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VITRA HC Eames EN 72 home comple- ments home comple- ments Dès le premier instant où l’on pénètre dans In der ersten Sekunde, in der wir einen une pièce, nous sommes exposés à une Raum betreten, treffen wir auf viele grande variété de détails. Nous ne pouvons Details. Wir können nicht alle bewusst pas les apercevoir consciemment mais wahrnehmen, aber unbewusst spüren. nous remarquons leur présence. Ce mélange Verschiedene Farben, Formen und Objekte de couleurs, de formes et d’objets crée ergeben idealerweise eine Komposition, introduction une composition idéale qui nous invite à die uns auf geheimnisvolle Art einlädt, zu rester. Vitra Home Complements est une bleiben. Vitra Home Complements ist eine collection d’objets de design, d’accessoires Kollektion von Designobjekten, Acces- et de textiles qui réussit à créer une atmos- soires und Textilien, denen es gelingt, phère toute particulière. diese besondere Atmosphäre zu schaffen. Il est bien question d’espaces privés et non Es geht dabei nicht um uniforme Design- Within the first second of enter- standing of design. Inspired by de lieux de design uniformes. Alexander welten, sondern um private Wohnräume. ing a room, we are exposed to a different cultures, his colorful Girard était en même temps architecte, Alexander Girard zum Beispiel war Archi- designer et graphiste. Que ce soit pour la tekt, Designer und Grafiker in einer Person. variety of details. We can’t per­­- patterns and objects can be com- création d’espaces ou de textiles, Alexander Er gestaltete Räume und Textilien mit ceive all of them consciously, bined and arranged as you like. Girard utilisait toujours la même compré- einem einheitlichen Designverständnis. hension du design. Trouvant son inspi- Inspiriert von unterschiedlichen Kulturen but we feel them. Various colors, ration dans de multiples cultures, il créa entstanden farbenfrohe Muster und Ob- shapes and objects ideally add In addition to the classics of des graphismes et des objets hauts en cou- jekte, die Sie ganz nach Ihren Vor lieben leurs, ce qui donne la possibilité à chacun kombinieren können. up to a composition that entices Alexander Girard, George Nelson de les combiner suivant leur gout. us to stay for a longer period of and Charles & Ray Eames, you Neben Klassikern von Girard, Nelson und En plus des classiques créés par Alexander Eames finden Sie auch Entwürfe zeitge- time. Vitra Home Complements will also find inspiring objects Girard, George Nelson et Charles et Ray nössischer Designer. Alle verbindet das- is a collection of design objects, by contemporary designers. Eames, vous découvrirez également des selbe Ziel: Zeitloses Design, klare Formen objets et des accessoires de designers und originelle Muster. Vitra Home accessories and textiles that All have timeless design, clear contemporains. Ils ont tous en commun Complements präsentiert Ihnen Objekte, creates that special ambiance. shapes and original patterns le même objectif : le design intemporel, die Sie ein Leben lang begleiten und dabei la forme pure et des graphismes originaux. täglich Freude bereiten. in common. Vitra Home Vitra Home Complements vous propose This is about private living Complements presents objects des objets qui vous apporteront satisfac- tion et plaisir de longues années durant. spaces, not a uniform design made to accompany you for a world. Alexander Girard, for lifetime and to bring joy into example, was an architect, a your everyday life. designer and a graphic artist – all rolled into one. The spaces and textiles that he created came out of that unified under- 4 objects 5 1 objects p. 4–31 objects designed by Charles & Ray Eames Hella Jongerius Arik Levy Dorothee Becker George Nelson Ronan & Erwan Bouroullec Jasper Morrison Alexander Girard Charles & Ray Eames 1 Hang it all 1953 8 objects 9 1 3 2 Available in two diff erentAvailable sizes in two diff Available Colors: Available Colors: Hella Jongerius 1 Coat Dots 2014 Arik Levy Dorothee Becker 2 Toolbox 2010 3 Uten.Silo 1969 10 objects 11 1 2 3 vitra.com More models available on George Nelson George Nelson 2 Zoo Timers 1965 1 Wall Clocks 1948–1960 3 Desk Clocks 1947 / 53 12 objects 13 1 2 3 Available Colors: 2 Eames House Bird Ronan & Erwan Bouroullec Ronan & Erwan Bouroullec 1 Algues 2004 3 L’Oiseau 2011 14 objects 15 1 2 vitra.com More models available on Vitra Design Museum 1–2 Miniatures Collection 1820–2008 18 objects 19 1 2 3 Available Colors: Ronan & Erwan Bouroullec Jasper Morrison 1 Corniches 2012 2–3 Rotary Tray 2014 20 objects 21 1 3 2 4 Alexander Girard 1–4 Classic Trays 1952–1974 24 objects 25 3 1 2 Alexander Girard Alexander Girard 1–2 Coffee Mugs 1971 3 Paper Napkins 1953–1961 26 objects 27 2 1 3 Alexander Girard Alexander Girard 1 Greeting Cards 1965–197 1 2–3 Notebooks 1952 28 objects 29 1 2 Available Colors: 3 Hella Jongerius 2 Elephant Pad 2010 Alexander Girard Alexander Girard 1 Zip Pouches 1965 3 Matchboxes 1967–1972 30 objects 31 1 2 Alexander Girard Alexander Girard Wooden Dolls 1 Wooden Dolls 1953 2 Cat and Dog 1953 32 textiles 33 1 textiles p. 32–55 textiles designed by Charles & Ray Eames Alexander Girard Hella Jongerius Charles & Ray Eames 1 Eames Wool Blanket 1947 34 textiles 35 1 2 Alexander Girard Alexander Girard 1 Girard Wool Blankets 1961 / 1971 2 Environmental Enrichment Panels 1972 36 Portrait Alexander Girard 37 1 » Th e hope for good design lies in those designers who believe in what they do, and who will only do what they believe. « Alexander Girard 2 vitra.com More models available on Various Designers 1 Classic Pillows Maharam 1947–1973 Hella Jongerius 2 Pillows Maharam 2002 / 2013 38 Portrait Alexander Girard 39 Alexander 1 Girard Talented in many disciplines, Alexander Girard was a gi ed architect as well as rniture and textile designer, interior designer, graphic, exhibition and industrial designer. Across many mediums, Girard’s ideas built steadily upon themselves, creating a body of work that progressed like one long conversation on favorite topics. At first » Th e hope for good design lies in those designers who believe in what they do, and who will only do what they believe... Contrary to hearsay, it is possible to make a living that way. « glance, these topics include recognizable signatures like vibrant colors and a special play lness, but his deeper themes orbit around common-alities between cultures and succinct visual languages. Alexander Girard was born in 1907. He grew up in Florence, Italy, raised by an American mother and an Italian father. His father, Carlo Ma eo Girard, was an art collector and antiquarian, a talented maker of objects who passed his interests on to his children (all three artis- tically gi ed). In the Girard household there was great imagination as well as awareness of the past, clearly sparked by Carlo’s fi ne collect- ing but also by the ancient architecture and art in Florence, and by the ci itself, which like so many European cities is an amalgam of 1 The Girard family, 1952 old and new. As a young man, Alexander Girard acquired three archi- tecture degrees (in Italy, England and the U.S.). He was perhaps born an avid observer and eager traveler, and by the time he moved to the United States as a young architect (in the 1930s) Girard’s designs possessed a dialogue between past and present. is was an unusual style in America, where identity often hinged on a departure from 40 Portrait Alexander Girard 41 1 history. In these early days Girard gained many quick fans and a few detractors. His inventive interior designs were ll of master l hand- made pieces and unusual color play. He brought new depth to the American scene but his critics felt the work to be too ornate, haphaz- ardly color l. In not very long however, Girard’s admirers became the resounding majori and soon a er Girard became a design lead- er who was sought a er eagerly and perpetually. 2 Collaborations Alexander Girard found great joy in sharing ideas and work with others. Of Girard’s many prominently successful associates a few blossomed into lifelong friends, such as Georgia O’Keefe, Saul Steinberg and Alexander Calder. Talents including architect Eero Saarinen, designers George Nelson and Ray and Charles Eames also bonded quickly with Girard. ese colleagues teamed up continually. Saarin- en collaborated with Girard on the famous J. Irwin Miller House in Indiana (now a museum), the John Deere headquarters (where Girard assembled a vast collage of artifacts), and other remarkable projects. irard’s friendship with Charles Eames started in the 1940s Gwhen Girard was designing radios, and Eames (also working on radio designs) was impressed with his work. The Eames’ and Girard became very close, and the two families spent holidays and traveled together, conversed about design philosophies and innova- tions continually. From this closeness they came to partner on all manner of fi lms, presentations, catalogues, shows. eir friendship was perhaps personifi ed by Charles Eames photographing most of Girard’s interiors as a side project, when doubtlessly Eames could have been doing other things. Luckily for us, Girard and his friends 1 Alexander Girard, 1952 were remarkably driven and o en worked without boundaries. 2 Alexander Girard, Ray, and Charles Eames during installation of the Good Design exhibition, 1950 Environments If Girard was hired to create something small in scope like a church mural or a company logo, he knew that importance could be instilled 42 Portrait Alexander Girard 43 1 in it. He said, » In general I can say I have accepted jobs where a new proto pe may be developed. For my own satisfaction, I have taken jobs which allow me as much varie as possible.
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