Eames: The Architect & The Painter Page #17

and half a million documents

had to be organized for shipment

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to the Library of Congress.

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But over the years,

a new generation

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lifted Ray

from Charles's shadow,

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discovering in her

exuberant design sense

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a refreshing alternative

to the austerity of modernism.

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And Ray seemed to finally

find her voice

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as one of the most influential

women of American design.

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Best for the most for the least,

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that was always the principle.

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That's why we became interested

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in mass production.

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SUSSMAN:
At that point,

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women began to point to Ray.

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You know, "If there are

two Eameses,

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why aren't they both credited?"

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And now, of course, they are.

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BEEBE:
She kept saying, in

the hospital, "What day is it?"

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And I would say,

"It's Wednesday the 18th."

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And she would say, "Oh."

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And then the next time

I would come,

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then she would say,

"What day is it?"

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"It's Thursday."

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"Oh."

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I think she wanted to die

on the same day as Charles

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because it sort of symbolized

their being one.

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Her last statement was one

of being with Charles.

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This guy and that guy

could trade places.

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There's probably an Eames chair

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literally in every single issue

that we've published.

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You know, you could go

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from the DAX to the DSS

to the LCW,

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you know, you'll get

this whole range.

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MAN:

Clockwise just a little.

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Just a little.

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The furniture still has

a quality

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that every young designer

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is searching for,

because of the amount of thought

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that's been put into it

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by everyone whose hands touch

the project.

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I think you see that optimism

of the American spirit

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in their design.

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It provided

just a great blueprint

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for how we could live our lives.

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PEATROSS:
What furniture

designers

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ever have produced

40 to 50 pieces of furniture

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that have been in production

for five decades?

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But the other thing is

the sheer joy,

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that aspect of play.

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No one else, I think,

had that combination

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of the pragmatic

and the aesthetic.

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NARRATOR:
Seven...

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SUSSMAN:
They loved to say,

"We don't do art.

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We solve problems."

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It's the process.

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It's, how do we get

from where we are

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to where we want to be?

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NARRATOR:
Grasp the rear

of the viewfinder...

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DEMETRIOS:
Charles and Ray were

always looking to the future.

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They weren't

sort of sitting around,

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telling war stories about

organic furniture.

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What they were doing is like,

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"What's the next thing?"

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ALBRECHT:
They were there

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for the major moments

in American history,

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and they were really the

pioneers of the information age.

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NARRATOR:
The visitor

can try out the computer

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as a carrier of information.

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ALBRECHT:
The breadth

of the work is extraordinary,

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but there is also a unifying

theme of beauty

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and a desire to reach

a broad audience.

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So if it was pulled forward

a little bit?

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Every designer owes them

some amount of debt,

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but at the same time, part of

that debt should be to kind of

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take what they did

and move beyond it.

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