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Similar products to: Müller Möbelwerkstätten - Miniature Pile Bed

  • George Nelson Vitra Miniatures Collection: Nelson Coconut Chair
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    George Nelson Vitra Miniatures Collection: Nelson Coconut Chair
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. George Nelson once said: "Total design is nothing more or less than a process of relating everything to everything." So it makes perfect sense that, in 1955, Nelson related a lounge chair to a coconut. Intended to combine comfort with freedom of movement, the shape of the Coconut Chair's white molded shell was inspired by the shape of Eero Saarinen's Kresge Auditorium at MIT. Echoing both the auditorium's triangular shape, as well as a portion of coconut shell, the Chair's unique form invites a number of different seating positions. The shell sits upon a chromed-steel base with three thin legs. A single-piece foam cushion, upholstered in high-quality semi-aniline leather, is molded into the shell. One has the impression that the frame spans the floating, swinging form taut and fixes it to the floor. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Le Corbusier, Pierre Jeanneret and Charlotte Perriand Vitra Miniatures Collection: LC7 Swivel Stool
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    Le Corbusier, Pierre Jeanneret and Charlotte Perriand Vitra Miniatures Collection: LC7 Swivel Stool
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. The LC7 Swivel Chair (1928) evolved from one of a number of experiments, including an attempt to fashion a chair by wrapping inner tubes from tires around a steel frame and debuted at Salon d'Automne in 1929. As the Le Corbusier group refined such trials, a sensuous solution took form. A round, thickly padded seat rests on top of a curving claw-like base of tubular steel that resolves in a swivel mechanism, giving the seat pad a buoyant look. A curved, amply padded barrel, doubling as backrest and chair arms, links three tubular steels supports that fuse at the seat base. The result has become one of modernism's most familiar icons. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Hans J. Wegner Vitra Miniatures Collection: Shell Chair
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    Hans J. Wegner Vitra Miniatures Collection: Shell Chair
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. Danish designer Hans J. Wegner preferred to work in solid wood, but occasionally he explored the use of bent plywood. Sometimes called the "smiling chair," his Shell Chair (1963) achieves a floating lightness due to its wing-like seat and the arching curves of its tapered legs. Wegner's belief that a chair "should be beautiful from all sides and angles" is especially evident with his Shell Chair. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Charles and Ray Eames Vitra Miniatures Collection: Eames Stool C
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    Charles and Ray Eames Vitra Miniatures Collection: Eames Stool C
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. Inspired by an African stool that stood in the living room of the Eames House, the lathe-turned Eames Stools (1960), which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Charles and Ray Eames Vitra Miniatures Collection: Eames Stool B
    dwr.com
    Charles and Ray Eames Vitra Miniatures Collection: Eames Stool B
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. Inspired by an African stool that stood in the living room of the Eames House, the lathe-turned Eames Stools (1960), which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Charles and Ray Eames Vitra Miniatures Collection: Eames Stool A
    dwr.com
    Charles and Ray Eames Vitra Miniatures Collection: Eames Stool A
    Each handmade Vitra miniature is a classic in the history of furniture design reduced in size at a scale of 1:6. True to the original pieces in structure and, the miniatures are precision-crafted, making them a thoughtful gift for a furniture lover or design professional. Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut. Inspired by an African stool that stood in the living room of the Eames House, the lathe-turned Eames Stools (1960), which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. Each Vitra miniature comes handsomely packaged in a wood box with an informational booklet.
  • Vitra - Miniature W1 Chair
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    Vitra - Miniature W1 Chair
    Dutch designer Mart Stam produced the first prototypes for a cantilevered chair in 1926, using sawed-off gas pipes which he linked with elbow butting. The base frame, legs, seat and back-rest were created by a continuous loop bent at right angles. In 1927 Stam had his design produced by the L. & C. Arnold company, which also featured it in their sales program for a year. Unlike the prototype, the Arnold chair was made from a single piece of tubular steel with a diameter of just 20 mm, and with walls 2 mm thick. The bends in the tube had to be reinforced with solid iron rods, and thus lacked any springiness. The chair was painted black or grey, and, with its covering of rubber or coarse fabric, had a rather unassuming appearance. The original of the W1 Chair has been designed by Mart Stam in 1926 and it is manufactured as 1:1 model by the brothers Thonet company in Frankenberg, Germany since 1932. The miniature by Vitra (scale 1:6) offered in our shop, consists of lacquered steel tube and fabrics.
  • Vitra - Miniature Aarnio Ball Chair
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    Vitra - Miniature Aarnio Ball Chair
    With its simple, striking shape and its bright colors Eero Aarnio's Ball Chair is a typical symbol of the optimistic, consumer-oriented popular culture of the 1960s. Equally apparent is an unconcealed enthusiasm for the technical which also typifies the era: Its exposed plastic which allowed even complex shapes to be produced in series relatively easily, at the time something completely new, and its dynamic shape, reminiscent of a space capsule. The idea of this kind of mobile capsule allowing people to sit where they want within the house also anticipates the kind of living concepts discussed in the 1970s for a young, liberal society. On the outside, this gleaming, polished sphere seems cold and futuristic, but its inside reveals a space where users can feel cozy and protected. From the inside outside noise is considerably muffled, allowing users to relax in any number of positions, for example, to sit cross-legged. Mounted on a round metal base just above ground level, the sphere can be completely rotated on its own axis, so that users can vary their view from the »cave«. Ball Chair thus represents a special category of household objects. It is something between a piece of furniture and a piece of architecture and at the same time embodies both the mobile and the established, the fixed. The original of the Aarnio Ball Chair was designed by Eero Aarnio in 1965 and it is produced as 1:1 model by Adelta, Dinslaken/Germany since 1990. The here offered miniature by Vitra (scale 1:6) consists of fiberglass, aluminium and fabrics.
  • Vitra - Miniature Thonet Chair No. 14
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    Vitra - Miniature Thonet Chair No. 14
    The ”fourteen” is one of the most successful products of industrial serial-production of the world. It was the standard model out of the bentwood collection by Thonet and is considered as the typical Vienna coffee shop chair. More than 50 million specimens were already sold in 1930. The “fourteen” is kind of still in production, but in a slightly modified form. Michael Thonet developed the bentwood technique in which massive wood is bent inside of iron molds, becoming three dimensional with steam, meaning large designing liberty regarding the shape of wooden objects. For the 2nd half of the 18th century, Thonet’s new shipping system was also revolutionary: The single parts of the chairs were packed extremely space saving, sent to the place they were ordered from, and screwed together at just that place. The Thonet brothers were connected by industrial production and economic thinking in an independent aesthetic, decisively embossing the topic “industrial design”. The original of the chair No. 14 Was designed by Muchael Thonet in 1859/1860 and it is produced as 1:1 model by the Gebr. Thonet, Vienna/ Gebr. Thonet, Frankenberg/ Thonet Industries Inc. Since 1865. The here offered miniature by Vitra (scale 1:6) consists of dyed and lacquered beech wood.
  • Vitra - Miniature Tom Vac Chair
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    Vitra - Miniature Tom Vac Chair
    The Tom Vac Chair was first realized as one element in a sculpture consisting of 70 stacking chairs named »Totem«. Commissioned by the magazine Domus, it was set up in the centre of Milan during the Salone del Mobile in 1997. The seat shell with the characteristic wave profile is based on earlier versions Ron Arad sketched for the dining room of a house in Tel Aviv. The first small series for »Totem« was created in just four months. Though it is a complicated metal to manufacture, vacuum-formed aluminium proved to be a suitable material. In collaboration with furniture maker Vitra, for whom he had already produced the Well Tempered Chair back in 1986, Ron Arad developed, within a very short time, a version of the Tom Vac Chair suitable for mass production. Seen within the context of Arad’s complete work, which is largely characterized by »one offs«, the chair is something of an innovation by virtue of its industrial and by extension inexpensive production. While the design of the Tom Vac Chair only deviates minimally from the first plan, the flexible seat shell of polypropylene offers a high degree of comfort. The original of the Tom Vac Chair was designed by Ron Arad in 1999 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland, since 1999. The here offered miniature by Vitra (scale 1:6) consists of synthetics and chromed iron-wire.
  • Vitra - Miniature La Chaise
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    Vitra - Miniature La Chaise
    »La Chaise« was created as an entry for the »Low-Cost Furniture Design« competition held by the Museum of Modern Art in New York. »La Chaise« consists of two paper-thin fiberglass shells glued to each other but separated by hard rubber discs; the intervening space was filled with polystyrene foam. Charles and Ray Eames left the plastic shell un-treated. The base is made of five in part angled metal rods inserted into a cross-shaped wooden structure. The space left open between back and seat is not technically necessary, but instead purely a design element. The intention was to emphasize the chair’s light weight visually by perforating the otherwise large volume of the shell. The original of the La Chaise was designed by Charles and Ray Eames in 1948 and it is produced as 1:1 model by the Vitra International AG, Basel/Switzerland since 1991. The here offered miniature by Vitra (scale 1:6) consists of fiberglass, an iron rod and lacquered wood.
  • Vitra - Miniature Saarinen Tulip Chair
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    Vitra - Miniature Saarinen Tulip Chair
    The Tulip Chair is one of a series of chairs, stools, and tables developed by Eero Saarinen within a five-year period. The characteristic feature of the series is that the supporting structure has been pared to a central supporting stem »like a wineglass« in order to emphasise the uniformity of table and chair. Eero Saarinen describes the Tulip Chair: »The bases of tables and chairs in a typical furniture arrangement create an ugly, confusing, and restless world. I wanted to design a chair as an integrated whole once again. All important furniture of the past always had a holistic structure, from King Tut’s chair to that of Thomas Chippendale. Today, we are parting ways with this holism with our predilection for plastic and laminated wood shells. I am looking forward to the point when the plastics industry will be capable of manufacturing the chair using just one material, the way I have designed it.« The original of the Saarinen Tulip Chair was designed by Eero Saarinen in 1956 and it is produced as 1:1 model by the Knoll Associates Inc., New York/USA since 1956. The here offered miniature by Vitra (scale 1:6) consists of lacquered polyurethane, aluminium and fabrics.
  • Vitra - Miniature B3 Wassily
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    Vitra - Miniature B3 Wassily
    Marcel Breuer was one of the most important designers of the early modern age. His biography is closely linked to the history of the Bauhaus, founded by Walter Gropius in 1919. The club chair B3, known today as »Wassily« was also created in connection with this renowned institution. Lt is the first piece of seating furniture in the history of design to be made from seamless, precision-drawn tubular steel. Lts transparency and visible structure are expressions of the stringent aesthetic approach that prevailed in architecture and design following World War I. Marcel Breuer replaced the massive upholstered corpus of the traditional club chair with a skeleton-like construction made out of bent steel tubing, thereby overcoming the physical weightiness of conventional seating. He exploited the elasticity of the material, complementing it with tautly stretched fabric strips of reinforced canvas for the seat and back. The B3 did not acquire the name »Wassily« until the beginning of the sixties, when the Italian furniture producer Dino Gavina purchased the manufacturing rights: Marcel Breuer had designed the armchair for the house of the painter Wassily Kandinsky, who taught at the Bauhaus from 1922 until 1933. The original of the Wassily B3 was designed by Marcel Breuer in 1925 and it is produced as 1:1 model by The Knoll Group, New York/USA since 1968. The here offered miniature by Vitra (scale 1:6) consists of nickel plated steel tube and black leather.
  • Vitra - Miniature Butterfly Stool
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    Vitra - Miniature Butterfly Stool
    As a student in the 1940s Sori Yanagi accompanied Charlotte Perriand on her trips through Japan, thus becoming familiar with the classical Moderns. It is possible that this is what aroused Yanagi's interest in seating, something which does not exist in Japanese culture. Even today a large number of Japanese households manage without any kind of seats, even in the cities, since it is traditional to sit on the floor on tatami mats. In view of the above Yanagi's Butterfly stool can be described as unusual on a number of counts. The designer adopts a familiar Western shape and combines it with a technique employed by Charles and Ray Eames which involves using bent plywood for industrial manufacture. The stool is unusually cleverly constructed, with two identical shapes connected axisymmetrically by means of two screws underneath the seat and a screwed on brass rod. This creates a shape reminiscent in some ways of the torii (gates) to Shinto shrines, which gives the stool an oriental look. At the same time it calls to mind the wings of a butterfly, hence its name. The stool was awarded the gold medal at the 1957 Milan triennial. The original of the Butterfly Chair was designed by Sori Yanagi in 1954 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland. The here offered miniature by Vitra (scale 1:6) consists of bent plywood and brass.
  • Vitra - Miniature Eames LCM Chair
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    Vitra - Miniature Eames LCM Chair
    Charles Eames and Eero Saarinen designed a chair in 1940 with a new type of three-dimensional pre-shaped plywood seat for a competition held by the New York Museum of Modern Art. The chair did not go into production owing to a lack of technical know-how. It was very rare back then for plywood to be successfully pressed into a three-dimensional shape. In the years that followed, Charles and Ray Eames concentrated on developing a process that enabled plywood to be shaped as they wanted. The »Plywood Chairs« DCW (Dining Chair Wood), LCW (Lounge Chair Wood) and the versions with metal legs, namely DCM (Dining Chair Metal) and LCM were the result of these years of experimentation. In 1945 Charles and Ray Eames again took up the idea of a seat made of formed plywood without, however, coming up with satisfactory solutions. As a consequence, they rejected the idea of a multifunctional seat and decided to treat seat and back as separate, freely articulated elements that were linked with each other via a backbone – the frame. Each component is therefore reduced to a clearly defined function which it fulfills with a minimum of materials being used. The rubber »shock mounts« glued onto the wood enable the seat and back to be connected to the frame. The original of the Eames LCM Chair was designed by Charles and Ray Eames in 1945 and it is produced as 1:1 model by the Herman Miller Furniture Company, Zeeland/Michigan/USA as well as the Vitra International AG, Basel/Switzerland since 1957. The here offered miniature by Vitra (scale 1:6) consists of black plywood and nickel plated steel tube.
  • Vitra - Miniature Marshmallow Sofa
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    Vitra - Miniature Marshmallow Sofa
    George Nelson is one of the most influential personalities in U.S. Design after 1945. As of 1946 he was for many years head of the Design Department at the Herman Miller company, on whose behalf he engaged designers hardly known at the time, such as Charles Eames , Isamu Noguchi, and Alexander Girard. And he was also inspired by other areas of culture: Along with his work as an architect, he concerned himself with ongoing sociological and artistic themes. Nelson’s ”Marshmallow”-sofa must be considered one of the earliest "Pop Art" furniture designs: The transformation of a traditional sofa into a threedimensional structure made of soft, colored cushioning. The seat and back are supported by a steel construction and the unit has the shape of an axially symmetrical folded-out waffle. The original of the Marshmallow Sofa was designed by George Nelson in 1956 and it is produced as 1:1 model by the Herman Miller Furniture Company, Zeeland/Michigan/USA and the Vitra International AG, Basel/Switzerland since 1956. The here offered miniature by Vitra (scale 1:6) consists of lacquered steel tube, aluminium and leather cushions.
  • Vitra - Miniature Coconut Chair
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    Vitra - Miniature Coconut Chair
    In contrast to the trend of adapting sitting furniture to the requirements of the human body, George Nelson designs sitting objects from the formal repertoire of spontaneous, popular everyday culture. The shapes he used were strongly stimulated by the art of the 1950s. His symbolic statements promoted a new, very casual form of sitting. Nelson’s Coconut Chair was inspired by the coconut shell. The seat consists of a glass-fibre reinforced plastic shell with upholstery. The three-legged base of tubular steel is stabilized using fine crossbars. One has the impression that the frame spans the floating, swinging form taut and fixes it to the floor. The original of the Coconut Chair was designed by George Nelson in 1955 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland since 1988. The here offered miniature by Vitra (scale 1:6) consists of polished aluminium, steel sheet, foam and leather.
  • Vitra - Miniature Well Tempered Chair
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    Vitra - Miniature Well Tempered Chair
    Ron Arad is one of the liveliest and most productive figures in contemporary designs. He contrasts polished, stylish commercial design with highly poetic objects with an archaic feel to them. In the framework of the »Vitra Edition« he created the »Well Tempered Chair«. Its form is not the product of artificially shaping the sheet steel but is instead generated by screwing the tensile sheets into arches. Given its flexibility, the spring steel always bounces back into its original shape. The armchair is therefore not just a brilliant formal idea but also conveys a completely new feel for sitting. The original of the Well Tempered Chair was designed by Ron Arad in 1986 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland, since 1986-1987. The here offered miniature by Vitra (scale 1:6) consists of spring-steel.
  • Vitra - Miniature Big Easy Chair
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    Vitra - Miniature Big Easy Chair
    In 1988 and 1989, Arad’s London »One Off« work shop created an entire series of »Big Easy« armchairs using bent sheet steel welded at the edges. The »Big Easys« were brought out as individual items or small limited series; they all had a striking basic form and inflated arms reminiscent of comics – but they differed in terms of the welding and color. In the course of time, the initially oarse, roughly welded »Big Easys« went through changes, first becoming colorful lacquered chairs with smooth surfaces and then elegant versions made of polished stainless steel. Although Ron Arad’s furniture are variants on everyday things, they seem strange and irritate the eye – not only owing to the choice of material. Formally and functionally speaking, they undermine customary assumptions. You feel you have to first learn how to use them. A »Big Easy’s« voluminous steel body of the »Big Easy« resembles a traditional upholstered club armchair but can hardly be associated with a sense of comfortable interiors. Ron Arad considered it an art object that could likewise be functional, but was not intended to be particularly practical. The original of the Big Easy Chair was designed by Ron Arad in 1988 and it is produced as 1:1 model by Vitra AG, Basel/Switzerland, since 1998. The here offered miniature by Vitra (scale 1:6) consists of blackened stainless steel sheet metal.
  • Vitra - Miniature Eames DKR Wire Chair
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    Vitra - Miniature Eames DKR Wire Chair
    Charles and Ray Eames developed this model in connection with the »Low Cost Furniture« competition held by the Museum of Modern Art in New York and for the Herman Miller company, who produced various versions of the chair between 1951 and 1967. As with their plastic chairs, the seats and backs are again modeled on the human body. In the case of DKR, however, the result is a comfortable organic form even though such a hard and cold material as steel wire is used. Manufactured on an industrial scale, it proved possible to sell the chair successfully at a relatively low price. In 1952, the design won the Trail Blazer Award given by the Home Fashions League in the United States. The original of the Eames DKR Wire Chair was designed by Charles and Ray Eames in 1950 and it is produced as 1:1 model by the Vitra International AG, Basel/Switzerland since 1991. The here offered miniature by Vitra (scale 1:6) consists of chromed iron-wire and an “Eifel-Tower” base.
  • Vitra - Miniature Prouvé Standard chair
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    Vitra - Miniature Prouvé Standard chair
    Designed in 1934 the Standard Chair is one of the quiet classics of history of design. Prompted by the furniture competition for the Cité Universitaire of Nancy, Prouvé worked on designs combining metal and wood during the early thirties. He utilised the strength of steel for the base of Standard Chair. The back and the seat however, which come in direct contact with the sitter’s body, are formed out of plywood. The quality of this chair is revealed in its structure and unassuming aesthetics. The original of the Prouvé Standard chair was designed by Jean Prouvé in 1930 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland since 2001. The here offered miniature by Vitra (scale 1:6) consists of strip steel, leather belts and leather cushions.
  • Vitra - Miniature Eames Stool, Model A
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    Vitra - Miniature Eames Stool, Model A
    Charles and Ray Eames received a commission to design the interiors of three lobbies in the new Time & Life Building at Rockefeller Center in New York City. In addition to outfitting these spaces, this major project encompassed the development of the comfortably upholstered Lobby Chairs and a group of stools made out of solid walnut.The lathe-turned stools, which were also conceived by Ray to be used as small occasional tables, have distinctive individual profiles. The sculptural and decorative character of the stools makes the most striking impression when they are grouped together. These pieces were inspired by an African stool that stood in the living room of the Eames House, as shown in a photographic series by Monique Jacot from the year 1959. The original of the Eames Stool, Model A was designed by Charles and Ray Eames in 1960 and it is produced as 1:1 model by Herman Miller, Zeeland/Michigan/USA since 1960. The here offered miniature by Vitra (scale 1:6) consists of walnut.
  • Vitra - Miniature Eames DCW Chair
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    Vitra - Miniature Eames DCW Chair
    In 1940, Charles Eames and Eero Saarinen developed a chair with a novel plywood seat moulded into a three-dimensional form for a competition sponsored by the New York Museum of Modern Art. However, it was not possible to produce the chair commercially, due to inadequate technical methods. It was seldom possible to press the plywood into a three-dimensional form without it breaking or splitting. During the following years, Charles and Ray Eames concentrated their efforts on developing a new method. The plywood chairs DCW (Dining Chair Wood) and LCW (Lounge Chair Wood) are the result of this long-term experimentation. In 1945, Charles and Ray Eames returned to the idea of a seating shell made out of moulded plywood; however the results were unsatisfying. They dispensed with the multifunctional shell and divided the seat and back into separate, freely articulated elements connected by a spine (frame). Each element has a clearly defined function, which it fulfils optimally with a minimum amount of material. »Shock mounts« – rubber disks bonded onto the wooden surface – connect the seat and back with the frame, which exists in wood or metal and in two different heights, either as a dining chair or lounge chair. The original of the Eames DCW Chair was designed by Charles and Ray Eames in 1945 and it is produced as 1:1 model by the Herman Miller Furniture Company, Zeeland/Michigan/USA. The here offered miniature by Vitra (scale 1:6) consists of natural plywood.
  • Vitra - Miniature Eames LCW Chair
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    Vitra - Miniature Eames LCW Chair
    In 1940, Charles Eames and Eero Saarinen developed a chair with a novel plywood seat moulded into a three-dimensional form for a competition sponsored by the New York Museum of Modern Art. However, it was not possible to produce the chair commercially, due to inadequate technical methods. It was seldom possible to press the plywood into a three-dimensional form without it breaking or splitting. During the following years, Charles and Ray Eames concentrated their efforts on developing a new method. The plywood chairs DCW (Dining Chair Wood) and LCW (Lounge Chair Wood) are the result of this long-term experimentation. In 1945, Charles and Ray Eames returned to the idea of a seating shell made out of moulded plywood; however the results were unsatisfying. They dispensed with the multifunctional shell and divided the seat and back into separate, freely articulated elements connected by a spine (frame). Each element has a clearly defined function, which it fulfils optimally with a minimum amount of material. »Shock mounts« – rubber disks bonded onto the wooden surface – connect the seat and back with the frame, which exists in wood or metal and in two different heights, either as a dining chair or lounge chair. The original of the Eames LCW Chair was designed by Charles and Ray Eames in 1945 and it is produced as 1:1 model by the Herman Miller Furniture Company, Zeeland/Michigan/USA. The here offered miniature by Vitra (scale 1:6) consists of natural plywood.
  • Vitra - Miniature Eames & Saarinen Organic Armchair
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    Vitra - Miniature Eames & Saarinen Organic Armchair
    The »Organic Armchair« was a submission for the Museum of Modern Art‘s 1940 design competition for »Organic Design in Home Furnishings«. Charles Eames and Eero Saarinen, who that year worked together for the first time, won first prize with their »Organic Armchair«. One of the conditions for competition entries was that the object was suitable for industrial production. In 1941, the Eames developed a method for threedimensional molding of manufacture the award-winning chair. The 3-D seat, made possible by means of incisions made in the veneer and cutting pieces out of it, was covered in foam rubber and upholstered in fabric. As a result of the war-time economy and the initially high production costs, despite the original competition brief the prototypes did not go into series production. The original of the Eames & Saarinen Organic Armchair was designed by Charles Eames and Eero Saarinen in 1940 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland since 2004. The here offered miniature by Vitra (scale 1:6) consists of formed plywood, birch wood and foam.
  • Vitra - Miniature Eames DSW Chair
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    Vitra - Miniature Eames DSW Chair
    The Fiberglass Chairs are rare examples of a satisfying synthesis of formal and technical innovation. For the first time in the history of design, Charles and Ray Eames utilized malleability of plastic for the development of a comfortable seating shell that corresponds to the shape of the human body. The idea of making a three-dimensional molded shell goes back to a design from 1940. The original attempt to make the shell out of plywood was unsuccessful, however, due to the extreme conditions necessary to mold the material. Only with the advent of fiberglass technology was it possible to achieve satisfying results. The first Fiberglass Chair went into production in 1950. After years of experimentation, Charles and Ray Eames were able to realize their goal: An industrially produced chair that is inexpensive, sturdy, and comfortable. For ecological reasons however fibreglass was questionably. Thanks to recent advances in technology and materials, the DSW can be produced today in exact the same shape but made of polypropylene. The original of the Eames DSW Chair was designed by Charles and Ray Eames in 1950 and it is produced as 1:1 model by the Herman Miller Furniture Company, Zeeland/Michigan/USA and the Vitra International AG, Basel/Switzerland since 1957. The here offered miniature by Vitra (scale 1:6) consists of a synthetic material seat and a wood-wire frame with struts.
  • Vitra - Miniature Wiggle Side Chair
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    Vitra - Miniature Wiggle Side Chair
    As early as the 1960s, cardboard furniture emerged as a cheap and light alternative to traditional furniture. At that time, slotting and folding as well as supports were used to ensure that the cardboard could bear sufficient weight. Nevertheless, cardboard furniture hardly had a chance against plastic furniture, which was equally light. Frank O. Gehry discovered a process which enabled cardboard furniture to be made in massive blocks – cardboard sculptures, as it were. »One day I saw a stack of corrugated cardboard in my office; it was the material I used to build my architectural models. And I started playing around with it, gluing it together and then cutting it into shape with a handsaw and a pocket-knife«. Gehry called the material made of corrugated cardboard glued in layers that ran at right angles to each other »Edge Board«. In 1972 he brought out a series of extraordinarily stable cardboard furniture called »Easy Edges«. The original of the Wiggle Side Chair was designed by Frank O. Gehry in 1972 and it is produced as 1:1 model by the Vitra AG, Basel/Switzerland since 1992. The here offered miniature by Vitra (scale 1:6) consists of polyurethane and leather.
  • Vitra - Miniature Favela Chair
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    Vitra - Miniature Favela Chair
    The Favela armed chair is one of the most striking works by the Brazilian designers Fernando and Humberto Campana. According to a statement by the brothers, the architecture of the typical shanty towns in their native country was the inspiration for the design and name of this extraordinary item of seating furniture. Like the majority of hut-like dwellings, the favela is also nailed and glued together from oddments and waste materials. The Campanas made use of small, differently-sized strips of wood, as are produced in abundance in every joinery, for their representative chair. In the Favela, they prove that objects of singular elegance and beauty can even originate from apparent mundane, worthless materials. Over and above this, the Favela throws a new light on the dynamic relationship between a one-off design and a mass-produced product. Although every chair is made from the same material and to an identical construction plan, each finished article still retains its individuality in the detail. The original of the Favela Chair was designed by Fernando and Humberto Campana in 1991 and it is produced as 1:1 model by Edra, Pisa/Italy, since 2003. The here offered miniature by Vitra (scale 1:6) consists of natural wood.
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