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Transcript of Don Chadwick's Interview
THE HENRY FORD COLLECTING INNOVATION TODAY TRANSCRIPT OF A VIDEO ORAL HISTORY INTERVIEW WITH Donald Chadwick FEBRUARY 25, 2009 DON CHADWICK STUDIOS LOS ANGELES, CA ©The Henry Ford 2009 Interviewer: Barry Hurd PRODUCER: JUDITH E. ENDELMAN Donald Chadwick Interview Pg.2 BARRY HURD: 00:00:34;24 Okay, tell us where we are and what goes on here. DONALD CHADWICK: 00:00:39;05 Well, this is a relatively new space for me. It's going on four years. And we're in Brentwood, California, which is part of West L.A. And we're actually on some property that I purchased about seven years ago. And was able to develop the property. And finally own my own space. Prior to this, I had rented, like most designers I suppose, warehouse spaces to work in. And this enabled me to pretty much control everything, and not have to pay rent anymore. And make a little investment in real estate. So I'm quite proud of the place. And I really like it. And it's nice to be within walking distance of the house. I don't have to get in the car and drive anymore. So I'm a product of the times now. I try to keep the driving to a minimum, and the walking to a maximum BARRY HURD: 00:01:36;12 Does having your own space like this, help you be more creative? Does the muse appear more often here than at the old rented… Donald Chadwick Interview Pg.3 DONALD CHADWICK: 00:01:43;06 Well, you know, the process has changed over the years. -
Herman Miller Retailer Brand Guidelines
July 2010 HermanMiller Retailer Brand Guidelines Retailer Retailer Brand Guidelines page 1 © 2010 Herman Miller, Inc. July 2010 To navigate, click on the sections below— or the arrows at the bottom As an authorized HermanMiller retailer, you derive several benefits from our design heritage and brand recognition. It’s likely you already know this well because HermanMiller products are among the top-selling brands for many of our retailers. There are three key elements involved in building on the recognition of the HermanMiller brand: 1. The first element is how you associate your identity with your status as an authorized retailer. Examples on pages 3-4 illustrate how we want you to use the “Authorized HermanMiller® Retailer” phrase in relation to your identity. 2. The second element is the use of our logomark (stylized M in circle) and our logotype (the words HermanMiller). They should always be used in relation to one another. You’ll find more on this on pages 5-6. 3. The third element is the correct, clear, and consistent use of our trademarks. In Resources, on page 24, we provide a link to our current trademark list on hermanmiller.com. In the examples on pages 6-7, we indicate proper usage in ads that feature only HermanMiller products or several manufacturers’ products. On pages 7-8, we provide more information on trademarks in headlines and body copy. Retailer Brand Guidelines page 2 © 2010 Herman Miller, Inc. July 2010 2. Using the Authorized Retailer Phrase “Authorized HermanMiller® Retailer” phrase The first element involved in building on the recognition of the HermanMiller brand is how we want you to associate your identity with your status as an authorized retailer in all of your communications. -
Preservation by Design: Archives and Records Services at Herman Miller, Inc
Reprint: Business Archives Section Newsletter, 1998 Preservation by Design: Archives and Records Services at Herman Miller, Inc. By Robert W. Viol, Corporate Archivist, Herman Miller, Inc. Who is Herman Miller? Collections and Services departments. Space in the record Herman Miller Inc. is a leading Herman Miller’s corporate archival center has been designed to store multinational manufacturer of holdings have been described by requested documents and furniture, furniture systems and researchers as "awesome" - a accommodate lawyers from both furniture management services. testimonial to the corporate sides of the courtroom. Headquartered in Zeeland, officers, who have generously Michigan, Herman Miller has been provided monetary and moral Get Rid of that Backlog! It Costs a source of major innovation in the support, and to the dozens of men Us Money! residential and office and women, who have contributed Litigation research has environments. The company their effort, time and talent. The demonstrated the urgent need to emphasizes problem solving archives, now located in one of the eliminate the backlog of through design, participate company’s original buildings, uncataloged Herman Miller management, environmental documents the development of publications and non-Herman responsibility and employee stock Herman Miller product from its Miller materials containing third ownership. inception and creation to marketing party endorsements of our product. and distribution. Collections Every growing and viable archives Herman Miller, Inc. began in 1905 include publications, administrative will have a backlog of the as the Star Furniture Company, a records, photography, drawings unprocessed, however, when manufacturer of ornate and blueprints, oral histories, records or publications are reproductions of traditional-style audiovisuals, three dimensional requested as a result of a court home furniture. -
International Design Conference in Aspen Records, 1949-2006
http://oac.cdlib.org/findaid/ark:/13030/c8pg1t6j Online items available Finding aid for the International Design Conference in Aspen records, 1949-2006 Suzanne Noruschat, Natalie Snoyman and Emmabeth Nanol Finding aid for the International 2007.M.7 1 Design Conference in Aspen records, 1949-2006 ... Descriptive Summary Title: International Design Conference in Aspen records Date (inclusive): 1949-2006 Number: 2007.M.7 Creator/Collector: International Design Conference in Aspen Physical Description: 139 Linear Feet(276 boxes, 6 flat file folders. Computer media: 0.33 GB [1,619 files]) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Founded in 1951, the International Design Conference in Aspen (IDCA) emulated the Bauhaus philosophy by promoting a close collaboration between modern art, design, and commerce. For more than 50 years the conference served as a forum for designers to discuss and disseminate current developments in the related fields of graphic arts, industrial design, and architecture. The records of the IDCA include office files and correspondence, printed conference materials, photographs, posters, and audio and video recordings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English. Biographical/Historical Note The International Design Conference in Aspen (IDCA) was the brainchild of a Chicago businessman, Walter Paepcke, president of the Container Corporation of America. Having discovered through his work that modern design could make business more profitable, Paepcke set up the conference to promote interaction between artists, manufacturers, and businessmen. -
Finding Aid for Herman Miller Collection, 1923-2006
Finding Aid for HERMAN MILLER COLLECTION, 1923-2006 (BULK 1934-2000) Accession 89.177 Finding Aid Republished: June 2016 Benson Ford Research Center, The Henry Ford 20900 Oakwood Boulevard ∙ Dearborn, MI 48124-5029 USA [email protected] ∙ www.thehenryford.org Herman Miller Collection Accession 89.177 OVERVIEW REPOSITORY: Benson Ford Research Center The Henry Ford 20900 Oakwood Blvd Dearborn, MI 48124-5029 www.thehenryford.org [email protected] ACCESSION NUMBER: 89.177 CREATOR: Herman Miller, Inc. TITLE: Herman Miller Collection INCLUSIVE DATES: 1923-2006 BULK DATES: 1934-2000 QUANTITY: 31.8 cubic ft. (50 boxes) LANGUAGE: The materials are in English ABSTRACT: Herman Miller, Inc. is a furniture company based in Zeeland, Michigan. The collection is primarily comprised of trade catalogs, product literature, and publications documenting the furniture, its designers, and the company’s history. Page 2 of 17 Herman Miller Collection Accession 89.177 ADMINISTRATIVE INFORMATION ACCESS RESTRICTIONS: The collection is open for research. TECHNICAL RESTRICTIONS: Use of original video and audio tapes, floppy disks, and compact discs contained in the collection is restricted. Access may be unavailable due to lack of appropriate software and hardware, or use copies may need to be produced unless otherwise noted. Researchers interested in this material should contact Benson Ford Research Center staff ([email protected]). COPYRIGHT: Copyright has been transferred to the Henry Ford by the donor. Copyright for some items in the collection may still be held by their respective creator(s). ACQUISITION: Donation, 1989 and ongoing. RELATED MATERIAL: Related material held by The Henry Ford: - Robert Propst Collection, Accession 2010.83 - Bill Stumpf Collection, Accession 2009.141 - Don Chadwick Oral Interview, Accession 2009.119 - Herman Miller trade catalogs. -
Price Book: Caper Chairs
Y Price Book Prices effective June 7, 2021 Caper® Chairs Introduction page 2 Caper® Chairs 3 Multipurpose Chair 5 Multipurpose Stool 7 Stacking Stools 9 Stacking Chairs 11 Stacking Chair with Tablet Arm 15 Storage Baskets 17 Cart 19 Indices 21 By Name 21 By Number 23 Appendices 20-Day or Less/Assigned Lead-Time Order Information Casters and Glides Fire Retardancy-Seating Proprietary Textiles Application Chart-Seating Proprietary Textile Colors-Seating For the latest materials information, refer to the Materials pages on HermanMiller.com. Z Caper® Chairs Price Book (6/21) 1 Introduction A Note on the Organization of This Book General Information There are a few signals that will help you understand the organization This book is effective June 7, 2021, subject to change without of this book. Once you know them, you should be able to find your way notice. Products may be purchased from authorized Herman Miller deal- around easily. ers who will quote prices upon request. For more information about our products and services or to see a list of dealers, visit www. Like a newspaper, this book is formatted with columns of text HermanMiller.com. and illustrations that run vertically. All prices are list prices. Additional services, such as planning Information wraps from one column to the next and continues for as services, design, storage, and installation, are not included and must many pages as it needs to. be added to these prices when the additional services are requested. Illustrations, specifications, and prices are based on the latest Black bars are clues. information at the time of publication. -
Herman Miller SAYL Chair Line
Herman Miller presents SAYL a new family of seating by celebrated designer Yves Béhar. “It’s human nature to seek life unframed,” says Yves Béhar, designer of the new Herman Miller SAYL chair line. “People want to go beyond expectations. And they want that same unframed spirit in the objects they use and how they experience them.” That conviction guided him and the team at Herman Miller as they “grew” what became the family of SAYL chairs. Arriving at SAYL was a process of research and iteration. Béhar describes it as “draw, build, break, and repeat until you arrive at something unique” That process is familiar to Béhar, founder of fuseproject, a San Francisco-based brand and product design firm. Béhar, a regular collaborator with Herman Miller, is known for tackling big challenges and pushing the boundaries of technology and design in a cost efficient way. He calls this approach attainability and human-centered design. “If a project isn’t ethical,” notes Béhar, “it can't be beautiful, and if it isn't beautiful it shouldn't be at all.” Suspension Bridge as Inspiration Béhar began the search for SAYL with this question: Can the same principles that are used to suspend a bridge over water be applied to a chair? His goal was to enable an unprecedented sense of freedom for the sitter in a design that delivers the most comfort with the least materials. At the outset, a radical decision was made to approach the design process by considering what could be taken away from the design to allow it to do more. -
Guide to International Decorative Art Styles Displayed at Kirkland Museum
1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops. -
Yale SOM Case 14-020 Herman Miller
yale case 14-020 december 15, 2014 (rev. february 10, 2016) Herman Miller Preserving and Leveraging Culture in a Strategic Shift Charles Euchner1 “Inspiring designs to help people do great things” Herman Miller mission statement Approaching his tenth anniversary as CEO of Herman Miller (NASDAQ: MLHR), Brian Walker found himself in a pensive frame of mind, reflecting on what had been accomplished during his tenure and on the future challenges ahead. It was the end of 2014, two and a half years since Walker had announced a major strategic initiative that he called “Shift.” The strategy would take the furniture company far from its roots in rural West Michigan, expand its product line, and develop more direct connections to consumers. Walker knew he was steward to a storied company with a distinctive place in corporate history. Through its emphasis on design, Herman Miller had been in the vanguard of the modernist movement in furniture and had become a leader in providing cutting-edge office fixtures. The company also set audacious goals to protect the environment and established a major institute on facility management. Through it all, the company culture honored the evangelical Christian values of West Michigan—in particular, the Reformed Protestant tradition embraced by its first CEOs from the De Pree family—to create a human resource system that celebrated the whole worker. Still, the furniture industry was subject to the ups and downs of economic cycles. Herman Miller had been hit hard by the recession that began in 2008, requiring layoffs and cutbacks in training that challenged the firm’s values-based, covenantal culture. -
The Designers of Herman Miller
the designers of herman miller book design proposal It is clear through a careful examination of the Herman Miller The design of this book seeks to utilize the same philosophies Company’s history and body of work, the astute attention that and ideologies that the designers of Herman Miller ap- is paid to detail in everything that they design. The unique fo- proached their work with. To reflect the simplicity, modernism cus on both function and form is what initially set the Herman and attention to detail that they exhibit in their work in the de- Miller Company apart form other furniture manufacturers. Un- sign and handling of the book. The book should pay homage der the direction of George Nelson, brilliant designers— to the work and careers of the famous Herman Miller designers Charles and Ray Eames, Isamu Noguchi, Alexander Girard and and reflect their personalities and approach to the problem of others, were able to bring modernism to the forefront of the creating something both functional and visually appealing. design world while creating beautiful and lasting pieces of fur- The book will utilize ample white space and simple, consis- niture. As Nelson said in during his final project, “the aim of the tent layouts, letting the furniture and the rich history of the Her- design process is always to produce an object that does some- man Miller Company become the focus of the piece. The de- thing. In problem solving, the limitations are far more impor- sign should reflect the openness of the Herman Miller tant than the freedoms… The only creative freedom that is designers. -
DEAR SHAREHOLDER Our Business Reality Has
2003 HE DEAR SHAREHOLDER Our business reality has been—in a word—unreal. Over the past year, the economy— especially the business-to-business sector in which we operate—was suspended in a state of wait-and-see. Wars and rumors of terrorist threats kept many people and businesses awash in anxiety. When the present is characterized by chaos and confusion, and the future prospects are just too uncertain to predict, buying o÷ce furniture generally drops near the bottom of the priority list. But it is counterproductive to dwell on the things you can’t control—so we spent our time working on the things within our control. Our central aim was to better position the company for growth and profitability in the future. None of the work was easy. A great deal of it was joyless—telling good people that we no longer had enough work for them . eliminating programs . consolidating operations and facilities. We’re not thrilled about the kind of work we’ve had to do, but we are proud of how we’ve handled the situation. Although our sales fell $132 million last year, cash flow from operations was $145 million, an increase of more than $90 million from the prior year. On a percent-of-sales basis, our gross margin improved 1.7 percentage points, a testimony to our continuous improvement e≈orts and the Herman Miller Production System. Total R operating expenses, which include restructuring charges, declined by MAN M I L L E more than $144 million from the prior year. Through all of this, we were able to maintain our level of spending on research and development. -
Ergon 3 Work Chair Bill Stumpf, 1976, Updated 1988, 1995
Y INTRODUCTION Art & SciENCE OF SEATING CHAIRS MAtriX Z Work Chairs Designed for YouTM hermanmiller.com/seating Y INTRODUCTION Art & SciENCE OF SEATING CHAIRS MAtriX How do you sit? That’s a question you’re unlikely to ask; it’s one we never stop asking. We’ve been studying how people sit for more than 60 years. We turn that research-based knowledge into the best work chairs in the world. hermanmiller.com/seating Y INTRODUCTION Art & SciENCE OF SEATING CHAIRS MAtriX Advancing the Art and Science of Seating The search for the next advance, while incorporating innovations that have come before, has marked the Herman Miller problem-solving, person-centered approach to chair design for over 60 years. hermanmiller.com/seating Y INTRODUCTION Art & SciENCE OF SEATING CHAIRS MAtriX Advancing the Art and Science of Seating Eames Molded Plywood Chair Charles and Ray Eames, 1946 Charles and Ray Eames began experimenting with molding plywood in 1941 as part of their search for new ways to create three-dimensional forms. By inventing a new method for molding plywood, they found a creative use for a common material that allowed them to shape a chair to the contours of the body. It also set a precedent for always putting the person at the center of the design process. hermanmiller.com/seating Y INTRODUCTION Art & SciENCE OF SEATING CHAIRS MAtriX Advancing the Art and Science of Seating Ergon 3 Work Chair Bill Stumpf, 1976, updated 1988, 1995 In 1965, designer Bill Stumpf began researching how people sit at work. Increasing use of office equipment by the growing number of white collar workers fostered a tendency to sit longer, which caused back and neck pain.