Charles Eames and Ray Eames for Vitra
Rocking chair, model "RAR", designed in 1948. Made in 2018.
White plastic, wire, Eiffel, in chromed steel and maple wood.
Presents manufacturer's stamp.
In good condition, presents very light signs of use.
Measurements: 68 x 63 x 69 cm; 40 cm (seat height).
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DESCRIPTION
CHARLES EAMES (USA, 1907-1978) & RAY EAMES (USA, 1912-1988) for Vitra.
Rocking chair, model "RAR", designed in 1948. Made in 2018.
White plastic, wire, Eiffel, in chromed steel and maple wood.
Presents manufacturer's stamp.
In good condition, presents very light signs of use.
Measurements: 68 x 63 x 69 cm; 40 cm (seat height).
The RAR (Rocking Armchair Rod) is a rocking chair designed by Charles and Ray Eames. It is a variant of the iconic DSR (Dining Height Side Chair Rod Base). This design is considered a classic in the history of modern furniture and is notable for the combination of a polypropylene or fiberglass shell with a metal rod base and wooden glides. The metal rod base version was first introduced at the Museum of Modern Art in 1948.
Charles and Ray Ames, an artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become classics of the 20th century. They were pioneers in the use of new techniques and materials such as fiberglass or plastic resin for the manufacture of chairs, and their creations can be seen in the Design Museum in London and the MoMA in New York, among many others.After the design crisis of the sixties, derived from the controversy over functionalism, in the seventies a pluralism of design theories and methodologies emerged, and with it the search for new and varied orientations that continues to this day. With economies recovering from the devastation of World War II, new consumers emerged in search of fun. Moreover, the pop aesthetic that favored the disposable and the temporary caused a shift in designers, many of whom surrendered to fads and the marketplace. During these years, designers became aware of their profession and, while architects were discussing the validity of a style, designers were thinking about the oil crisis, the cost of plastics and society's concern for the environment. It was then that design became independent of architecture, resuming its social function and its relationship with industry.
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