The compact white elongated vacation residence cryptically called E. TO this day, it draws the views of passers-by along the Moyenne Corniche, the narrow and winding coastal road along the Mediterranean Sea. THe Anglo-Irish designer Eileen Gray bought the site, paid for the construction and, as her first foray into architecture, designed it with assistance of her close friend at the time, Jean Badovici, to whom Gray gave the site, building and contents. On close inspection, E.
Lacquer screen, Eileen Gray, about Eileen Gray was born into an aristocratic Irish family. Independent and adventurous, she enrolled at the Slade School of Art in London aged She then moved to Paris inwhere she was to spend most of her life.
In Paris she studied to become the first western practitioner of Japanese lacquer. Initially, she was known for her work in the Art Deco style but by the mid s, under the influence of Le Corbusier especially, she became a proponent of Modernism.
Gray worked relatively little after and her work was largely forgotten until the s. Today she is considered a pioneer of both Art Deco and Modernism.
Although lacquer was a laborious and potentially toxic art, she became a devoted student and publicly exhibited examples of her work in She had fashionable clients and set up a special workshop for furniture and lacquer. Business model As a designer and practitioner Gray was extremely unusual, not least because she was a woman operating on her own.
In she created a workshop for the weaving of her carpets, which became her most successful products. As well as making lacquer work herself, Gray also hired craftsmen, eventually creating a separate studio for lacquer and furniture. By the late s, however, tastes changed and the shop closed.
Gray then turned her attention mainly to architecture. Folding hammock chair, designed by Eileen Gray, In her early, Art Deco work she explored decorative surfaces and luxurious materials within a design vocabulary that could be either extravagant or restrained.
By the mid s her architectural sensibility became more evident, in increasingly geometric, even abstract, furniture, carpets and lighting. Yet she maintained her interest in the feel and effect of materials. Armchair, designed and made by Eileen Gray, before It's very personal for me, this chair, because Eileen Gray was firstly a designer and then practised architecture - for me it's the reverse.
But the chair is very expressive of a direct relationship between architecture and design. In a sense it's like architecture in miniature, because every piece of it is doing exactly what it should be doing and is very expressive of that.
So the sycamore frame, which supports this very slung piece of leather, and then the chrome joints which hold it all together. She designed this chair for the house that she designed for her lover Jean Badovici.
And the house was very much about its site and its aspect and looking on to the Mediterranean. But inside it was a very clean, simple space, straight lines and lots of light. And every piece of furniture was designed by Eileen Gray, including the rugs on the floor and the bed and the bedside table.
So it was an ensemble, if you like, of her pieces, and an opportunity for her to create a total environment, which is a great privilege and what we all aspire to doing.
The form of the chair makes you think of a languid afternoon in the Mediterranean looking out at the sea, because this house she designed was like a beached liner that was slung across the rocks.
And a deck chair is pure reductive functionalism. So it was, the very form of the chair is, suggestive of a kind of sensualism and a relaxation and a kind of lying back and observing or reading, but it's a very sensual piece for me.
Armchair back viewdesigned and made by Eileen Gray, before This is one of the most remarkable and beautiful chairs by the architect and designer Eileen Gray. Eileen Gray was born in Ireland but she spent her entire professional life in Paris, where she died at a ripe old age. She came to furniture because she wanted to learn how to make lacquer, which is an extremely difficult thing to do.
And her screens and her other lacquer work were highly decorative and they fit very much into that deluxe Parisian style of Art Deco.
However, at the same time she was interested in the architecture of Le Corbusier, in German Modernism, and I think in this chair you can see bits of both. You can see that sense of elegant form, which characterises Art Deco, and attention to surface.
And on the other hand the geometrical rigour of Modernism. In some ways, it's a traditionally jointed chair, but it's obviously not a chair designed by a traditional furniture maker.‘Eileen Gray occupies the centre of the modern movement’, he wrote at the time. ‘She knows that our time, with its new possibilities of living, necessitates new ways of feeling.’ In they began work on the construction of a house E on a steep cliff overlooking the .
In late the architect and designer Eileen Gray, designed and built by the sea E House, which would become a landmark of modern architecture. It was built as a summer residence to share with your lover, critic Jean Badovici. The name of the house, E, sounds impersonal, there is a.
This lesson explores the life and work of Eileen Gray. Learn about the career and personal life of this pioneer among female designers. Eileen Gray entered the architectural mainframe late in life. She was 48 when she began working on E, her first building. By this point she was a respected furniture designer, but had grown tired of designing the fancy interiors of other people’s houses.
Eileen Gray ( - ), was an Irish architect and furniture designer who spent most of her life in France. She started working as a furniture and interior designer and later decided to explore. In Eileen Gray moved to Paris and 21 rue Bonaparte, a flat she would live in for the rest of her life.
From the Japanese artisan Seizo Sougawara, Eileen Gray learned Japanese lacquer techniques.
Around Eileen Gray started making lacquered folding screens.