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Eileen Gray
Eileen Gray (1878-1976) was an Irish-born designer, architect, and leading figure in the 20th century modernist movement. Her innovative and pioneering designs have left a lasting impact on design and architecture. Gray’s work encompasses furniture, interiors, and architecture. Her designs are characterized by elegance, intelligence, and independence. They reflect an understanding of human needs and a commitment to creating functional, aesthetic, and engaging spaces.
Born into an aristocratic family in Ireland, Gray moved to Paris in the early 1900s where she began her career as a lacquer artist. She later transitioned into furniture design, creating iconic pieces such as the Bibendum Chair and the Adjustable Table E1027. Her work drew from a variety of influences including the Art Nouveau style. She was known for her unconventional use of materials and forms.
Gray’s career grew in the late 1920s when she began to focus on architecture. Her architectural works, including the E-1027 house and Tempe à Pailla, are celebrated for their modernist aesthetics and innovative design principles. Despite periods of obscurity, Gray’s work has been rediscovered and appreciated in recent decades, affirming her place as one of the most influential designers of her time.
Early Life and Education
Eileen Gray was born Kathleen Eileen Moray. She spent her childhood in Brownswood, County Wexford, dividing her time between Ireland and London. In 1893, her mother inherited a peerage from a Scottish uncle, becoming Baroness Gray, where Eileen and her siblings adopted the surname Gray.
Gray’s formal education in the arts began at the Slade School of Fine Art in 1898, where she studied drawing and painting. Her father, James McLaren Smith, was a landscape painter, which likely influenced her decision to pursue fine arts. However, her studies at Slade did not captivate her. Instead, she developed a fascination with Japanese and East-Asian lacquerware during her visits to the Victoria and Albert Museum near her home in Kensington.
In 1902, Gray moved to Paris to study drawing at the Academie Julian, but she soon shifted her focus to screens and panels, considering them more “useful”. She sought out Japanese lacquer master, Seizo Sugawara, who agreed to train her in the technique. Gray dedicated herself to the craft, taking a particular interest in red Negoro lacquer, a minimalist style dating back to the 12th century, which she combined with maki-e, a technique of sprinkling lacquer on the work and dusting it with decorative powder to create the design.
Gray’s early works often featured figurative details. She later created glossy screens that fused traditional Japanese craftsmanship with the abstract geometric principles of De Stijl, a Dutch art movement active after the first world war. These pieces quickly brought her work to the attention of the Paris avant-garde.
Eileen Gray’s Design Philosophy
Eileen Gray’s design philosophy was a blend of practicality, innovation, and aesthetic sensibility. Her approach was human-centered, focusing on the needs and experiences of the people who would interact with her designs. This philosophy was evident in her furniture designs, where she prioritized functionality and comfort alongside visual appeal.
Gray’s design philosophy was also influenced by the concept of “Total Design.” This approach, shared by other notable designers such as Arne Jacobsen, Frank Lloyd Wright, Le Corbusier, Charles Rennie Mackintosh, and others, emphasizes the integration of all elements of a design project, from architecture to interior design to furniture and minute details. Gray’s application of this concept is evident in her architectural projects like E-1027, where every element from the building to the bespoke fittings and furniture, are carefully considered and designed to create a harmonious whole.
Gray’s approach to modernism was grounded in lived lives. She rejected the rigid rationality and “hygienic” austerity of modern architecture’s leading figures, advanced most vocally by Le Corbusier. “The poverty of modern architecture,” she wrote, “stems from the atrophy of sensuality. The dominance of reason, order and math leave a house cold and inhumane.”
Her designs were tailored to unique personal needs and particular storage or room requirements. The E-1027 table, for example, was designed for her sister to eat breakfast in bed without getting crumbs in the sheets. This focus on the user’s experience and needs is a hallmark of Gray’s design philosophy.
Career in Design
Eileen Gray’s career in design was marked by a bold, nonconformist approach and commitment to modernity. After moving to Paris Gray began her career as a lacquer artist. She was drawn to the austerity of the material and the meticulous craftsmanship it required. Her early works were characterized by their luxurious lacquer finishes and intricate designs.
In 1919, Gray received her first commission for interior design, a project that led to the creation of her famous lacquered “block screens”. These screens, with their geometric forms and glossy finishes, showcased Gray’s innovative use of materials and modernity.
In 1922, Gray opened her own furniture store, the Galerie Jean Desert. Her work began to convey a stronger sense of modernity, characterized by rational geometric forms and unconventional use of materials. One of her most iconic pieces from this period is the Non-Conformist Chair, a brilliant formal play on the concept of asymmetry.
The Adjustable Table E1027 was also significant. This side table, also asymmetrical, demonstrated the rational principles of modernism that increasingly defined her work. The table’s design allowed for height adjustment, reflecting Gray’s commitment to creating functional, user-centered designs.
In 1927 Gray began to focus more on architecture. However, she continued to create minimalist furniture for her architectural projects, demonstrating her holistic approach to design.
Transition to Architecture
Eileen Gray’s transition from design to architecture was a progression of her creative journey. Her interest in architecture was sparked during her time in Paris, where she was surrounded by a community of architects and artists. This career shift was a gradual evolution, reflecting her growing interest in the spatial and structural aspects of design.
Gray’s first architectural project was the design and construction of the E-1027 house, located in Roquebrune-Cap-Martin in France. Built between 1926 and 1929, E-1027 was a collaborative project with her then-partner, Romanian architect Jean Badovici. The house is an example of Gray’s innovative approach to architecture, prioritizing the needs of the inhabitants, designing the house from the inside out. This was a contrast to the prevailing architectural philosophy of the time, which often prioritized the exterior façade over the interior layout.
E-1027 incorporated elements of Le Corbusier’s ‘Five Points of a New Architecture’, such as the use of pilotis (supporting columns), a roof garden, and strip windows. However, Gray’s design also reflected her unique vision, with furniture designed specifically for the inhabitants.
Gray’s transition to architecture was a change in medium but also a shift in her creative philosophy. She began to see architecture as a way of shaping the human experience. This approach to design is a defining characteristic of Gray’s architectural work.
Following E-1027, Gray continued to explore architecture, designing several other notable works including the Tempe à Pailla, a house she built for herself in the early 1930s.
Notable Works
Eileen Gray’s legacy in design and architecture is marked by several innovations.
- Bonaparte Armchair: Elegant and minimal, this armchair combines plush upholstery with sleek lines, epitomizing Gray’s ability to merge comfort and aesthetics.
- E-1027 Adjustable Table: A functional table designed with an adjustable height feature.
- E-1027 House: This house deviates from the typical modernist homes of its time by adapting to its occupants through integrating moving screens with fixed walls and incorporating adjustable and tiltable furniture.
- Villa Tempe a Pailla: A villa in Castellar, France, showcases Gray’s innovative use of space and light, with its open plan design and large windows.
- Lou Pérou: A rustic retreat in the South of France, reflects Gray’s ability to blend modernist principles with the natural environment.
- Bibendum Chair: This unique and striking chair is characterized by its large, tubular form, offering style and comfort.
- Roquebrun Chair: Evidence of Gray’s innovative design approach, this chair features a corset-like leather wrap fastened by laces or springs on its back and underside.
- Occasional Tables: With their glossy tops and bases, these tables reflect Gray’s early career as a lacquer artist. They are available in a round and square eversion, and versatile for use in living rooms, bedrooms, reading rooms, offices and more.
Legacy and Recognition
Eileen Gray’s legacy and recognition has declined and resurged throughout the years. Despite periods of obscurity, her innovative designs and pioneering approach have left a lasting impact on design and architecture.
In the mid-20th century, Gray’s work fell into relative obscurity, overshadowed by other design movements and figures. However, in recent decades, there has been a renewed appreciation for her contributions. The revival of interest in mid-century modern design and the reassessment of women’s contributions to the field have played a significant role in bringing Gray’s work back into the spotlight.
Today, Gray’s designs are highly regarded and sought after. Her original pieces can be found in prestigious collections worldwide. Major institutions such as the Centre Pompidou in Paris and The Metropolitan Museum of Art in New York display her original works, recognizing her significant impact on the field of design. These collections showcase the breadth of Gray’s talents, encompassing furniture, interiors, and architectural projects.
Gray’s enduring influence is also notable in the record-breaking auction price achieved for her Dragon’s Armchair. In 2009, the chair sold for $28 million, making it the most expensive chair ever sold at auction. This record-breaking price underscores the value and desirability of Gray’s designs in the market.
Gray’s legacy also extends to her contributions as a lacquer artist and her involvement with the Union des Artistes Modernes (UAM). As a member of the UAM, she participated in promoting modern design and advocating for its recognition as an art form. Her engagement with the UAM further solidifies her role as a key figure in the modernist movement.
Eileen Gray FAQs:
Why is Eileen Gray famous?
Eileen Gray is famous for her innovative and pioneering designs in furniture, interiors, and architecture. Her work reflects an understanding of human needs, a commitment to functionality, and a unique aesthetic sensibility.
What is Eileen Gray known for?
Eileen Gray is known for her iconic furniture designs, such as the Bibendum Chair, Roquebrun Chair, and E-1027 Adjustable Table. She is also recognized for her architectural projects, including the E-1027 house and Villa Tempe à Pailla. Gray’s designs are characterized by elegance, modernity, and detail.
What style is Eileen Gray?
Eileen Gray’s work can be associated with various design styles, but she is particularly known for her contributions to the modernist movement. Her designs embrace modernist principles while displaying elements of Art Nouveau and the avant-garde. Gray’s unique style combines rational geometric forms, luxurious materials, and a human-centered approach to design.
What is the significance of the E-1027 house?
The E-1027 house is one of Eileen Gray’s most significant architectural works. Designed in collaboration with Jean Badovici, it represents a departure from the prevailing architectural philosophy of its time. The house prioritizes the needs of its inhabitants, featuring innovative spatial planning, integrated furniture designs, and a harmonious integration with the surrounding environment. It exemplifies Gray’s forward-thinking approach to architecture and her holistic vision of design
What is the Dragon’s Armchair?
The Dragon’s Armchair is a renowned furniture piece designed by Eileen Gray. It is characterized by its sculptural form, inspired by the shape of a dragon. The chair showcases Gray’s mastery of materials and her ability to merge comfort and aesthetics. In 2009, the Dragon’s Armchair set a record $28M auction price for a chair, highlighting its desirability in the design world.
Eileen Gray’s innovative designs, commitment to functionality, and unique aesthetic sensibility have solidified her place as one of the most influential figures of the 20th century.
Her human-centered design philosophy, which emphasized the needs and experiences of users, continues to resonate in the field of design today. Her approach to “Total Design,” integrating all elements of a project into a harmonious whole, has influenced subsequent generations of designers.
In the 21st century, Gray’s relevance remains strong. Her designs are celebrated for their timeless elegance and their ability to adapt to evolving design trends. The principles she championed continue to shape contemporary design practices.
The rediscovery and appreciation of Gray’s work in recent decades have sparked renewed interest in her designs. Major institutions now house collections dedicated to her original work, recognizing her significant contributions to the field. Gray’s original designs continue to be sought after by collectors and serve as a source of inspiration for designers and architects.
Eileen Gray’s lasting impact on design and architecture, her continued relevance in the 21st century, and the admiration and recognition she receives all attest to her status as a design icon and a visionary pioneer.