After the war, they established the Eames Office in Venice, California, and their prototypes became a product in 1946 when Herman Miller introduced the Eames molded plywood chair. With innovative touches like rubber shock absorbers, it seemed to anticipate its user’s comfort. In 1956, they introduced the Lounge Chair and Ottoman. Their riff on a leather club chair, Charles and Ray Eames’ lounge chair remains one a beloved piece of 20th century furniture.
Their Pacific Palisades home (built for Arts & Architecture magazine’s Case Study program) was filled with flowers, folk art, and Hans Hofmann paintings suspended from the ceiling—the living embodiment of their brand of vibrant, California modernism. They were also design ambassadors, producing a multi-screen presentation inside a dome by Buckminster Fuller for the American Exposition in Moscow in 1959. Their 1977 short film “Powers of Ten” explored scale in nature and design, from the smallest particles to the outer reaches of the universe. The film’s attentiveness and soaring perspective seems to capture the ethos of Charles and Ray Eames furniture: a belief that every gesture matters. “The details are not details,” Charles once said. “They make the product.”
The details are not details. They make the product.