Vintage and contemporary designs merge in this eclectic New York City home studio. Photo: Nick Keppol

Architecture and design firm Gensler’s downtown Chicago office in the Louis Sullivan Building stays true to the look and style of the iconic architect’s work. An open work plan and light, agile seating encourages flexibility and collaboration. Photo: Gensler

A view of London from the contemporary digs of Actis, made more comfortable thanks to the Aeron Chair. Photo: Gensler

A pair of purple Eames lounge chairs and a Central Park view from the Manhattan penthouse of architects Billie Tsien and Tod Williams. Photo: Bryan Derballa

The New York skyline from a corner conference room of the law firm Brown Rudnick. Photo: Gensler

Tired of your desk? At Autodesk you can pull up a SAYL Chair and spend some time working in a community lounge. Photo: Gensler

A classic Herman Miller coffee table and lounge chair make an appearance in this Paris home, once a convent in the heart of the city. Photo: Louis Desrosier

Matching is overrated; an Eames chair with a wood dowel base sits among an artful selection of several designs. Photo: Amy Azzarito

A beautifully renovated home nestled in the wooded hills of Marin County, California, complete with an Eames Lounge and Ottoman. Photo: Bruce Damonte

Pull up an Eames Molded Plastic Chair in this modern dining area. Photo: cargocollective.com

Eames chairs in the cool kitchenette of Pocket Gems, a mobile game developer. Photo: Bruce Damonte

Actress and future wife of sculptor Isamu Noguchi, Shirley Yamaguchi, attended the ceremony in preparation for her role in the film "East Is East."
Image © Eames Office LLC, 2012 (eamesoffice.com)

Charlie Chaplin and others enjoy the signature Eames hospitality.
Image © Eames Office LLC, 2012 (eamesoffice.com)

Mrs. Matsumoto, tea master from the original ceremony, presided over the 2012 tea ceremony event.
Image © Eames Office LLC, 2012 (eamesoffice.com)

The Eames Foundation used funds from the tea ceremony to make much needed repairs to the Eames Home in Pacific Palisades.
Image © Eames Office LLC, 2012 (eamesoffice.com)

Herman Miller Fabric Collection by George Tscherny, 1953
When George Tscherny joined George Nelson & Associates in 1953, he was an assistant and the low man in the office. A few years later, Tscherny was named the head of the graphics department and given a staff of his own. A talented designer, Tscherny proved himself by challenging commonly held notions of advertising furniture. This ad, for the Herman Miller Fabric Collection, is one noted example and illustrates Tscherny’s belief that, “Design communicates best when reduced to its essential elements.”

Herman Miller Advertisement by Don Ervin, 1961
Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.

Herman Miller Advertisement by Don Ervin, 1961
Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.

Chadwick Modular Seating by Steve Frykholm, 1981
Straight lines, neat arcs, wandering serpentines, loops, full circles—with just five simple components, the Chadwick Modular Seating could be arranged in nearly any shape. A fact made evident in this promotional poster designed by Steve Frykholm, Herman Miller’s first internal graphic designer.

Sketch by Bill Stumpf, 1989
Parodying the kinds of uncomfortable chairs he spent his career improving, designer Bill Stumpf doodled this sketch on the back of a napkin. Quickly snatched up by graphic designer Steve Frykholm, the drawing became a poster. Stumpf was widely recognized as a pioneer of ergonomic design and a long-time collaborator with Herman Miller. As co-creator of the Aeron Chair, he helped transform the very concept of sitting.

Sweet Corn by Steve Frykholm, 1970
Steve Frykholm joined Herman Miller in 1970 as the company’s first internal graphic designer. Two weeks into the job, he was asked by an executive to make a poster announcing the company’s annual employee picnic. In a moment of inspiration, Frykholm put an ear of corn in his mouth and asked a colleague to make a quick sketch. From that, he created this poster, which won an American Institute of Graphic Arts (AIGA) award.

Action Office 2 by John Massey, 1969
"A design must satisfy the problem it was conceived to solve,” explains graphic designer John Massey, “but can achieve a life of its own when the creator imbues it with a spirit.” This poster, which uses color and form to express the optimism and flexibility of an innovative product, is one such example. Massey received the American Institute of Graphic Arts (AIGA) medal in 1994.

Eames Hang-It-All by Craig Redman and Karl Maier
Despite living in different parts of the world, design team Craig & Karl collaborate daily on works recognized for their bold yet thoughtful nature. For Then X Ten, the duo opted to create a split portrait of Charles and Ray, explaining, “They were a creative force together—Charles in a bowtie and Ray with a ribbon in her hair. The Hang-It-All is integrated into the artwork, and while you don't see the whole product, you know what it is.”

Eames Molded Plywood Chair by Eda Akaltun
Under the careful eye of Eda Akaltun, old photos and other ephemera become detailed collages that invoke a sense of nostalgia. While working on this piece, Akaltun found inspiration in the playful nature that Charles and Ray Eames applied to design. “Together they created the Molded Plywood Chair, which works well in any environment.” As Akaltun explains, “The four interconnected rooms depict the chair in different contexts and, I hope, capture the couple’s playful spirit.”

Nelson Coconut Chair by Jonathan Zawada
Employing a range of approaches, Jonathan Zawada is a graphic designer whose style is ever evolving. Finding his inspiration in the “simple beauty” of the Coconut Chair, Zawada explains, “I wanted my design to draw attention to that form. I also wanted to pay homage to the directness and simplicity of Herman Miller posters from the past, while updating the visual language for an audience that lives in a world of emoticons.”

Eames Lounge and Ottoman by Petra Mrzyk & Jean-François Moriceau
Designers Mrzyk & Moriceau are becoming notorious for their mischievous black-and-white line drawings. With amorphous figures stacked atop one another and sandwiched between two Eames Lounge Chairs, their Then X Ten poster design certainly lives up to their reputation. When asked for explanation, the artists declined, stating, “We don't like to explain our work, we prefer to let people imagine what they want.”

Herman Miller Initials by Emily Forgot
Emily Forgot (the curious moniker of graphic artist Emily Alston) embraces the odd, the everyday, and occasionally the surreal to create images that surprise. Forgot’s idea for Then X Ten began with typography: “I wanted to create something familiar and nostalgic, but with letters at its core. The final design is subtle: The 'HM' is made of office panels and inhabited by surreal elements, office characters, and, of course, beautiful furniture by Herman Miller.”

Nelson Marshmallow Sofa by Keiichi Tananmi
Keiichi Tanaami is an illustrator and graphic designer widely credited with introducing psychedelic and pop art to his native Japan. Creating a poster for the Marshmallow Sofa, Tanaami describes the iconic design as floating against a backdrop of “colorful creatures wriggling in a chaotic modern world.” And he notes that the snake woman relaxing on the sofa “seems to be having fun.”

Eames Walnut Stool by Sanghon Kim
A self-described jack-of-all-trades, Sanghon Kim moves seamlessly between media in search of a strong visual language. A journey, in this case, that transports the viewer to a fantastical forest created from the repeated forms of the Walnut Stools—and home for Walnut Boy, “A character inspired by one of my daughter’s drawings and a symbol of the joyful spirit of the Eameses.”

Aeron Chair by Kam Tang
The work of Kam Tang is typified by meticulous attention to detail and constant reinvention. For this piece, Tang chose to convey the lightness and transparency of the Aeron Chair. “A departure from the padding of traditional office chairs, Aeron’s Pellicle material was like a new dawn; I wanted to capture that in my design by taking the chair out of the office and transforming it into a landscape.”

Eames Molded Plastic Chair by Felix Pfaffli
Graphic designer Felix Pfaffli can’t be held to a single style, instead he prefers experimenting and exploring new methods. Asked to create a poster for the Eames Molded Plastic Chair, Pfaffli decided on an simple approach that focuses the viewer’s attention on the form of the chair. “I realized that from a certain direction that I could transform the chair into the body of a beautiful woman with the addition of just three simple shapes.”

Setu by Genevieve Gauckler
Genevieve Gauckler is a creator of eccentric characters, which she enjoys placing in seemingly everyday situations—in this case, sitting in a Setu Chair. “I began by making some 'serious' drafts, but realized I was in danger of being seriously boring, so I decided to sit one of my characters in the chair.”

Heights don’t bother photographer Alexander Remnev, who routinely climbs tall buildings without a harness to snap dizzying photos like this one. Photo: Alexander Remnev

A young Buddhist monk demonstrates his agility in Hunan Province, China. Photo: Steve McCurry

The stacked ice bubbles of Abraham Lake in Alberta, Canada, are a rare phenomenon caused by methane gas naturally released by the lake’s plant life. Photo: Chip Phillips

The world’s smallest deer, the pudu, is just 16 inches tall and weighs 20 pounds. This baby, only one month old, is even smaller. Photo: Jose Luis Saavedra

This runaway tent was able to take flight thanks to some creative photography and a bit of digital manipulation. Photo: Laurent Chehere

Only on close inspection does this swirling, iridescent sphere reveal itself to be an ordinary soap bubble. Photo: Jason Tozer

Every morning, the giraffes of this Kenyan estate help themselves to a table of breakfast treats. Photo: The Safari Collection

The last, foggy remains of night cling to the trees high up in the Polish mountains. Photo: Boguslaw Strempel

Herman Miller Fabric Collection by George Tscherny, 1953
When George Tscherny joined George Nelson & Associates in 1953, he was an assistant and the low man in the office. A few years later, Tscherny was named the head of the graphics department and given a staff of his own. A talented designer, Tscherny proved himself by challenging commonly held notions of advertising furniture. This ad, for the Herman Miller Fabric Collection, is one noted example and illustrates Tscherny’s belief that, “Design communicates best when reduced to its essential elements.”

Herman Miller Advertisement by Don Ervin, 1961
Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.

Herman Miller Advertisement by Don Ervin, 1961
Don Ervin was a multitalented artist who began his career at George Nelson & Associates, first as a designer and then later as the office’s Director of Graphic Design. Ervin created many well-known logos, ads, and posters—including this one, an assemblage of classic Herman Miller products in black silhouettes. Its style is often replicated in advertisements today.

Chadwick Modular Seating by Steve Frykholm, 1981
Straight lines, neat arcs, wandering serpentines, loops, full circles—with just five simple components, the Chadwick Modular Seating could be arranged in nearly any shape. A fact made evident in this promotional poster designed by Steve Frykholm, Herman Miller’s first internal graphic designer.

Sketch by Bill Stumpf, 1989
Parodying the kinds of uncomfortable chairs he spent his career improving, designer Bill Stumpf doodled this sketch on the back of a napkin. Quickly snatched up by graphic designer Steve Frykholm, the drawing became a poster. Stumpf was widely recognized as a pioneer of ergonomic design and a long-time collaborator with Herman Miller. As co-creator of the Aeron Chair, he helped transform the very concept of sitting.

Sweet Corn by Steve Frykholm, 1970
Steve Frykholm joined Herman Miller in 1970 as the company’s first internal graphic designer. Two weeks into the job, he was asked by an executive to make a poster announcing the company’s annual employee picnic. In a moment of inspiration, Frykholm put an ear of corn in his mouth and asked a colleague to make a quick sketch. From that, he created this poster, which won an American Institute of Graphic Arts (AIGA) award.

Action Office 2 by John Massey, 1969
"A design must satisfy the problem it was conceived to solve,” explains graphic designer John Massey, “but can achieve a life of its own when the creator imbues it with a spirit.” This poster, which uses color and form to express the optimism and flexibility of an innovative product, is one such example. Massey received the American Institute of Graphic Arts (AIGA) medal in 1994.

Eames Hang-It-All by Craig Redman and Karl Maier
Despite living in different parts of the world, design team Craig & Karl collaborate daily on works recognized for their bold yet thoughtful nature. For Then X Ten, the duo opted to create a split portrait of Charles and Ray, explaining, “They were a creative force together—Charles in a bowtie and Ray with a ribbon in her hair. The Hang-It-All is integrated into the artwork, and while you don't see the whole product, you know what it is.”

Eames Molded Plywood Chair by Eda Akaltun
Under the careful eye of Eda Akaltun, old photos and other ephemera become detailed collages that invoke a sense of nostalgia. While working on this piece, Akaltun found inspiration in the playful nature that Charles and Ray Eames applied to design. “Together they created the Molded Plywood Chair, which works well in any environment.” As Akaltun explains, “The four interconnected rooms depict the chair in different contexts and, I hope, capture the couple’s playful spirit.”

Nelson Coconut Chair by Jonathan Zawada
Employing a range of approaches, Jonathan Zawada is a graphic designer whose style is ever evolving. Finding his inspiration in the “simple beauty” of the Coconut Chair, Zawada explains, “I wanted my design to draw attention to that form. I also wanted to pay homage to the directness and simplicity of Herman Miller posters from the past, while updating the visual language for an audience that lives in a world of emoticons.”

Eames Lounge and Ottoman by Petra Mrzyk & Jean-François Moriceau
Designers Mrzyk & Moriceau are becoming notorious for their mischievous black-and-white line drawings. With amorphous figures stacked atop one another and sandwiched between two Eames Lounge Chairs, their Then X Ten poster design certainly lives up to their reputation. When asked for explanation, the artists declined, stating, “We don't like to explain our work, we prefer to let people imagine what they want.”

Herman Miller Initials by Emily Forgot
Emily Forgot (the curious moniker of graphic artist Emily Alston) embraces the odd, the everyday, and occasionally the surreal to create images that surprise. Forgot’s idea for Then X Ten began with typography: “I wanted to create something familiar and nostalgic, but with letters at its core. The final design is subtle: The 'HM' is made of office panels and inhabited by surreal elements, office characters, and, of course, beautiful furniture by Herman Miller.”

Nelson Marshmallow Sofa by Keiichi Tananmi
Keiichi Tanaami is an illustrator and graphic designer widely credited with introducing psychedelic and pop art to his native Japan. Creating a poster for the Marshmallow Sofa, Tanaami describes the iconic design as floating against a backdrop of “colorful creatures wriggling in a chaotic modern world.” And he notes that the snake woman relaxing on the sofa “seems to be having fun.”

Eames Walnut Stool by Sanghon Kim
A self-described jack-of-all-trades, Sanghon Kim moves seamlessly between media in search of a strong visual language. A journey, in this case, that transports the viewer to a fantastical forest created from the repeated forms of the Walnut Stools—and home for Walnut Boy, “A character inspired by one of my daughter’s drawings and a symbol of the joyful spirit of the Eameses.”

Aeron Chair by Kam Tang
The work of Kam Tang is typified by meticulous attention to detail and constant reinvention. For this piece, Tang chose to convey the lightness and transparency of the Aeron Chair. “A departure from the padding of traditional office chairs, Aeron’s Pellicle material was like a new dawn; I wanted to capture that in my design by taking the chair out of the office and transforming it into a landscape.”

Eames Molded Plastic Chair by Felix Pfaffli
Graphic designer Felix Pfaffli can’t be held to a single style, instead he prefers experimenting and exploring new methods. Asked to create a poster for the Eames Molded Plastic Chair, Pfaffli decided on an simple approach that focuses the viewer’s attention on the form of the chair. “I realized that from a certain direction that I could transform the chair into the body of a beautiful woman with the addition of just three simple shapes.”

Setu by Genevieve Gauckler
Genevieve Gauckler is a creator of eccentric characters, which she enjoys placing in seemingly everyday situations—in this case, sitting in a Setu Chair. “I began by making some 'serious' drafts, but realized I was in danger of being seriously boring, so I decided to sit one of my characters in the chair.”

The Burdick Group office system.