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Maharam Covered Stool by Scholten & Baijings

$675

About

Covered Stool by Scholten & Baijings Small Dot Pattern by Charles and Ray Eames, 1947 105 Charcoal Tinted beechwood base with Small Dot pattern textile. Stackable. Made in Japan by Karimoku New Standard. Scholten & Baijings for Maharam is a collection of home goods and accessories that merges the Dutch design language of Stefan Scholten and Carole Baijings with superb Japanese craftsmanship. Produced in collaboration with 1616 / arita japan and Karimoku New Standard, the initial offering includes original designs that exhibit a range of materials and techniques. Produced in partnership with Karimoku New Standard, the covered stool features a slender profile and stackable frame. Its tinted beechwood base is topped by an upholstered seat fashioned from iconic Small Dot pattern, a textile designed in 1947 by Charles and Ray Eames and reissued by Maharam. Founded in 1902, Maharam offers a comprehensive collection of textiles for commercial and residential interiors. Recognized for its rigorous and holistic commitment to design, Maharam embraces a range of disciplines from product, graphic, and digital design to art and architecture. Maharam textiles are included in the permanent collections of the Art Institute of Chicago, the Museum of Modern Art and the Stedelijk Museum, among others. Scholten & Baijings (founded 2000) is an Amsterdam-based studio established by husband-and-wife team, Stefan Scholten and Carole Baijings. Their work in furniture and product design is characterized by clean lines, minimal forms, simple geometric patterning, and a nuanced sense of color. Karimoku New Standard is a branch of Karimoku, a furniture manufacturer based in central Japan with more than seventy years of history. Combining a deep understanding of carpentry craftsmanship with cutting-edge technologies, Karimoku builds furniture of the highest possible quality. Introduced in 2009, Karimoku New Standard offers innovative, joyful, and functional objects developed in collaboration with the world’s most promising design talents. Vacuum textile with brush attachment. Wipe with dry cloth or clean with water-based cleanser and allow to dry.

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    Ships From: New York, NY
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About the Designer

Charles and Ray Eames

Charles Eames and Ray Eames were the embodiment of the inventiveness, energy and optimism at the heart of mid-century modern American design, and have been recognized as the most influential designers of the 20th century. As furniture designers, filmmakers, artists, textile and graphic designers and even toy and puzzle makers, the Eameses were a visionary and effective force for the notion that design should be an agent of positive change. They are the happy, ever-curious, ever-adventurous faces of modernism. Charles studied architecture and industrial design. Ray (née Beatrice Alexandra Kaiser) was an artist, who studied under the abstract expressionist Hans Hofmann. They met in 1940 at the Cranbrook Academy of Art in suburban Detroit (where Charles also met his frequent collaborator Eero Saarinen and the artist and designer Harry Bertoia) and married the next year. His technical skills and her artistic flair were wonderfully complementary. They moved to Los Angeles in 1941, where Charles worked on set design for MGM. In the evenings at their apartment, they experimented with molded plywood using a handmade heat-and-pressurization device they called the “Kazam!” machine. The next year, they won a contract from the U.S. Navy for lightweight plywood leg splints for wounded servicemen — they are coveted collectibles today; more so those that Ray used to make sculptures. The Navy contract allowed Charles to open a professional studio, and the attention-grabbing plywood furniture the firm produced prompted George Nelson, the director of design of the furniture-maker Herman Miller Inc., to enlist Charles and (by association, if not by contract) Ray in 1946. Some of the first Eames items to emerge from Herman Miller are now classics: the LCW, or Lounge Chair Wood, and the DCM, or Dining Chair Metal, supported by tubular steel. The Eameses eagerly embraced new technology and materials, and one of their peculiar talents was to imbue their supremely modern design with references to folk traditions. Their Wire chair group of the 1950s, for example, was inspired by basket weaving techniques. The populist notion of “good design for all” drove their molded fiberglass chair series that same decade, and also produced the organic-form, ever-delightful La Chaise. In 1956 the Eames lounge chair and ottoman appeared — the supremely comfortable plywood-base-and-leather-upholstery creation that will likely live in homes as long as there are people with good taste and sense. Charles Eames once said, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” For very good collectors and thoughtful interior designers, a piece of design by the Eameses, the closer produced to original conception the better, is almost de rigueur — for its beauty and comfort, and not least as a tribute to the creative legacy and enduring influence of Charles and Ray Eames.
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Located in New York, NY
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