In the film Charles Eames is the architect and the painter is Ray Eames, Charles is an architect school dropout who never obtained a license but despite this he is Driven by his curiosity to create or design things like those in the film, they do not know if he was an architect, designer or filmmaker. Charles is also a charismatic jerk, but he could also be incredibly inarticulate, as well as a notorious credit hoarder (claiming the entire output of the Eames office and its dozens of young creatives as his personal work). He was also prone to capricious hiring and firing. Ray is a painter and sculptor, she has been described as a painter who rarely painted. She paints what surrounds her, everything she touches she transforms into something magical. She can move things around her easily and beautifully, she saw everything like a painting. She knew what was art and what wasn't. Ray would always have Charles's back, she helps him whenever he calls her like what Charles said: "Anything I can do, she can do better." Charles was very dependent on his aesthetic genius. The husband-wife power brought to their partnership. Together, their work helped shape the second half of the 20th century and remains culturally vital and commercially popular today. They were America's most influential and important industrial designers. They showed that design could be an art of manipulating ideas. They inspired people to look at the world differently. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Dedicated to the freedom of the imagination, Charles and Ray refused to hold regular meetings – the kiss of death for creatives from around the world – but were able, through a mixture of charm, energy and talent, to design what they really wanted, even for the formidable companies they worked with in the late 1950s, including Boeing, IBM, Westinghouse and the US government. In the 1950s, IBM called in Eames' office to solve the problem, Charles and Ray were sent in to humanize it. They made an animated film in 1957 called "The Information Machine." They completed large and small projects for IBM, the most daring project was the 1964 Pavilion where they used a 1.2 acre experimental space consisting of 21 screens. When Charles did the "Mathematica" exhibit for IBM, as creative as it was, it was an attempt to make people understand what a computer could do and that it was not a dangerous monster that would turn their lives into a number. By introducing the first molded plywood chair in 1946 for the American furniture company Herman Miller, Charles and Ray Eames brought playfulness and color to Modern Movement design. I think they are the most influential designers of the 20th century thanks to Charles and Ray Eames. , labels like “architect,” “artist,” and “designer” were not boxes into which to confine one’s practice, but interchangeable lenses through which to view problems, solutions, and the world at large. They provide what people need, they observe who they wanted to serve, who vary in terms of shapes and postures, they learn from what they do like in the Eames chair, they let the design flow from the learning (In structural design, it is often the connection that provides the key to the solution). I think that this attitude, and also the attitude that the.