INTERVIEW : EAMES DEMETRIOS

We’re beyond honored to host Eames Demetrios, grandson of Charles and Ray Eames, for Palm Springs Modernism Week at Ace Hotel & Swim Club next week, where he will be holding an Eames Retrospective on February 20 — talking about his grandparents’ work and legend, screening films about their iconic design gestures and discussing the connection with his own explorations and adventures. The retrospective is complimented by a pop-up shop with the A+D Architecture and Design Museum > LA. We have several other events to celebrate Modernism Week, including live mermaids.

We caught up with Eames on the eve of a trip abroad before the retrospective, and he was kind enough to go over some topics both familiar and new. We talked about his epic project Kcymaerxthaere, love, creativity, perseverance and fruitful failure, as well as how his legacy affects his work and process. We wished the conversation could have gone on infinitely, and we’re looking forward to seeing you next week as we keep it going. 

I’m sure that you get asked at every turn about your grandparents. What I was noticing looking through your bio and your work is both that your work is very diverse and it seems like you have an almost spiritual thread through the things that you pursue. I was wondering how your grandparents’ legacy informs the work that you do now, especially this idea of 3-dimensional fiction.

Well I think we are all products of how we grow up and what we are exposed to. And Charles and Ray were definitely a part of my life growing up, and they are pretty amazing people. I think the real place that I find conscious inspiration from them is just this, you know — if you look at Charles right now, they are famous, they are iconic to a lot of different people, which is fantastic. But it wasn’t always that way. There were definitely a lot of struggles for them, especially in the 1940s. One thing I take inspiration from is just this whole idea of really sort of pursing an idea with great passion, an idea you believe in, and trying the hardest you can to pull it off knowing that it won’t happen right away. And I think for me that’s been helpful to know that it has worked for other people, it has happened to people that are a part of my legacy. But I think it’s inspiring to everyone. Because you know when you’re doing something that is really new, you don’t really know whether you are going to succeed or not. And so, one of the nice things I think for them, and certainly for me, was the process — I mean whether Kcymaerxthaere becomes incredibly world famous and successful and all that, it’s been an amazing experience no matter what. I’ve met amazing people, I’ve been to incredible places, and I’ve done some work that meant a lot to me. And so if you can approach things in that way, then whether or not you get the material success, it certainly helps you do more work, and I would be very happy about that — but it also means that you have something that you can feel good about looking back, no matter what. And Charles and Ray, I think, were very pleased with things that things worked out, but I think if they hadn’t, they’d had an amazing time learning about these materials — making the splints, understanding plywood better — and indeed if you look at what they actually did, the final chair that really sort of put them over the top, was not the plywood chair but the plastic chair, which came from their deep engagement with the challenges of molding plywood, even though the final result was plastic. So again, the process really is of value no matter how it turns out.

And you’ve spoken also about — in your Ted Talk and I think in your lectures that you give around the country and around the world — about this idea of “surrendering to your design journey.” Do these ideas relate to that, and what does that mean to you, necessarily?

Well I think that it is related to that. I would agree with that. I think of it particularly in terms of deign itself in the sense that there are so many times you hear about companies, or whatever, where people say they want to be design-driven, but they really have a specific end result in mind. And it’s not that that can’t work out sometimes, and sometimes that end result is really good insight, but very often it’s not really about being willing to surrender yourself to what you learn, and to what results from what you learn. And I think that that’s what I mean by surrendering to the design journey, and being really willing to do that. It doesn’t mean sort of giving up and not pushing back and not trying hard and making sure that ideas aren’t explored carefully and rigorously. But it does mean letting it take you where it goes. Because if you focus on what your real need is, if you keep your focus on that actual need, then certain other things become… they become…. they don’t take center stage when they shouldn’t. So, to use that example of that chair we just talked about, the important thing was making a comfortable and affordable chair. And they had an insight, keep in mind, that the seat and back is one, but there could be something really important there. Now, if the only acceptable outcome was making a mold of plywood, then you could be right, but you could also be destined to failure. But if an acceptable outcome is a successful and affordable chair that combines the seat and back, then success may come. They tried it in metal, they tried it in plywood, and they tried it in plastic — and that’s the one that eventually worked. And then, even with that, over the course of the next 20 years, they were constantly improving it, they were always trying to find a more of a uniform finish to it, and that whole time they had just designed one of the most successful chairs in history and they were still trying to make it better in the 70s.

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A METHOD OF ACTION



From House Industries' typography catalogue.


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