男神眼中的女神~~您不知道Ray Eames的9件事

Charles Eames，大家已经耳熟能详了，但他一生挚爱的女神Ray Eames，却不是很多人了解，最多知道她是Charles的老婆，一位身材圆润矮小，钟情黑色连衣裙的大妈，也许按照现代人的眼光来说：不知道为啥Charles会对她如此着迷？

好用胜过好看，因为好用能持久。

--- Ray Eames

1

 Ray的启蒙老师 

 Ray’s mentor

从1933年到1939年，Ray在纽约上学，在那里遇上了影响她一生的启蒙老师，Hans Hofmann, 一位当时备受尊崇的抽象表现主义艺术先驱。Hofmann很会将色彩和形的要素有效地统一起来，他以颜料滴、洒、甩、泼的作画方式使画面充满强烈的表现性。Ray深深受到这位抽象派老师的创作影响，让她后来跟Charles设计的作品都有Hofmann的影子。就例如，Eames团队于1946年设计夹板休闲椅就很能突显这位大师的创作张力。

From1933 to early 1939, Ray spent her days in New York city studying paintings with her tutor and mentor, Hans Hofmann, a famous abstract expressionist. Hofmann excelled at using abstract form, color, and composition to create illusions of space,depth, and movement. His “push and pull” technique created tensions between different forms, colors, depths. Ray was so attracted to work with Hofmann that the six-year study helped inform the shapes and color of her work with Charles for decades to come. For example, Hoffman’s tension is evident in the now famous plywood chairs that Ray and Charles Eames designed in 1946.

Hans Hofmann

Hans Hofmann作品, Table with Teakettle Green Vase and Red Flowers,1936

Hans Hofmann作品, The Painter, 1941

第一排左数起第三个是Ray，Hans Hofmann和同学们的合影，1933

           Ray Eames作品, To Hofmann Love From Buddha, circa 1941

反正看不懂~

2

师生恋

Teacher-and-Student Love

离开Hofmann的学习，她于1940年去了密西根州的克兰布鲁克艺术学院，那时候Charles就在这个学院的工业设计部门担任主管。有一天，Charles和小沙里宁跟以往一样准备MoMA主办的家具比赛，Ray被安排去帮忙画画和模板设计。就这么春光明媚的一天，他俩对上了。一年过去，Charles向Ray求婚。

After study with Hofmann, she attended at the Cranbrook Academy of Art in Michigan in 1940, while Charles was head of the Industrial Design department. They met each other when Ray was called in to help prepare drawings and models for Eames and his friend Eero Saarinen's submission to a furniture design competition held by The Museum of Modern Art. The pair struck it off immediately, and by May 1941, Charles proposed to Ray. 

3

Ray的夹板雕塑给后来的家具设计提供了艺术基础

 Ray's plywood sculptures helped provide an aesthetic ground work for their furniture

其实很少人知道在Eames夹板系列成为热销前，Ray就是用同样的弯板技术来创作她的雕塑作品。后来Eames家具成为线条简洁的经典之作，大部分要归功于Ray早期不少线条优雅的雕刻品的创作经验。也因为这些雕刻品，才让Eames夫妇不断改进如何将夹板不断压弯造型到极致的新技术。

Few people are aware that before the Eameses' compound-curved plywood furniture became a hit, Ray was creating sculptures using the same materials and methods. Her early experiments with these graceful forms are clear predecessors to the chairs they would develop only a few years later. Additionally, the sculptures allowed the Eameses to further refine their newly developed techniques for bending and shaping laminated plywood into seemingly impossible curves.

Ray的雕塑品，1943

Ray亲笔画的夹板系列

LCW & DCW，By Evans Plastics, 1946 (广州仓库限售）

4

Charles上班，Ray才是负责早期打样的主要人物

 While Charles went off to work, Ray took charge of the prototyping process

Ray很谦卑，似乎光环全给了她老公，她也不争，可是真正认识Eames夫妇的人都知道没有Ray，就不可能有后来的Charles，更不可能有名留青史的Eames椅。为什么呢？婚后不久的Charles白天在美高梅公司上百，Ray就一个人在家打理他们早期作品的打样进程。当时他们搬去洛杉矶定居，新家的旁边就是一个飞机配件工业区，这让Ray非常容易找到合适的模具材料和后来战争期间研发的夹条。然而Charles只能晚上回来看看有什么要帮忙的。

 when Charles and Ray moved to Los Angeles in 1941, Charles initially worked as a set designer for MGM, leaving Ray at home to lead the prototyping process for their early designs: "Ray put together the materials for tooling up the chair. Los Angeles proved to be a perfect choice because they were close to the aircraft industry, which furnished Ray materials for building molds for the chairs and for splints for war use."

左边是二战用的腿架，右边是Ray的雕刻品

Eames夫妇早期的样板

背后女人厉害吧~

5

Ray的衣柜

Ray's wardrobe

虽然Ray是为艺术家，作品风格色彩缤纷，可在她的衣柜了，永远都是那件死板的白衬衫，修剪整齐的方领无袖连衣裙，齐腰外套，还有那件似乎永远不换的紧身裙。（这让小编想起魔法保姆麦克菲，莫名起酥）虽是这样，这个形象却是非常符合她圆润的身材，独树一帜的个性，竟然还有很多人不嫌闷，纷纷仿效。不过也不是每个人都喜欢，正如Ray的一名员工，负责平面设计的Deborah Sussman每天看到老板娘日复一日的黑色连衣裙家白色衬衣的打扮，哭着说：“受够了~”

In her wardrobe, the starchy white blouses, trim square-necked jumpers, waist-cropped jackets and dirndl skirts that she wore most days and throughout her lifetime.That look, molded to her ample frame and maverick sensibility, was much emulated by her contemporaries. Deborah Sussman, the graphic designer, who worked for the Eameses early in her career, found herself dressing for a time almost exclusively in dark jumpers and white shirts that her boss favored. “Clearly,” she said, “Ray had gotten to me.”

6

 Ray是个“垃圾收藏家”

Ray was "a pack rat"

Ray的风格偏维多利亚时代，除了从她地穿衣风格来看，还有她收藏的东西。Ray是个细节偏执狂，这让她异常喜欢收集看上去没用的小玩意，有电影拍摄遗留的玩具，给墨西哥祭台用的动物糖果，梳子，小型碗碟，中国风筝，毛线球，还有因为包装纸太漂亮不舍得打开的礼物。

Ray’s sensibility was some what Victorian, not only in her dress but in some of the things she treasured. Her obsessive attention to detail prompted her to collect a wealth of toys, among them tiny toys left over from film shoots,sugar animals meant for Mexican altars, shells, a family of combs, pint-sized dishware, Chinese kites, balls of yarn and presents that were never unwrapped because their packaging was too charming.

7

 Ray的收藏深深影响今天的室内摆设

 Ray's love of collected objects still influence our own living rooms

Eames夫妇的家具和建筑设计确实影响了现代美国家庭的构造，但Ray广为人知的偏执型收藏爱好反而形成了一种新的室内设计美感，更让战后重建的美国增添了多分喜乐。正如一位建筑师Charles Moore赞叹Ray说她独立一个人通过五花八门的小玩意将乐趣和欢快带回现代世界。

The Eameses' furniture and architecture had a massive influence on the modern American home, but it was Ray's love of small objects collections that helped give warmth to the pristine pre-war style. For architect Charles Moore, it was Ray who "single-handedly brought about a return to richness,the joy of the miniature object in a modern framework" .

8

Ray设计的图形依旧流行

Ray's popular textile patterns are still in production today

1947年左右，Ray创作了一系列的几何编织图形，依旧在Maharam生产了将近70年。现在Eames Office跟优衣库合作推出了以Eames为主题的SPRZ NY系列的衣服，大部分都是Ray设计的经典图形。

Around 1947, Ray created a number of bold geometric textile patterns, which are still in production with Maharam almost 70 years later. Now the Eames Office collabrates with Uniqlo on its new SPRZ NY collection, of which most are Ray's designs.

1947, By Ray Eames for Museum of Modern Art.

1949, By Ray Eames

Eames Office & Uniqlo 合作的新一轮 SPRZ NY 系列

9

Ray完全是位马路杀手

She was the original distracted driver

大家都是女人，开车还是死穴。Ray太爱这个世界了，一路上开车总被眼前的事物分心，所以Charles死也不坐她开的车。有位同僚回忆说:" 她很好奇，什么东西都看，看看这里，看看那里。。。就不看路。”（终于有地方小编胜过她了，小编还是会看路的）

Ray was so attracted by the visual world constantly unfolding in front of her as she drove that Charles refused to ride in the car when she drove.  As one colleague recalls, "She was looking at everything. She was looking here, looking there... she was looking at everything except the traffic."

她老公经常说：

任何我能做到的，Ray可以做的更好。

Anything I can do, Ray can do better.

--- Charles Eames

俗语说

贤能的妻子谁能找到？她的价值远胜珊瑚。

她的丈夫心里信赖她，利益从不缺乏。

她一生的日子，

总叫丈夫有益无损。

女人，很珍贵，您的价值不在于您男人有多富有，而在于您饱足的心灵。

女神，好好爱护自己，远离渣男。

Ref: http://www.core77.com/posts/52773/Eight-Things-You-Probably-Didnt-Know-About-Ray-Eames

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