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In the film Charles Eames is the Architect and the Painter is Ray Eames, Charles is an architect school dropout who never got a license but despite of it he is driven by his curiosity to make or design things like what in the film said they’re not sure if he was an architect, a designer or filmmaker. Charles is also a charismatic goofball but he could also be maddeningly inarticulate, as well as a notorious hoarder of credit (claiming the entire output of the Eames Office, and its dozens of young creatives, as his own personal handiwork). He was also prone to capricious hiring and firing. Ray is a painter and a sculptor, she was described as a painter who rarely painted. She made paintings on what she was surrounded by, everything she touch, she turns it into something magical. She can move things around her easily and beautifully, she saw everything as a painting. She knew what was art and what was not. Ray would always be behind Charles, she helps him whenever he calls her like what Charles said “Anything I can do, she can do it better. Charles was very dependent on her aesthetic genius. The husband-wife powerhouse brought to their partnership. Together their work helped shape the second half of the 20th century and remains culturally vital and commercially popular today. They were the America’s most influential & important industrial designer. They showed that design could be an art of manipulating ideas. They were introducing people to look at the world differently.
Dedicated to freedom of the imagination, Charles and Ray refused to hold regular meetings – the kiss of death to creative people everywhere – yet were able, through a blend of charm, energy and talent, to design what they really wanted even for the formidable corporations they worked with from the late Fifties, including Boeing, IBM, Westinghouse and the US government. During the 1950’s, IBM turned in the Eames office to over come the problem, Charles and Ray were sent out to humanize it.They made an animated fil in 1957 names “The Information Machine”. They made large and small projects for IBM, the most bold project was the Pavilion 1964 where they used a 1.2 acre experimental space which consists of 21 screens. When Charles did the “Mathematica” exhibit for IBM, as creative as it was, it was an attempt to get people to understand what a computer could do and that it wasn’t a dangerous monster that would transform their lives into a number. Their launch of the first molded plywood chair in 1946 for the American furniture company Herman Miller, Charles and Ray Eames brought playfulness and color to Modern Movement design.
I think they are the most influential designers in the 20th century is because to Charles and Ray Eames, labels like “architect,” “artist,” and “designer” weren’t boxes to confine one’s practice to, but interchangeable lenses through which to view problems, solutions, and the world at large. They are providing what the people needs, they observe to whom they wanted to serve which vary from shapes and postures, they learn from what they are doing like in the Eames Chair they let the design flow from the learning(In the design of structure, it is often the connection which provides the key to the solution). I think that attitude, and also the attitude that the designer’s job was not to be clever, or creative, or original — it was not to be an “artist” and certainly not a genius. The job of the designer is to satisfy a problem. Best known for their beautiful and functional, yet inexpensive furniture(We wanted to make the best for the most for the least), most notably their signature molded plywood “Eames chair,” Charles and Ray’s influence on significant events and movements in post-World War II American life – from the development of modernism to the rise of the computer age – is less widely understood.
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