Eames Style Lounge Chair Replica Canada
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Before & After: Plycraft Mr. Chair
While the majority of our Eames-era chairs are authentic Eames Lounge Chairs, there are some replica chairs that have become iconic in their own right. The Plycraft Mr. Chair is one of the them. If you are a die-hard Eames fan, this wont cut it for you! But if you are looking for a comfortable chair, with mid-century lines, beautiful molded wood and a leather seat & back, you wont be disappointed!
When it arrived, this particular chair was still in good general shape, however the wood was terribly faded and the leather worn. Besides bringing the wood back to its original gorgeous tone, the owner wanted to give it a new look, which white leather upholstery achieved – Voila
Favourite Furniture Fridays: Eames Lounge Chair
To kick off my very first Favourite Furniture Fridays I wanted to pick a piece that reshaped the history of the furniture world. I had to pick the classic Eames Lounge 670 and Ottoman 671. I recently saw the handcrafted process of making this lounge chair on HGTVs Design DNA and learnt that the construction has not changed much since it first hit the market in 1956. This iconic beauty was designed for the Herman Miller furniture company by Charles and Ray Eames (a married couple) who were inspired by a baseball glove.
The design took years of planning, trial and error. In the end, the final design was a keeper, and has not been messed with for over 60 years! The only major changes are switching from rosewood veneer to a more environmentally friendly plywood, and from five layers of wood fused together to seven. In fact, it is part of New Yorks Museum of Modern Art (MoMA) PERMANANTLY, making it not only an ingenious piece of design, but a work of art in itself. What an honour! Just looking at it you can see why.
Its molded plywood shell is what makes it truly beautiful, and keeps each chair unique. The cushions are made to maximize comfort, and rubber shock mounts allow the chair to flex slightly for a discrete rocking motion. It also swivels 360 degrees. The leather is cinched for a worn look. The classic black leather is a popular choice (and my personal favourite), but Herman Miller now offers the Eames Lounge in a variety of colours and finishes. It makes my favourite list because I love its masculine, industrial and yet comfortable look and feel. It is an iconic piece instantly recognizable in any space.
The Eames original had the ottoman cushion loosely fitted and matched so that it could be swapped with the seat cushion of the chair. It was a practical design solution to ordinary wear and tear. Here, in the replica, it seems that the bases of the chair and the ottoman have been matched for mass production purposes. If one looks at the original Herman Miller chair, one notices that the bases are more solid in appearance, and that the chair has five supports, while the ottoman has four. The Aldi replica shows what looks like identical stands for each item – for simple economy?
The original Eames chair and ottoman
The scale of the ottomans base is finer than that of the larger lounge chair
“So what?” might the man-in-the-street say.
“It makes no difference to me, not at this price!
This raises the other side of the problem:
a certain carelessness with subtlety, the she will be right attitude, only because the price is right – cheap. “Why should I pay for something that makes no difference?” “What change does a variation in detail make?”
might be the thought.
Do these mind-sets become ingrained in
expectations and attitudes that reach
far and wide into, perhaps: how the city might be developed; into what a home can be; into what my car and clothes might be; into what one reads; into what one eats? Is everything that touches ones life changed by this thinking and feeling that cares nothing for anything but price – the knowing the price of everything, but the value of nothing, as Oscar Wilde said? If it is so, then we have a real problem: a lack of commitment to any ideal beyond the minimization of dollar amounts – quantity. Quality and its nuances become irrelevant. René Guénon named this era in one of his books: The Reign of Quantity.
One never wants to pay unnecessarily high, gouged prices for anything;
but value can be expensive as care, attention,
love, concentration, commitment and effort go
into the conception and making of an object,
its completion as a thing of beauty, even if ordinary. What happens to a civilisation when matters such as these are seen as just a waste of money?
Has the age where mechanization has taken
command, as Sigfried Giedion titled one of his early
publications, modified us so completely?
