Dining Chair Metal (DCM)
Many things about the world changed after World War Two. Not only had this momentous event altered psychological views regarding human life and meaning, but it had issued in a plethora of new technologies pioneered during the war. While the furniture industry did not directly benefit, many of the raw technologies altered the way modern furniture was built, and consequently revised the new styles.
New biomorphic furniture styles were now both possible and practical. As Peter Dormer has put it: “First, rounded forms look comfortable for seating. Second, with the new technology of thin materials, it was possible to achieve comfort without having to become reactionary and revert to cushions, or the floral decorated upholstery of the lower-middle classes. But third – and most important of all – was the example set by modern sculpture.” (Dormer, 1993: 120) Various reasons joined forces in ushering in a new wave of modern furniture that was unlike anything the world had ever seen. Metal, wood, plastic, and rubber could now be shaped and molded in ways previously impossible. Overall modern furniture arriving after the World War Two era changed the way it was not only constructed and designed, but it changed the way it was viewed by the masses.
Charles and Ray Eames used these innovations and pushed them to the limits while creating furniture that is still being produced, and sought after, sixty years later. Often regarded as the parents of modern furniture design this California couple designed and built much of their own work in their own studio and factory until selling the rights to their designs only years later. Their early furniture pushed the limits of laminated plywood into new forms that molded themselves to the guest. One design that is still heavily produced and is arguably the most influential chair in modern history is that of a Molded Plywood Chairs series. This design was so influential that it was still receiving accolades at the turn of the century: “Best Design, The Eames molded plywood chair, designed by Charles Eames (1946): Eames took technology created to meet a wartime need (for splints) and used it to make something elegant, light and comfortable. Much copied but never bettered.” (Time, 1999) While it may not be necessary to throw more praise towards this design it is always nice to be considered the “best of” anything for a century.
In August of 1948 a patent was given to Charles Eames for the design of a chair. (Design for a Chair, 1948) This patent applied to two of the four chairs in the above-mentioned series. These two chairs were compiled of a metal frame, molded plywood seat and back, and rubber shock mounts for cushioning/stabilization. Thin laminated plywood seat and back gave these chairs a contour that allowed increased comfort and fit without cushions while still retaining multiple options regarding color or wood-tones. A metal frame mimicked the curves of the plywood while rubber shock mounts provided attachment points between metal and wood. These mounts also offer some cushioning for the seat and back as well.
The Lounge Chair Metal (LCM) was wider, deeper, and had a more pronounced slope to the seat than its counterpart Dining Chair Metal (DCM). While the LCM chair is more often seen in pictures and in articles concerning this design, it is the DCM chair that is more commonly seen in actual usage. Dining tables, office desks and conference tables have long been found surrounded by DCM chairs (at least in the last sixty years). It has become an icon of American furniture due to its brilliant original design, as well as the numerous chairs that have come since using similar technologies and design.