Chair (1948) were the first industrially manufactured plastic chairs. In creating these classic pieces, the Eameses honed two techniques with which they had been grappling for years: the use of a bent and welded wire base and a sculpted plastic shell seat. The results are supremely comfortable and timeless. Originally made with fiberglass-reinforced plastic, these chairs now take advantage of the benefits of more eco-friendly polypropylene. The molded shell seat has a high, flexible back and a deep seat pocket. The waterfall seat edge promotes comfortable seating for extended periods of time by reducing pressure on the backs of thighs. For residential and commercial use.

Dimensions:

H 32" W 24.5" D 23.5" Seat H 16.5" Arm H 26"
Materials:
Polypropylene; chrome-plated steel base; plastic glides.

Plastic Side Chair: DSR, DSG, LSR, DSS-TA
(dining height side chair r-wire base)
(dining height side chair wall guard base)
(lounge height side chair r-wire base)
(dining height side chair stacking table base)

n 1950, the Eameses developed the first model of the "armless" side shell chair manufactured by Zenith Plastics, makers of the earlier bucket shell chair.

Bases available for this side chair were rod-legged, cast aluminum pedestal, swivel, wire strut which is known as the "Eiffel-tower" base, wood-legged, or wood rockers on wire struts. The later production model of this chair had a lighter seat and new H-base leg configuration. It also used the sturdy first generation self-leveling glides for the new, hollow leg configuration. The shells themselves have not changed their sculptural shape in over 50 years of production, having maintained their visual appeal as originally designed.

Commonly referred to as Eiffel chairs, the Eames Molded Plastic Armchair and Side Chair (1948) were the first industrially manufactured plastic chairs. In creating these classic pieces, the Eameses honed two techniques with which they had been grappling for years: the use of a bent and welded wire base and a sculpted plastic shell seat. The results are supremely comfortable and timeless. Originally made with fiberglass-reinforced plastic, these chairs now take advantage of the benefits of more eco-friendly polypropylene. The molded shell seat has a high, flexible back and a deep seat pocket. The waterfall seat edge promotes comfortable seating for extended periods of time by reducing pressure on the backs of thighs. For residential and commercial use.

Dimensions:

H 31.5" W 18.5" D 22" Seat H 17.5"
Materials:
Polypropylene; chrome-plated steel base; plastic glides.

Stacking Chair: DSS
(dining height side chair stacking base)

Wire or four-legged base

18.5" w | 22" d | 29.87" h
Stacks up to 14 chairs high.

.

                                                                    image credit: tiloe

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  Design Charles & Ray Eames, 1960.
Solid walnut. Made by Herman Miller®.

Perfectly self-contained objects of beauty, these solid walnut stools can act as a low table or a simple seat; hold a stack of books or coffee cups; live in modern or traditional surroundings. Charles and Ray Eames first designed the stools in 1960 for the lobby of the Time Life Building in New York City, but they soon became popular products and with time, one of the more charming classics of modern design. Today, these finely crafted lathe-turned pieces bring an animated personality to the office, home or commercial space.

center section of the stool comes in three distinctively sculpted profiles. The top surface and the smaller bottom surface are both concave.

Ray Eames drew on her training as a sculptor to design a new kind of occasional piece for the lobby of the Time-Life Building in New York City. Eames walnut stools became her favorite seats and were liberally scattered about the Charles and Ray Eames home in Pacific Palisades. Made of solid walnut, these stools can be used anywhere and are beautifully versatile. Besides being places to sit, they also serve as low tables, display surfaces, or simply objects of art to be admired.

A museum curator once ordered two of these stools for his son and daughter. "Graduation gifts?" he was asked. "No," he said, "the kids are only five and three. But I want them to have the experience of growing up with something truly good that they can keep all their lives."

Dimensions:

H 15" W 13.25" Seat Height 15"
Materials:
Solid walnut.

 image credit:黃毛

 

  In 1951, Charles and Ray Eames met the challenge of making a reasonably priced, quality chair that was light yet strong. Their solution - the Eames wire chair. It featured a sculpted look, comfort, and practicality which made It an immediate hit. Today's versions remain true to the original design, materials, and detailing.

They made the rim of the chair a lighter-gauge wire and doubled it for stability to achieve strength requirements, an organic shape, and cost restraints. This advance won them the first American mechanical patent for design.

The airy silhouette of the wire chair is achieved by wires, cross-woven and positioned on a bent-wire, welded chrome base, also called the 'Eiffel Tower' base. The chair's organic shape fits the contours of the body making the wire chair a perfect choice for residences and workplaces alike. Also available with standard wire seat and back, or with a criss-cross two-piece leather pad (the 'bikini'). Leather seat pad is available in your choice of three colors.

In the early 1950s, the Eames office investigated bent and welded wire as the basis for furniture. Inspired by trays, dress forms, and baskets, the office developed a variety of pieces, including Eames wire chairs.

They made the rim of the chair a lighter-gauge wire and doubled it for stability to achieve strength requirements, an organic shape, and cost restraints. This advance won them the first American mechanical patent for design.

The chair was marketed by Herman Miller until 1967 and reintroduced in 2001.

Designed in 1951, the Eames' wire chairs are essentially a 3-D line drawing in space of the earlier fiberglass chair. Almost invisible in bulk form, this chair, in it's many configurations, was constructed of resistance-welded metal rods spaced for support. The wire chair was available with a wide variety of covers including leather, vinyl and fabric patterns designed by Eames friend, Alexander Girard. Fabrication of the wire chairs was another example of the Eames' converting war technologies to the peacetime production of well-designed consumer goods. Wire rod was already being used as a structural design element in many of the Eames' other furniture designs, including the Storage Unit Series of multi-colored cabinets and several low table wire bases.

The wire mesh shell seat concept was further developed dramatically in Diamond chairs (later known as Bertoia chairs) designed by Harry Bertoia (1915-1978) and introduced by Knoll in 1952 in both low and high-back models. Bertoia, a sculptor and furniture designer who was at Cranbrook with Eames and had worked with Eames on chairs.

(dining height k-wire shell r-wire base)

(pivot k-wire shell wood base)

 19" w | 21.25" d | 32.75" h | seat; 18.5" h

                                                                    image credit:[Dicky]

 image credit:DesignMinistry