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Charles and Ray Eames are among the most important figures in 20th-century design. Their work encompasses fields such as furniture design, film, photography, and exhibition design. Vitra is the only company authorized to manufacture their products in Europe and the Middle East. If you own an Eames product manufactured by Vitra, you can be sure it is an authentic Eames.
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Designer and engineer Jean Prouvé developed the EM Table in the 1950s for his "Maison Tropicale" project. Following the principles of the "aesthetics of necessity," even the smallest details of this table are determined by its structure. The angled legs are connected by a crossbar that makes the structural forces and stress flow evident, something usually only seen in engineering works.
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The Fauteuil de Salon combines the simple lines of a cohesive architectural object with an exceptionally comfortable seat and backrest. Rediscovered in the archives of the French engineer Jean Prouvé, the armchair has been updated with a range of contemporary colors. With its solid oil-treated wood armrests and the structural aesthetic characteristic of its designer, the Fauteuil de Salon blends seamlessly with other pieces in the Prouvé Collection.
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Charles and Ray Eames transformed their home, the Eames House, into a kind of collage, a collection of diverse objects they brought back from their travels. For over fifty years, a wooden bird stood in the center of the living room, an American craft piece undoubtedly much appreciated by Charles and Ray, as it often appeared as a prop in their photographs.
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The Organic Chair—a small, comfortable reading chair—was presented in 1940, in several versions, at the "Organic Design in Home Furnishings" competition organized by the Museum of Modern Art in New York. The sculptural forms of this design were ahead of their time, although at that time it could not be mass-produced because the appropriate production techniques did not yet exist. It wasn't until 1950 that it became possible to manufacture and market in large quantities curved seat shells with organic shapes, such as the well-known Plastic Armchair by Charles and Ray Eames or the Tulip Chair by Saarinen. There is a version of the Organic Chair with a wider and longer backrest and broader armrests, the Organic Highback chair. The Organic Conference version is also suitable for dining tables. The Organic Conference chair has a higher seat and a more upright back than the Organic Chair and Organic Highback, models designed for reading. This exceptionally comfortable chair is ideal as a dining chair or for use in meeting rooms.
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The original Aluminium chair is one of the great masterpieces of 20th-century design. Created by Charles & Ray Eames in 1958 and produced by Vitra, it has become an icon of modern furniture thanks to its timeless elegance, precise construction, and remarkable comfort. Originally designed for high-end corporate interiors, it remains synonymous with sophistication and prestige in both offices and discerning homes.
Its polished or chromed aluminum frame, combined with a taut, unpadded upholstery that conforms to the body, creates an exceptionally comfortable and durable seating experience. Available in multiple versions (swivel, with or without casters, high or medium back), the Aluminium chair offers a light and refined aesthetic that fits seamlessly into environments with high formal and functional demands.
¿Dónde y cómo encaja la silla Aluminium?
The Vitra Aluminium collection is ideal for executive offices, high-level meeting rooms, designer home offices, or management spaces where aesthetics and ergonomics must be equally important. Its presence conveys authority, good taste, and attention to detail without being ostentatious.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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En 1947, el diseñador americano George Nelson recibió el encargo de crear una colección de relojes. Después de estudiar la forma en que la gente utilizaba los relojes, Nelson llegó a la conclusión de que la hora se podía leer según la posición relativa de las agujas, lo que permitía prescindir de los números. Además, como la mayoría utilizaba relojes de pulsera, supuso que los relojes de pared habían pasado a ser elementos decorativos de los interiores. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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In 1947, American designer George Nelson was commissioned to create a collection of clocks. After studying how people used clocks, Nelson concluded that time could be read by the relative position of the hands, making numbers unnecessary. Furthermore, since most people used wristwatches, he surmised that wall clocks had become purely decorative elements in interiors. These ideas formed the basis of their first collection of 14 pieces, which included wall clocks and small table clocks with a completely new style and were introduced to the market in 1949. Although all models shared a common characteristic – the absence of numbers – the diversity of shapes, colors, materials and designs could not have been greater.
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