Preservation by Design: Archives and Records Services at Herman Miller, Inc
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Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017
Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017 The Vitra Accessories Collection encompasses the growing portfolio of design objects, accessories and textiles produced by the Swiss furniture company. The collection is based on classic patterns and objects conceived by designers such as Alexander Girard, Charles and Ray Eames and George Nelson. In addition to these classics, it also includes pieces by contemporary designers like Ronan and Erwan Bouroullec, Jasper Morrison, Hella Jongerius and Michel Charlot. Authenticity, joy and playfulness are hallmarks of the Vitra Accessories Collection. For the autumn / winter collection of 2017 Vitra will expand its accessories portfolio with design objects by Charles and Ray Eames, Alexander Girard and George Nelson. Charles & Ray Eames Charles and Ray Eames are among the most influential designers of the twentieth century. Working with tireless enthusiasm, the pair explored the fields of photography, film, architecture, exhibitions, and furniture and product design, making landmark contributions in each domain. Plywood Elephant & Eames Elephant (small), 1945 In the 1940s, Charles and Ray Eames spent several years developing and refining a technique for the three-dimensional moulding of plywood, creating a series of furniture items and sculptures in the process. Among these initial designs, the two-part elephant proved to be the most technically challenging due to its tight compound curves, and the piece never went into serial production. A prototype was given to Charles's 14-year-old daughter Lucia Eames and later borrowed for the exhibition at the Museum of Modern Art in New York in 1946. It still survives in the Eames family archives today. -
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. -
After Seven Decades Strong, Good Design Continues Its Iconic History Awarding the Best and Most Recognized Design Products Worldwide
MORE INFORMATION Jennifer Nyholm Chicago, Illinois USA [email protected] EUROPE CONTACTS: Fachanan Conlon Dublin, Ireland [email protected] AFTER SEVEN DECADES STRONG, GOOD DESIGN CONTINUES ITS ICONIC HISTORY AWARDING THE BEST AND MOST RECOGNIZED DESIGN PRODUCTS WORLDWIDE The Modern Design Revolution Persists in a Steady Loud and Showy Innovative Pace as It Did at the Offset of the 1950s. CHICAGO, ILLINOIS (MAY 25, 2020) — Seventy years ago, a group of die-hard advocates for modern design banded together to brand a novel marketing campaign to showcase and trumpet new American home furnishings, household items, and industrial objects with a revolutionary passion and zeal. Good Design® was founded in Chicago in 1950 by architects Charles and Ray Eames, Eero Saarinen, and Edgar Kaufmann, Jr., director of the Industrial Design Department, Museum of Modern Art (MoMA) and professor of Architecture and Art History at Columbia University with the first installation of Good Design at The Merchandise Mart in Chicago. The first Good Design exhibition was sponsored by The Merchandise Mart and The Museum of Modern Art, together with the Society of Industrial Designers, the American Institute of Decorators, the Home Furnishing Industry Committee, Neiman-Marcus, Lord & Taylor, The Art Institute of Chicago, and the American Institute of Architects. The Good Design exhibition opened at The Merchandise Mart on January 16, 1950 with the installation designed by Charles and Ray Eames. A reduced version of the exhibition, assembled by Eames, opened at MoMA in New York on November 21, 1950. This was the first time that a wholesale merchandising center and an art museum joined forces to present “the best new examples in modern design in home furnishings.” The program called for three shows a year: one during the Chicago winter furniture market in January, another coinciding with the June summer market in Chicago, and a November show in New York based on the previous two exhibitions. -
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. -
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. -
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. -
Eames House Case Study #8 : a Precedent Study Lauren Martin Table of Contents
EAMES HOUSE CASE STUDY #8 : A PRECEDENT STUDY LAUREN MARTIN TABLE OF CONTENTS 1. TITLE PAGE 2. TABLE OF CONTENTS 3. WHO? 4. WHERE & WHY? 5. DESIGN 6. PROPERTY DETAILS & SPECS 7.PLANS & SECTIONS 8. ELEVATIONS 9. PROGRAM 10. EXPERIENCE 11. SUSTAINABILITY 12. BIBLOGRAPHY WHO? C “EVENUTALLY, EVERYTHING CONNECTS” The Eameses are best known for their H -CHARLES EAMES groundbreaking contributions to architecture, furniture design, industrial A design and manufacturing, and the photographic arts. R “THE ARCHITECT & THE PAINTER” L Charles Eames was born in 1907, in St. Louis Missouri. He attended school there, developing an interest in engineering and architecture. By 1930 he E had opened his own architectural office. Later, he became the head of the design department at Cranbrook Academy. Ray Eames was born in 1912 in Sacramento, California. She studied painting with Hans Hofmann in New York before moving on to Cranbrook Academy where she met and assisted S Charles and Eero Saarinen in preparing designs for the MOMA’s Organic Furniture Competition. Married in 1941, they continued furniture design and later architectural design. & R A Y WHERE? WHY? In 1949, Charles and Ray designed and built their own home in Pacific Palisades, California, as part of the Case Study House Program sponsored by Arts & Architecture magazine. Located in the Pacific Palisades area Their design and innovative use of materials made the house a mecca for architects and designers from both near and far. Today, it is of Los Angeles, California. The Eames considered one of the most important post-war residences anywhere in House is composed of a residence and the world. -
Authentic Eames® Moulded Plastic Chairs from Herman Miller Now in a New, More Sustainable Fibreglass
Authentic Eames® Moulded Plastic Chairs from Herman Miller now in a new, more sustainable fibreglass. Herman Miller also announces a proprietary take Perhaps more than any design, the Shell Chair represents the back program in support of fibreglass recycling. Eames’ disinterest in superficial aesthetics and their agnostic approach to material. What mattered most to them was the integrity of the form, function and context. The chair, in The Eames Shell Chair, created by Charles and Ray Eames for fibreglass, was introduced by Herman Miller in 1950 – its now Herman Miller, is perhaps the epitome of the celebrated couple’s familiar form already a result of several refinements – as the design process—a philosophy characterised by a journey of first mass-produced plastic chair. The iconic design continued exploration, evolution, insight and delight. True to this spirit, the to evolve through the years with new colors, height options, Herman Miller Collection, in collaboration with the Eames Office, base variations, and the application of upholstery. But by the continues to push the boundaries of the Shell Chair form, first late 1980s the environmental risk associated with fibreglass introducing a moulded wood version and now with an advanced, production was recognised, leading Ray and Herman Miller to sustainable fibreglass chemistry and production process. The discontinue its production until a more suitable material could be result is the Eames Moulded Fibreglass Chairs, available through found. In 2000, Herman Miller reintroduced the Moulded Plastic authorised Herman Miller dealers. Chair in polypropylene. This durable, 100% recyclable material proved popular, with a softer profile and subtle matte texture. -
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.