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The great postwar modern furniture designs are classics, because they are still great. Herman Miller, the company that led the office revolution, is a name synonymous with the best modern residential as well as contract furniture. Classics by super-designers—Charles and Ray Eames, George Nelson, and Isamu Noguchi— can still be purchased from the Herman Miller for the Home collection. Their designs, plus the work of more than a dozen other important Herman Miller designers, are described in detail and shown in color and black & white photographs, with original drawings by Nelson and the famous Frykholm picnic posters, all from the Herman Miller archives. This book is essential for collectors, dealers, curators, designers, and other devotees of modernism. 243 illustrations, including 134 plates in color
Black Nelson Marshmallow Sofa in the home office
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The Designers of Classic Herman Miller
The Designers of Classic Herman Miller Edited By: Donald Albreght
MIT Press
First printing, 2020 First MIT Press edition, ©2020 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Design by Roberto Alomar Set in the Gill Sans Std Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Albrecht, Donald. The Designers of Herman Miller/Donald Albrecht. p. cm. Includes bibliographical references and index. ISBN 0-7643-1119-3 1. Miller, Herman. 2. Furniture—United States. 3. Designers—United States. I. Title. NK1412.E18K57 2020 745.4’4922—dc20
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Table of Contents
7 Acknowledgments
9 Introduction
Part One: Designers of mid-century classics
15 Chapter 1: Charles and Ray Eames
77 Chapter 2: George Nelson
121 Chapter 3: Isamu Noguchi
Part Two: Designers of other Herman Miller classics—past, present, and future 127 Chapter 4: Gilbert Rohde 133 Chapter 5: Alexander Girard 143 Chapter 6: Robert Propst 149 Chapter 7: Jack Kelley 155 Chapter 8: Don Chadwick 161 Chapter 9: Bill Stumpf 165 Chaper 10: Tom Newhouse 167 Chapter 11: Geoff Hollington 173 Chapter 12: Bruce Burdick 179 Chapter 13: Stephen Frykholm 191 Chapter 14: Other Designers: Paul Laszio Fritz Haller Poul Kjaerholm Verner Panton Jorgen Rasmussen Peter Protzmann Ray Wilkes Tom Edwards 203 Conclusion 208 Bibliography 215 Index
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Laminated Chair (Pretzel Chair): This plywood chair was intended to complement Series 5200. The design was inspired by classical Thonet bentwood chairs, used as office seating in the Nelson firm.
George Nelson
(The Diaghilev of Design) Michael Webb
George Nelson’s long, productive life (1908-86) encompassed the birth, heyday, and decline of American Modernism. He made a major contribution to that movement as a writer, advocate, social critic, impresario, and architect. He was “an original thinker,” observes design critic Ralph Caplan, “with a gift for communicating Ideas and finding good people. His office had a consistency of thoughtfulness, even when it was whimsical or humorous,” Nelson’s associate, designer Bruce Burdick, agrees: “George was a unique person who will be remembered for his thoughts and writings about design. His words were more important than the projects.”
As design director for Herman Miller from 1945 through the mid-1960s and later as an outspoken consultant. Nelson found what he called “a glorified cabinet shop” and helped make it an industry leader, a powerhouse of modern residential and contract design. He was passionately involved with this family firm over four decades, sharing the spotlight there with Charles and Ray Eames, Alexander Girard, and, briefly, Isamu Noguchi. He brought these designers to them because he wanted nothing but the best and, as he explained, “I can’t have all the ideas.” “It scared the daylights out of me to pull Charlie into that act because I knew that, if I lived
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1. George Nelson, conversation with D. J. DePree (Zeeland, Mich.: Herman Miller Archives, 1982).
forever, I never could turn out stuff like those chairs he did,” Nelson confessed. I realized it was absurd for me to be director of design because no one was going to direct Charlie.”1 Nelson and Charles Eames were almost exact contemporaries and were often as close as siblings, sharing a passion for excellence and a loathing for compromise and expediency. Communicating ideas was another bond, and they collaborated seamlessly (with the enthusiastic participation of Alexander Girard) on a multimedia educational experiment. First presented at the University of Georgia in 1953 and reprise at UCLA the following year, “A Rough Sketch of a
Sample Lesson for a Hypothetical Course” was a one-hour sensory extravaganza that has become the stuff of legend. Students were electrified: one exclaimed to Nelson, “All teaching should be like this.” Although Nelson consistently supported the Eameses, he sometimes resented the fact that they won more respect than he. It’s easy to see why this happened. The Eames Office designed chairs and tables that resolved basic issues and never went out of style. They solved problems on an abstract level and took as long as they needed to get things right. The Nelson office was under pressure to respond to immediate needs, and their problem solving often focused on instruments of daily life that have changed over the years, such as typewriters, record changers, and Dictaphones. These are now historic artifacts, and the desks and cabinets designed for them are material for a time capsule. Every design aficionado is familiar with the Nelson classics: the platform bench, Marshmallow love seat. Coconut chair. Sling sofa, ball clock, and bubble lamps. However, Nelson was personally responsible for only the first of these and an early prototype of the last. As head of his own design office he handpicked brilliant talents and gave them the freedom to develop his ideas in their own way and to work independently on the design of furniture, graphics, clocks, lamps, exhibitions, interiors, an experimental house, and much else. That freed him to meet with clients, deliver lectures, organize a new approach to art education, conceptualize an exhibition, plan
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another Aspen design conference, or do what he loved best—write. Irving Harper, a former associate of Gilbert Rohde and Raymond Loewy, who joined the office in 1947 and was Nelson’s principal associate for seventeen years, told architecture curator Michael Darling: “George was heavily involved with the first group of furniture, but after that his involvement was more minimal. He used to dream aloud about designs, and his ideas were mostly verbal. George was a great design head, but to call him a great designer is inaccurate and unfair to the other designers in the office. I would call him a Diaghilev of design.”2 Nelson was happy to admit the debt he owed his colleagues, though the practice of the time was to credit the head of the firm for everything that emerged from the office. He was one of a handful of American designers—Ray-
mond Loewy, Charles and Ray Eames, Henry Dreyfuss were others—whose names were celebrated and highly scalable. In his later years, Nelson seems to have lost interest in product design, though t continued to subsidize his speculative ventures. “If I had my druthers, [writing) would be the number one activity and the other stuff would be number two.” He told design curator Mildred Friedman.3 “I find I’m getting more and more interested in why things are and what the meaning of this and that is, and much less intrigued by the quality of an object, although I like looking at them.” He joked that his parents had always wanted him to be a writer, and in the final analysis, they won. Everything Nelson did seemed to happen by chance. Born in Hartford, Connecticut, to arts-loving parents of Russian Jewish ancestry, he went to Vale with little idea of what he would do 2. Michael Darling, " Ambient Modernism:The Domestic Furniture Designs of the George Nelson Office, 1944-63" (unpublished Thesis. University of California Santa Barbara, 1997).
George Nelson for Herman Miller Coconut Chair and Ottoman, 1950s
3. Nelson, interview with Mildred Friedman (Zeeland, Mich.: Herman Miller Archives, 1974).
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Pair of rare by George Nelson for Herman Miller Model 4617 nightstands, circa early 1950s.
with his life, chanced on an exhibition of Beaux Arts sketches, and decided on impulse to study architecture. He taught himself to draw, graduated, and began what he expected would be a teaching career. Laid off at the beginning of the Depression, he went flat out to win the Paris Prize (a prize offering fellowships and residencies), and, though he failed, the momentum brought him the Rome Prize and a two-year scholarship to study at the American Academy there. While in Europe he met and interviewed several leading modern architects, starting with Le Corbusier, and on his return to America, Nelson sold his essays to Pencil Points magazine, supplying
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The Nelson Polygon Clock (1961), produced on the later side for George Nelson Associates, has a more masculine mood, using sharper lines and natural darker woods.
a convincing facsimile of the drawings the French master failed to deliver. Those sharply observed profiles led to an editorial post at Architectural Forum. In partnership with architect William Hamby, he designed a radical town house for airplane builder Sherman Fairchild on the upper east side of Manhattan, During the war he taught at Columbia and sketched “Grass in the Streets”—a concept that anticipated the pedestrian shopping mall. He took on a special project at Fortune, another Henry Luce magazine, where he designed the slatted platform bench as a way of deterring callers from sitting in his office for more than fifteen minutes. It failed that test, but became a durable icon; the foundation of another career. Toward the end of the war, he and Henry Wright, his coeditor at Forum, wrote a book, Tomorrow’s House, proposing innovative solutions to everyday needs. Unable to meet his deadline for a chapter on storage, he conceived the Storagewall—an expansion of an ordinary cavity wall to contain all the impedimenta of daily life. This seminal design was published in Forum and later in a splashy Life feature, provoking wide public interest and intense hostility from the furniture trade press, which feared that the invention could ruin the case-goods industry. Those articles excited the Interest of Herman Miller president D. J. DePree, a devout Calvinist with a firm belief In providence and honesty In 1930 sales of heavy reproduction furniture were lagging, and the firm, located in Zeeland, Michigan, faced bankruptcy Gilbert Rohde, a New Yorker who had picked up on
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Mid-Century Modern Office
4. D. J. DePree, memo to Jim Eppinger (Zeeland, Mich.: Herman Miller Archives, November 29, 1944).
European trends in his mid-forties, urged DePree to switch to Modernism and fabricate the clean-lined designs he would supply, arguing that applied ornament and faux historicism were dishonest, He won his case, and the struggling company achieved a unique reputation. In 1944 Rohde died and DePree was shocked by the mediocrity of the furniture experts who applied to take his place. Hoping for another stroke of providence, he invited Nelson to dinner at a Detroit hotel and gave his associates a glowing report of the meeting: “He is recognized among the architects, has a splendid background; is thinking well ahead of the parade;
does not want to be limited to the use of wood in planning furniture; believes that more and more units will be built into the house but that a manufacturer of a line such as we have will not suffer for a long time to come. Although I haven’t seen any of his work, I am convinced he is a star in at least some of the things he is doing,� 4 Nelson protested that he knew nothing of the business and had many other projects on his plate. The long-distance courtship continued until letters of agreement were exchanged in summer 1945, He would be paid $20 for each drawing that was accepted and a 3 percent royalty on the sale of pieces he designed. All other
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aspects of the agreement were founded on trust; there was never a formal contract. Later, Nelson wrote that he “was trained as an architect and found himself in the field of furniture design as a result of a series of accidents, most of which appear to have been caused by an acute dislike for specialized activity.” 5 In fact, he was never busier or more focused than during the first eighteen months of his association with Herman Miller. Moonlighting from his jobs with Luce, he collaborated with Ernest Farmer, a German-born cabinetmaker who had worked with Rohde. “I was busy making doodles of stuff I thought we ought to take a pass at,” Nelson explained, “Then Ernest would draw them up.” 6 The new pieces would be “honest. Knock-down, and versatile,” as he explained in one of a flurry of memos to Zeeland His industry was astounding, and when he did take time off he reassured an anxious DePree that he had loft Farmer with a stack of assignments. He urged the company to add sales outlets; to run advertisements; and to exploit the latest developments in formed plywood, plastics, and metals. He proposed that Herman Miller consider producing lamps, fabrics, and accessories to set off its furniture and generate additional revenue. Top photographers should be commissioned to shoot new products and room settings. The revolutionary nature of these proposals, many of which were accepted, became clear when Nelson’s report on the furniture industry appeared in Fortune. With characteristic chutzpah he had let the magazine subsidize the
5. Nelson, The Herman Miller Collect/ on (Zeeland, Mich.: Herman Miller Archives, 1948). 6. Nelson, interview with Ralph Caplan (Zeeland, Mich.: Herman Miller Archives, 1981).
George Nelson Sunflower Clock | Vitra | Palette & Parlor | Modern Design
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Nelson Platform Bench; This 1946 design—part of George Nelson’s first collection for Herman Miller—was a multitasking long before multitasking was common. It ably serves as a table, a base for his Basic Cabinet Series storage, or a seat. Features ionized, finger-jointed wood legs.
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7. Nelson, " The Furniture Industry," Fortune, January 1947.
research he needed to do for his new job, and his conclusions devastated the American furniture industry, based largely in Grand Rapids, Michigan, and High Point, North Carolina He characterized their product as “endlessly and unnecessarily varied and almost uniformly uninspired.” He described a craft industry of 3,500 firms that was wedded to wood, traditional styles and techniques, and tyrannized by ignorant retailers. “Whenever furniture is criticized, the public is blamed. ‘When they want something better,’ runs the refrain, ‘we’ll be only too glad to make it for them.’ The average manufacturer has no convictions whatever about design, or any understanding of it. Today he is
making a lot of ‘eighteenth-century’—tomorrow, if he believed it would sell, he would cheerfully switch to Turkish Bordello.” 7 Rationalism was Nelson’s religion, and his faith in the ameliorative power of Modernism bound the freethinking designer to the pious DePree in a turbulent but enduring relationship. Even before they shook hands, he had introduced Noguchi to Herman Miller and urged the company to manufacture the biomorph coffee table the Japanese sculptor had first designed in 1939 for the house of A. Conger Goodyear, president of New York’s Museum of Modern Art. For Nelson, the appeal lay as much in its simplicity—two interlocking pieces of wood supporting a slab of plate glass—as its beauty. At one point he wanted to take on Alvar Aalto, who was looking for a new American distributor; Ludwig Mies van der Rohe, who would quickly be snapped up by Herman Miller’s rival, Knoll; and Warren McArthur, who wanted to make a magnesium chair frame. His goal was to explore new techniques and produce pieces that might not sell but would draw attention to the firm as one that was leading the way. The greatest contribution Nelson made to Herman Miller in those early years was to bring Charles and Ray Eames on board—at a time when they were also considering an association with Knoll. He insisted that DePree visit the first showing of the Eames’s molded plywood furniture at the Barclay Hotel in New York in December 1945, and that they secure distribution rights from the manufacturer, Evans Products. DePree warned Nelson that he was working with a company that
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8. D. J. DePree, videotaped staff briefing (Zeeland, Mich.: Herman Miller Archives, 1979).
grossed only $450,000 a year and he would have to share royalties. He responded that Herman Miller would soon grow to $2 million—which it did, six years later— and declared, “Make everything that Eames designs and don’t show it to me —I don’t need to approve it.” 8 Even as he lined up these stars, Nelson was designing, with Farmer, more than seventy new pieces that would be put on show in early 1947. Most were simple case goods, chairs, and tables, which required no special tooling or technical skills, but each piece was made available in a variety of sizes, woods, and finishes. Nelson’s overriding concern was to eliminate waste, and
many pieces have a Shaker-like simplicity and versatility. “We really stood on Rohde’s shoulders,” and were very ingenious in an eighteenth-century way, he recalled. 9 The platform bench served as a raised base for a variety of cabinets. A side table incorporated a lamp, a planter, and a drawer. Drawers containing serving trays extended from either end of a coffee table, doubling its length. Springs were incorporated into a slim platform daybed that doubled as a sofa. A residential desk had a foldout flap to support a typewriter, a slide-out bin of perforated metal for hanging files, a leather work surface, and splayed steel legs. Nelson recalled it as an oddity, intro-
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duced to generate publicity, which became a freak best-seller. What is remarkable about this collection, which was conceived and produced in less time than it would take to introduce one significant item today, is its coherence and quality. Everything works together—in modular dimensions and understated forms. The beveled edges, detailing of joints, and carefully coordinated pulls added value but also pushed up the price. Architects of that era longed to bring good design to the masses, but their work rarely benefited from economies of scale. As Nelson would later conclude, “Good design combined with good quality cost more than the large public could afford; furthermore, this large public never showed much affection for modern at any price.�10 To promote these designs to the target audience of architects and other professionals,
9. Nelson, interview with Caplan. 10. Nelson, Introduction to Design Quarterly 98/99, 1975.
Comprehensive Storage System (CSS); Poles: extruded aluminum in natural or black with corners in aluminum Wood components: oil walnut or oil teak
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Bibliography General books Blake, Peter. No Place Like Utopia: Modern Architecture and the Company We Kept. New York: Alfred A. Knopf, 1993. Dormer, Peter. Design Since 7945. London: Thames and Hudson, 1993. Eidelberg, Martin, ed. Design 1935-1965. What Modern Was? New York: Harry N. Abrams, 1991. Emery, Marc. Furniture by Architects. New York: Harry N. Abrams, 1983; expanded edition 1988. Fehrman, Cherie and Kenneth Fehrman. Postwar Interior Design 1945-1960. New York:Van Nostrand Reinhold, 1987. Fiell, Charlotte & Peter, Modern Furniture Classics Since 1945. Washington D.C.: AIA Press, 1991. -. Modern Chairs. Kolln, Germany: Taschen, 1993. Gandy, Charles D. and Susan Zimmermann-Stedham. Contemporary Classics: Furniture of the Masters. New York: Whitney Library of Design, 1990 (originally McGraw-Hill, 1981). Garner, Philippe. Twentieth-Century Furniture. New York:Van Nostrand Reinhold, 1980. Greenberg, Cara. Mid-Century Modern: Furniture of the 1950s. New York: Harmony, 1984; reprinted 1995. Hiesinger, Kathryn B. & George H. Marcus. Landmarks of Twentieth-Century Design: An Illustrated Handbook. New York: Abbeville, 1993. Horn, Richard. Fifties Style. New York: Friedman/Fairfax, 1993. Jackson, Lesley. The New Look: Design in the Fifties. New York: Thames Hudson, 1991. -. Contemporary Architecture and Interiors of the 1950s. London: Phaeton, 1994. Knobble, Lance. Office Furniture: Twentieth-Century Design.
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New York: E. P Dutton, 1987. Mang, Karl, History of Modern Furniture. New York: Harry N. Abrams, 1978. Meadmore, Clement. The Modern Chair: Classics in Production. New York:Van Nostrand Reinhold, 1975.
Herman Miller Furniture Co. The Herman Miller Collection. Catalogs. Zeeland, Michigan: Herman Miller Furniture Co., 1948, 1950, 1952 (also reprinted New York: Acanthus Press, 1995),1955/56 (also reprinted Atglen, Pennsylvania: Schaffer Publishing, 1998). Herman Miller, Inc. Action Office System. Zeeland, Michigan: Herman Miller, Inc., 1984.
PiĂąa, Leslie. Fifties Furniture. Atglen, Pennsylvania: Schiffer, 1996. Pulos, Arthur J. The American Design Adventure 1940-1975. Cambridge: MIT Press, 1988.
-. Reference Points. Zeeland, Michigan, Herman Miller, 1984. -. Burdick Group Pages. Product brochure. Zeeland, Michigan, Herman Miller, 1992.
Sembach, Klaus-Jorgen, et at. Twentieth-Century Furniture Design. KĂśln, Germany: Taschen, N.D..
-. Herman Miller for the Home. Product catalog. Zeeland, Michigan: Herman Miller, 1995.
Sparke, Penny. Furniture: Twentieth-Century Design. New York: E. P Dutton, 1986@
-. Herman Miller Price-books: Seating & Furniture. Zeeland, Michigan:
Simpson, Miriam. Modem Furniture Classics. New York: Whitney Library of Design, 1987.
Herman Miller, 1995. Herman Miller Catalog. Zeeland, Michigan:
Von Vegesack, Alexander et. Al. 100 Masterpieces from the Vitra Design Museum Collection. Weil am Rhein, Germany:Vitra Design Museum, 1996. Books by or about Herman Miller and its designers Abercrombie, Stanley. George Nelson: The Design of Modern Design. Cam- bridge: MIT Press, 1995. Aidersey-Williams, Hugh and Geoff Hollington, Hollington Industrial Design. London: Architecture Design and Technology Press, 1990.
Herman Miller, 1996. Marigold Lodge. Zeeland, Michigan, Herman Miller, N.D.. Hunter, Sam. Isamu Noguchi. New York: Abbeville, 1978. Kirkham, Pat. Charles and Ray Eames: Designers of the Twentieth Century. Cambridge: MIT, 1995. Nelson, George. Chairs. New York: Whitney, 1953; reprinted New York: Acanthus,1994.
Display. New York: Whitney, 1953.
Storage. New York: Whitney, 1954.
Caplan, Ralph. The Design of Herman Miller. New York: Whitney Library of Design, 1976.
Problems of Design. New York: Whitney, 1957.
-. Connections: The Work of Charles and Ray Eames. Exhibition catalog. Los Angeles: Frederick S. Wight Art Gallery, 1976.
George Nelson on Design. New York: Whitney Library of Design, 1979.
Cruikshank, Jeffrey L. and Clark Malcolm. Herman Miller Inc.: Buildings and Beliefs. Washington D.C.: A.I.A. Press, 1994.
Changing the World. University of Michigan, 1987.
De Pree, Hugh. Business as Unusual. Zeeland, Michigan: Herman Miller, 1986.
Neuhart, John, Marilyn Neuhart, Et Ray Eames. Eames Design. New York: Harry N. Abrams, 1991. Propst, Robert. The Office: A Facility Based on Change. Zeeland,
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-. Action Office: The System that Works for You. Ann Arbor, Michigan: Herman Miller Research Corp., 1978. Propst, Robert, et. Al. The Senator Hatfield Office Innovation Project Ann Arbor, Michigan: Herman Miller Research Corp., 1977.
“Design, Technology, and the Pursuit of Ugliness.” Saturday Review (October 2, 1971): 22-25. Ostergard, Derek and David Hanks. “Gilbert Rohde and the Evolution of Modern Design 1927-1941.” Arts Magazine (October 1981).
Renwick Gallery. A Modem Consciousness: D. J De Pree, Florence Knoll. Exhibit catalog. Washington D. C: Smithsonian Institution Press, 1975.
-. “Gilbert Rohde: The Herman Miller Years.” 7-page typescript in Herman Miller Archives, N.D..
University of Illinois. William Stumpf, Industrial Design. Exhibition brochure. Urbana-Champaign: University of Illinois, 1995.
Pearlman, Chee. “Machine for Sitting.” ID. (September/October 1994).
Articles
“Royal Gold Medal for Architecture 1979: The Office of Charles and Ray Eames.” 12-page packet, April 1979.
“A Conversation with George Nelson.” Industrial Design (April 1969): 76-77. Berman, Ann. “Herman Miller - Influential Designs of the 1940s and 1950s.” Architectural Digest (September 1991): 34-40. Branson, Michael. “Isamu Noguchi, the Sculptor, Dies at 84.’ The New York Times (December 31, 1988): obituary. Caplan, Ralph. “Caplan on Nelson.” ID. (January February 1992): 76-83. “Designers in America: Part 3.” Industrial Design (Oct. 1972): 30-31.
Schwartz, Bonnie. “2 Chairs, 2 Processes.” Metropolis (May 1996). Slesin, Suzanne. “George H. Nelson, Designer of Modernist Furniture, Dies.” The New York Times (March 4, 1986): D26, obituary.
“Storage Wall.” Life (January 1945): 64-71.
Sudjic, Deyan. “Playfulness.” Blueprint (October
1994): 29-36.
“Furniture Best of Category: Aeron Chair.” ID. Annual Design Review 1995 (July/August 1995). Gingerich, Owen. “A Conversation with Charles Eames.” The American Scholar. (Summer 1977): 326-337.
“3 Chairs/ 3 records of the design process.” Interiors (April 1958): 118-152
“Herman Miller for the Home.” Interior Design (December 1993). McQuade, Walter. “Charles Eames Isn’t Resting on His Chair.” Fortune (February 1975): 96-100, 144-145. Nelson, George. “The Furniture Industry.” Fortune 35 (January 1947): 106-Ill. Business and the Industrial Designer.” Fortune (July 1949): 92-98. “Modern Furniture.” Interiors. (July 1949): 77-89.
Tetiow, Karin. “Dock’N’ Roll.” Interiors (September
1990): 146-151.
“25:Year of Appraisal.” Interiors (November 1965):
128-161.
Walker Art Center “Nelson, Eames, Girard, Propst: The Design Process at Herman Miller.” Exhibit catalog. Design Quarterly 98199 (1975): 1-64. Wierenga, Debra, ad. “Design and the Office in Transition - Part 1: A Conversation with George Nelson.” Ideas (November 1979): 1-20. Archives
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Herman Miller Archives. Photographs and written material on designers, products, and the company. Contributors to the database containing material used in this project include Linda Folland, Hugh De Pree, Barbara Hire, Will Poole, and Bob Viol. Quotes by designers not attributed to other sources are from the “Designer Bio� promotional sheets produced by Herman Miller.
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Donald Albrecht is an independent curator and curator of architecture and design at the Museum of the City of New York. He has organized exhibitions for the Library of Congress; Cooper-Hewitt National Design Museum; National Building Museum; and the Getty Center. Albrecht has written numerous articles for publications such as Architectural Digest, House and Garden, and the New York Times. Among his books are Designing Dreams: Modern Architecture in the Movies and The Work of Charles and Ray Eames: A Legacy of Invention.
The MIT Press Massachusetts Institute of Technology Cambridge, Massachusetts London, England http://mitpress.mit.edu Marshmallow Sofa in bright orange flanked by interesting art work