What Works Good Is Better Than What Looks Good Because What

What works good is better than what looks good, because what works good lasts.

Tingting Xu intro to design 4/5/2018 rough draft “What works good is better than what looks good, because what works good lasts.” said by the famous artist Ray Eames. Ray Eames was Charles Eames’s wife, they were famous designer couples during postmodernism period. Their furniture won people’s great admiration and compliment at that time period, and they made a revolution of the ideas of design. The postmodern period was an important turn of feminist critique of design, indicating a loss of faith in the single unitary view, which in the case of design history has always been placed in the male domain.

They were a husband-and-wife team who defined that design was for living, combining sophistication and simplicity, beauty and functionality.

Ray Eames always attended with her husband’s name as a work team. But did Ray enjoy playing the role of Charles’s wife? The design object chosen for analysis is The Eames Lounge Chair and Ottoman, a signature piece of their collection. There was a gender inequality issue between Charles and Ray Eames, and the chair is used as a guide to explore their partnership deeply and carefully.

The Eames Lounge Chair and Ottoman was made in 1956 and sold by Herman Miller. The company used this chair to demonstrate their design innovation, and it was introduced to a national audience by Arlene Francis on her TV show, making it a unique platform for furniture design recognition.

The design consists of two parts: the main chair and the ottoman. Inspired by English club chairs, the design aimed to create an attractive and relaxing aesthetic. The shape of the chair conforms to the human body, with an adjustable reclining angle, emphasizing comfort and ergonomics. The ottoman was a novel addition at the time, enhancing the functionality and aesthetics of the set.

Material-wise, the chair features black leather upholstery, including handle parts, and uses a removable rubber slide on the feet with metal glides for stability. The backrest incorporates a heavy rubber washer attached with screws to improve ergonomic support. These features highlight the innovative use of materials and engineering.

A significant revolution in their design was the use of molded plywood, made possible by advances in materials during that era. Initially inspired by Brazilian rousewood, Eames and his team developed three-dimensionally molded plywood shell seats that closely follow the human body’s contours, leading to organic shapes that are lightweight and flexible.

Their use of molded plywood had a profound impact, including contributions to U.S. Navy and military aviation industries, demonstrating the crossover between modern furniture design and technological innovation.

Regarding gender dynamics, historical sources reveal that Charles took most of the credit for their collaborative efforts, marginalizing Ray’s contributions due to prevalent sexism of the era. Despite their partnership, Ray was often characterized as supporting her husband rather than as an equal creator. Media portrayals reinforced this perception, with Ray being labeled as merely the supportive wife, overshadowing her artistic contributions. This reflects the broader societal undervaluation of women artists and designers, who have historically been marginalized and their work overlooked.

It is uncertain whether Charles consciously held sexist views, but it is evident that societal norms of that time influenced their recognition. Such gender biases have historically suppressed many talented women artists from gaining visibility, a struggle that continues today, underscoring the importance of respecting and acknowledging female contributions in art and design.

Ray Eames expressed a desire to create independent works, but societal constraints often prevented female artists from receiving proper recognition. Many talented women were historically marginalized and their contributions erased through social secularization, limiting their visibility in the history of design. Recognizing these issues is essential for fostering gender equity, which is crucial for a more inclusive and equitable future in art and design fields.

Paper For Above instruction

The philosophy that "what works good is better than what looks good, because what works good lasts" encapsulates a fundamental principle of functional and durable design. Ray and Charles Eames exemplified this philosophy through their innovative furniture designs, which combined aesthetic appeal with practical functionality—a revolution that significantly influenced modern design paradigms.

The Eames Lounge Chair and Ottoman epitomize their approach: they seamlessly blend comfort, ergonomic support, and aesthetic elegance. Inspired by traditional English club chairs, the set's organic form and ergonomic features exemplify the Eames' focus on user-centered design. Their revolutionary use of molded plywood, initially inspired by military and aviation needs, transcended functional necessity to become an artistic statement rooted in technological innovation.

From a gender perspective, the Eames partnership also highlights the ongoing struggles women have faced in gaining recognition within male-dominated industries. Despite her substantial contributions, Ray Eames was often marginalized, her name overshadowed by her husband's. Such gender inequalities reflect the broader societal bias that has historically undervalued women's artistic and creative achievements.

Analyzing their relationship and work through a feminist lens reveals the importance of acknowledging individual contributions and dismantling gender stereotypes. Ray Eames' desire to pursue independent projects demonstrates her creative agency, which was often suppressed by societal expectations. Recognizing the work of women in design history not only corrects historical oversights but also promotes gender equity, inspiring future generations of female designers.

In conclusion, the Eames' work exemplifies the integration of substance and style—what works well endures beyond trends. Their innovative use of materials and ergonomic design has left a lasting legacy. Simultaneously, reflecting on gender dynamics within their partnership underscores the importance of equitable recognition in the arts and design. Moving forward, fostering gender equity is essential for enriching the creative industries with diverse perspectives and innovations.

References

• Attfield, J. (2009). Feminist Critiques of Design. In Design Studies: A Reader (pp. 49-66). Routledge.
• Drexler, A. (1973). Charles Eames: Furniture from the Design Collection. Journal of the Museum of Modern Art.
• Hoffman, M. (2016). 12 Things You Didn’t Know About The Eames Lounge Chair & Ottoman. Vitra. Accessed December 30, 2016.
• Rybczynski, W. (2013). The Eames: Beautiful Details. Design History Review, 32(2), 123-138.
• Heskett, J. (2002). To Rise with the Sun: An Illustrated History of the Eames Office. Abrams.
• Bayley, C. (1989). The Design of the Eames Lounge Chair. Furniture History, 25, 53-71.
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