Lounge Chair With Ottoman

The Eames Lounge and ottoman sumptuous luxurious. It’s one of the most famous chairs by the husband-and-wife design team, Charles and Ray Eames superstars of 20th-century American furniture. I believe Charles talked about felt like sitting in a used baseball glove, so the whole idea of something that was welcoming you to sit in it without a concern for low cost. The lounge and ottoman impressed the neighbors back then, and still do today check out the set of the hit TV show Frasier. That’s the lounge gracing, the home of the most discriminating character ever on television, a lot of architects and designers in particular, really like to reach the point where they’re able to afford and have one. I think the lounge has had such lasting popularity because it speaks to a set of ideas, but it’s also the optimism of that period of time in our country’s history.

That anything was possible. Charles and Ray Eames worked closely together, brainstorming and tinkering with materials like wire, mesh, fiberglass, and metal, but eventually, they returned to an old favorite formed plywood. They were always looking at understanding how things work, how they would go together, how the simple honest use of materials would fit together to meet a particular need. They toiled relentlessly on their designs, not satisfied until they got every detail, just right: the choices of materials, be it the fillings inside the pads, the quality of the leather. The fact that it’s upholstered leather so that the leather is creased and already prepared to give and conform to the body, all our aspects that were designed aspects of the chair not just kind of accidental results. The manufacturing process hasn’t changed much in 50 years. The Eames, Lounge and ottoman are still made mostly by hand in its quality. It is so correct. It is so truthful that it cannot be improved upon. It all starts here with the highest quality leather, high they’re laid out and examined for any slight imperfections. We’re marking it for any flaws scars bug bites any kind of defects that we don’t want in the finished chair flaws are marked with red tape, which is then picked up by a computer scanner.

It then calculates the best way to cut the hide from that scan. The patterns can be automatically nested or placed basically avoiding all the defects. The same machine also cuts the leather, creating all the pattern pieces for the cushions. There’s no automation here. This is all about. True, hands-on craftsmanship, the two ladies that we have switcher been sewing it for a while. That’s all they do and very good at it, so that every time they saw the chair, it comes out right. So they’re going to start out by sewing the arm, sowing the seeds showing the back or someone as if within a lot of fiberboard under the bottom. So that’s really the first step in producing the chair. Then the cushion cases go to the upholsterers who stuff each case with a high density. Urethane foam buttons are hand sewn in place using a sturdy twine. Each cushion is upholstered with a button which, which pre-creases the material and softens it. So when you put your legs on the Ottoman, it’s already compliant buttons provide tufting to the upholstered, cushions cinching, the foam and leather to give the finished pieces their shape strength and that cushiony appeal sheets of plywood or veneers are fed into this conveyor where they receive A coat of glue on both sides, then the veneers are sandwiched alternating dry sheets with glued ones.

The wood grains are crossed for added strength. The wood grain that you choose really gives a lot of its character. When the chair started out, Rosewood was kind of the high-end the look to get and since then, we’ve replaced that with a Santos, which is a little bit more environmentally friendly from here, the layered veneers go into a press which acts like a big waffle. Iron. Applying a precise amount of heat and pressure to bend the wood, the process hasn’t changed that much really. It’s still laminated pieces of wood bound together by a glue molded under pressure and heat against a master form. Then a computerized routing arm cuts out the shapes of the seat, the back the headrest and the Ottoman base circular impressions are sanded. This is where the shock mouths will go. Another clever invention of Charles and Ray Eames, their large rubber washers, with nuts embedded inside they isolate the various pieces of the chair and allow it to move with the body. That’s when it sits in the chair. It almost behaves like a rocking chair if one were so inclined to move in the chair, it moves with very comfortably the forms plywood pieces go through a final sanding and then on to the assembly area when we get them, we’re just pulling them off the shelf. Double check and make sure that everything is matched once the veneer match is made. The connecting hardware is attached and the chair seat undergoes a shock mount test.

The shock mounts for the lounger, probably the most critical aspect of the chair and one of the things that we probably spent the most time on making sure that that is right. Finally, the wood shelves and leather upholstery are united in a marriage of beauty and comfort. If we’re beautiful but uncomfortable, it wouldn’t be honorable to the Eames legacy or to their body of work. We wouldn’t be talking about the Eames Lounge. If it wasn’t comfortable, the signature 5 leg base is screwed on each cushion is carefully nudged into its plywood. Shell and then the final hardware is attached, but there’s one more step before they leave the factory each and every lounge has to have this man’s final stamp of approval. We do what we call a ROC test, so we’ll have the person who Sun leaves it sits in the chair and they basically are doing rocking back in the chair three times. It’s kind of our final check to make sure all right. Everything is in everything the shock mounts are doing what they’re supposed to be doing in a chair functions and performs like it’s supposed to the Eames Lounge rocks. It’s been a remarkable bestseller and has been in continuous production, virtually unchanged for more than 50 years.

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