Tell us about your background and how it led to “Coast Modern.” I work as a freelance art director, music producer, and more recently, a filmmaker based in Vancouver, BC. I’ve made numerous records and singles for Nordic Trax Records available on vinyl and in the iTunes Store.

I got a little burned out from the club scene around 2005 and embarked on making a film to cleanse my palette and try something new. I was becoming more and more obsessed with mid-century design and architecture and wanted to get to the bottom of it. After working five years part time with my co-director Mike Bernard, we released “Coast Modern” in May 2012 to a receptive worldwide audience. The film has taken us to festivals in Italy, New York, Toronto, Boston, Montreal, Portland, and New Zealand, to name a few. We play LA this June 4 at the Hammer Museum and we’re designing a DVD package with some great bonus materials and a booklet for a June 2013 release. The film is also on its way to the iTunes Store this July. Big shouts to our producer Leah Mallen at Twofold Films and editor Peter Roeck. We haven’t screened in Michigan yet, so maybe Herman Miller could put on an event in Zeeland…

Tell us about yourself and your work: what you’re passionate about, what inspires you, and where you’re going. I’m inspired by my family, nature, music, and food. I like when technology reaches a point where it can facilitate creativity on a large scale. In the early 90s, MIDI technology, affordable computers, and discarded 80′s drum machines came together in a way that made making records at home possibility. Kids around the world pushed electronic music to new levels and I got involved with that and still continue to explore it.

More recently, the DSLR video/high-speed Internet combo and platforms like Vimeo and WordPress have given aspiring filmmakers the ability to produce incredible-looking work independently. I love the Internet and the possibilities that it creates, but I also believe in turning it off. Kids need to learn how to build a raft after a two-day hike into the mountains.

Describe your space. What’s your aesthetic? What do you like or dislike about it? We just moved into a great old Post & Beam in West Vancouver that we’re renovating. It’s classic open plan with an incredible connection to the outside. In the office, we’ve done simple plywood built-ins for records and a long shared table for everyone to work around. My wife Jody should actually be featured here — she has a great aesthetic and the ability to bring ideas to life. We’re soon building a detached music “shed” in the garden out of some renovation scraps, which is very exciting — modernism at its best, intended to connect people to one other and to nature. We’re just building on that 95-year-old idea. One thing I would love is a sunken living room. Why did those go out of style? Bring back sunken living rooms!

You have a few pieces by Charles and Ray Eames in your space. Why did you choose them? We bought our first Herman Miller piece (an Eames Sofa Compact) about 14 years ago while living in Boston. We’ve since added a few other classic Herman Miller pieces both new and used. Every time we add another piece it’s a considered decision that will be with us for life.

The thing about buying authentic Herman Miller is you only have to buy it once. Cheap knock-offs are an insult to everyone — the designers, the manufacturers, the craftspeople that build them, and the landfills they ultimately occupy. Authentic furniture can be expensive, but every piece we buy will serve our entire lives, my daughter’s life, and if we decide to sell it, someone else’s life. Buy something once and get on with living.

Photos: Tina Kulic

1. Beautiful photography of modern interiors captured by Michael Wells via Plastolux.

2. This interview with brothers Ronan and Erwan Bouroullec on the Magis Facebook page.

3. Impressed by the launch of the new home decor site Domaine (and glad to see its love for Charles and Ray Eames).

4. Inspired by clue #4 in our “Everywhere in Your Day” contest: “Insane Photos Snapped From Kites” from Architizer.

5. “Brilliant Words of Advice from 14 Great Graphic Designers” (including Charles Eames) via Co.Design.

6. Contemporist’s feature on the simple elegance of Casa Sulla Morella by Studio Cittaarchitettura in Castelnovo di Sotto, Italy.

7. The fluorescent shades of green, yellow, and blue in this sports hall design in the Netherlands by Slangen + Koenis Architects (via Dezeen).

8. “Bold, punchy, in-your-face sculptures” by artist Matt W. Moore featured at It’s Nice That.

9. Interior Design‘s look back at the ”greatest hits” of Maharam, the textile company recently acquired by Herman Miller.

10. Don’t forget: May 5 is the last day to enter for a chance to win in our “Everywhere in Your Day” contest. Click here to find out more.

Featured in photo: Eames Desk Unit, Eames Storage Unit, and Eames Molded Plastic Chair by Charles and Ray Eames

In 1939, while working at the Cranbrook Academy of Art, it was Charles and architect Eero Saarinen who explored the first single-shell expression, using molded plywood, through their Kleinhans Chair design. They did not have the ability to produce its three-dimensional curves, however. In 1941, Charles and Eero once again took on the concept of a molded-plywood single-shell chair, placing entries in the Museum of Modern Art’s “Organic Design” competition. They won first place, but once again, could not produce their design due its manufacturing difficulties.

That same year, Charles and Ray, who had met at Cranbrook, married and moved to California. There the couple experimented with their own plywood-molding techniques in attempts to render a three-dimensional, curved form. Along the way, their efforts yielded stretchers, lightweight, stackable leg splints (1942), and a glider seat (1943) for the U.S. Navy during World War II. While they learned much from these developments, they still had to cut and score the veneer in order to manipulate it.

When the war ended, Charles and Ray applied their plywood-molding process to the concept of a mass-produced chair that found comfort in dimensionally shaped surfaces instead of cushioned upholstery. When plywood still could not withstand the stresses of a single-shell form, they created a chair with separate molded-plywood panels for the back and seat: the Eames Molded Plywood Chair (1946).

By 1948, the duo returned to the single-shell form, entering a prototype in stamped metal in the Museum of Modern Art’s “International Competition for Low-Cost Furniture Design”; it won second place. The design was heavy and expensive to produce, however, so Charles and Ray investigated something new: plastic, a lightweight material that could be molded into organic shapes to conform to the body. The result in 1950 was the single-shell Eames Molded Plastic Chair, the first-ever mass-produced plastic chair.

Through the years, Charles and Ray — believers that their designs should be refined — allowed this chair to continue to evolve. Among its changes and updates: in the late 1980s, fiberglass-reinforced plastic shells were found less suitable for the environment. Ray and Herman Miller discussed discontinuing the chairs, and in the early 1990s, Herman Miller ceased production. By 2000, after exploring more sustainable solutions, the company reintroduced the design, sourcing it from Vitra in 100% recyclable polypropylene.

This year, the landmark design takes another step forward in its journey as the Eames Molded Wood Side Chair. This new expression of the classic introduces wood material to the form for the first time. Today’s 3-D veneer technology slices the wood into spaghetti-thin strips and then glues them back together — giving the material the flexibility to be curved, molded, and shaped into Charles and Ray’s ever-evolving, single-shell design.

The Eames Molded Wood Side Chair is available now in the Herman Miller Store. Want to try your luck in our “Everywhere in Your Day” contest? Click here.

Give us a little information on your background. I’ve been a freelance illustrator and letterer since graduating from Sheridan College’s renowned Illustration program in 2001. Like most young illustrators starting out I needed a day job in order to make ends meet. So for a few years, I worked full-time as a wiretapper with one of Canada’s largest police forces and moonlighted as an illustrator. Talk about a contrast of worlds. Eventually the illustration gigs picked up enough that I could leave the day job and completely focus on my career.

Tell us about yourself and your work: what you’re passionate about, what inspires you, and where you’re going. For as long as I can remember, I’ve always been drawn to vintage things that have character, good design, and a story, whether it be a guitar, tools, products, or random found objects. I like keeping myself surrounded by those types of things because I find them inspiring and they’re kind of like a receipt for a good story. I guess that’s the artist in me coming out, as well as my upbringing. Coming from a family full of carpenters and woodworkers has heavily influenced the way I create; layering and meticulously working with my chosen materials. The deeper into the digital world we get, the more I desire to produce hand-crafted work. Lately, my focus has been on combining the illustrator side of me with the carpenter side of me, hoping that I can satisfy both of those needs while still making the kind of art that I enjoy making. I’m not sure where it will lead to, but that’s the direction I’m currently heading.

Tell us about your space. What’s your aesthetic? What do you like or dislike? What would you change if you could? For years my workspaces were always tucked away in a corner of my living room. So when I bought my house four years ago, it had an unfinished basement which I renovated in order to give myself a dedicated studio. I also built a larger work area for miscellaneous projects, as well as a workshop. My actual studio space is fairly basic but I love it because it’s comfortable enough to hold everything I need to create work and to relax when I need to. As much as I love having my studio in the house, it’s getting tougher and tougher as my young family grows.

You have an Aeron Chair in your space. What do you like about it? Why did you choose it? I love the Aeron. Without a doubt, it saved my back. The vintage wooden secretary’s chair that I used to use looked amazing, but it was causing damage to my back. A friend turned me onto the Aeron convincing me a good ergonomic chair was a wise investment; he couldn’t have been more right. I also use an Eames Molded Plastic Chair at my painting station.

Photos: Darren Booth; bottom photo – Todd Fraser

Tell us about yourself and your work: what you’re passionate about, what inspires you, and where you’re going. I am an illustrator, educator, and maker of things based in Portland, Oregon. I have been a full-time professor for the last nine years and have been making work about consumption for the last decade. The freelance illustration component came along shortly after I started my daily purchase drawing project in 2006. I have three jobs and they fuel each other and couldn’t exist without the other. The following things make me happy: insane collections, John Waters, PeeWee Herman, Steve Martin, maximalism, Louie Armstrong, design that doesn’t look like it was designed, the movie “True Stories,” “Rhoda,” handmade objects found in thrift stores, Carol Burnett, yard sale signs, my grandmother.

You’re in a new workspace. Why did you move? What’s different in this office? Since the last time my space was featured on Lifework, I moved my workspace out of my apartment, which was a brilliant move. It is so nice to have our living room back — ha! Currently, I share a space with five other illustrators/designers (Will Bryant, Clifton Burt, Jason Sturgill, and Tina Snow Le). Our studio is in an old Ford Motor Factory in Portland and we have a tiny corner of the second floor. The ceilings are high and the light is good. I am a happy girl.

You have a vintage Eames Molded Plastic Chair at your desk. Why did you choose it? I scored that wonderful chair from my friend Frank Chimero before he left Portland for New York City. This chair currently acts as my computer desk chair. This space also marks the first time I have had TWO desks. I currently draw on my grandmother’s drawing table. I compute at a different desk beside my drawing table. I do have a small laptop on my drawing desk, but that is also the laptop I travel with and take with me to school. It is easy to put away. The 27-inch iMac is a bit harder to work around. I can’t speak enough for designated work stations. SO GOOD. Also, I love that dang yellow Herman Miller chair. It makes me feel smarter as I do my screen work. Also, it has casters. Every object that touches the ground should have casters. FACT.

Photos: Kate Bingaman-Burt

1. A quick tour inside the Ray Eames exhibit at the California Museum in Sacramento via Esoteric Survey.

2. Le Prado, a warm, welcoming home near the beaches of Marseilles, France, spotted by Design Milk.

3. More from Marseilles, this time from Contemporist: the simple and elegant Vieux Port Pavilion by Foster + Partners.

4. Co.Design’s peek inside a new book on Irving Harper, who designed Herman Miller’s logo and contributed to the design of George Nelson’s Marshmallow Sofa.

5. A surprising house design by Aires Mateus in Leiria, Portugal, found at I Need a Guide.

6. The Makoko Floating School project by NLÉ architects at designboom.

7. Remodelista’s roundup of “smart and skinny” houses in Japan.

8. Great shots by photographer Alan Wanzenberg at Plastolux. (We’re fans of the nicely lit image of a pair of Eames Walnut Stools.)

9. This chat with David Calvin Laufer, who presents interviews with George Nelson, Charles and Ray Eames, and Buckminster Fuller, among others, in his book Dialogues with Creative Legends and Aha Moments in a Designer’s Career (via Peachpit).

10. The renovated LeRoy Neiman Center at the School of the Art Institute of Chicago. Be sure to check out its interesting combo of Eames designs and colorful Caper chairs. (Via Retail Design Blog.)

Featured in photo: Eames Molded Plastic Chair; Eames Aluminum Group Management Chair; Nelson X-Leg Table

Charles and architect Eero Saarinen, and then Charles and Ray together, had experimented with a single-shell form for several years before Charles and Ray submitted a design in stamped metal in the Museum of Modern Art’s 1948 “International Competition for Low-Cost Furniture Design.” Their entry received second place. Its heavy, neoprene-coated form proved costly to produce, however, so Charles and Ray turned their attention to something new: plastic. They soon found that the exciting material could mold into organic shapes and comfortably conform to the body, allowing their design to do more with less.

In 1950, it was this iteration that Herman Miller made available, marking the arrival the first mass-produced plastic chair. It did not, however, mark the end of the evolution of the seating. Since its launch, the Eames Molded Plastic Chair has continually benefited from the Eames process of exploration and refinement. Details like shock mounts, color and height options, base variations, and use of upholstery have welcomed enhancements. Manufacturing processes have been closely monitored and modified. And in the late 1980s, when new findings showed fiberglass-reinforced plastic shells to be less suitable for the environment, Herman Miller and Ray Eames discussed discontinuing the design; in the ’90s, the chairs officially ceased production. After investigating sustainable solutions, however, Herman Miller and the Eames family reissued the seat in 2000 in 100% recyclable polypropylene.

This chair, like its designers, has been on a continual journey. Now, the design takes its next step forward using 3-D veneer technology, a process that provides the additional flexibility wood veneer needs to be molded into complex curves — and take on the classic form as a single wood shell.

This new expression, the Eames Molded Wood Side Chair, honors the organic shapes, sleek lines, and honest materials of Ray and Charles’ classic work — and its introduction beautifully represents Herman Miller’s longstanding commitment to the Eames vision of continued exploration, refinement, and discovery. Find out more about the new chair here, and look for it to be available soon in the Herman Miller Store.

A number of years ago, Herman Miller conducted research on the “natural preferred habitat,” which are places that our prehistoric ancestors sought to settle in while they were hunting and gathering. In these spaces, they looked for certain features with benefits. One of these was a wide, distant view. With this view from your habitat, you would get a lot of information, like where your resources were located; whether or not danger was approaching; and if there was a clear path available if you needed to move.

As part of the research, we applied this attribute — a view from the natural preferred habitat — inside that of a built environment. We found humans still have this longing for a wide, distant view, just like our prehistoric ancestors. We still want to put ourselves in a place where we can see out and not be seen. This is due to all the helpful information that a view can give you.

As humans, we are also innately attracted to nature (biologist and researcher E.O. Wilson coined the term “biophilia”)—it’s in our genetic makeup and our genetic memory. We have an affinity to and seek comfort in nature, and when we have views of it, it enhances our well being. In fact, there have been studies done in the healthcare arena that indicate that when patients have a view of nature, they heal a lot quicker and don’t need as much medication.

There may be more attention given to nature nowadays because our lives are more hectic. We are always online, always connected, always on, 24/7. It has put us in this continual state of partial attention to everything, without focusing on anything. And that does cause stress. Anything you can change in your surroundings to alleviate stress is healthy — and making sure you have a window view to nature is one of the best, most human things you can do.

- As told to Amy Feezor

Find the above featured Nelson Swag Leg Desk, Eames Molded Plastic Chair, Aeron Chair, Setu Chair and other inspiring furnishings for an elegant and intelligent office in the Herman Miller Store.

1. The inspiring South Yarra Pool House in Victoria, Australia, featured on Contemporist.

2. “The 12 Trends That Will Rule Products in 2013” by Co.Design.

3. This infographic on 29 Ways To Be Creative at DesignTAXI.

4. How do you feel about Yahoo’s move to end work-from-home arrangements for its employees? (Via The Wall Street Journal.)

5. A look at architecture in movies via Architizer.

6. The exhibit on Louis Kahn — one of the 20th century’s most influential, and lesser-known, architects — featured at The Guardian.

7. Tommaso Sartori’s haunting photos of furnishings in a concrete-constructed modern home at Plastolux.

8. Minimalissimo’s peek inside photographer Nicholas Alan Cope’s upcoming book “Whitewash,” which explores the minimalist urban architecture of Los Angeles in black and white.

9. The U Hostel in Madrid (via Ideas to Steal) makes it tempting to consider backpacking around Europe again.

10. The thoughtful details in the Buenos Aires home of architect and chef Marcia Krygier at FvF.

Featured in photo: Paso Doble Chair Outdoor; Eames Wire Base Low Table Outdoor; Nelson Pedestal Table Outdoor

1. “The Untold Story of How the Aeron Chair Was Born” at Co.Design.

2. 12 backyard office pods from Inthralld.

3. Designs by Charles and Ray Eames (molded plastic chairs, an Eames Aluminum Group Side Chair) found by Automatism.

4. Jauntsetter’s tour of Zubehaus, the upstate New York home owned by Fab.com founder Bradford Shellhammer.

5. This clip from 1967 featuring Walter Cronkite previewing 21st-century technology — and his foreshadowing of how it could change the way we work at home — via FORA.tv.

6. Six things to know when setting up a home office from Kiplinger.

7. The light and airy home of Jesper and Majbritt in Copenhagen, Denmark, spotted by Lovenordic Design Blog.

8. ArchDaily’s look at Interstice, a settlement house from the 1930s rehabilitated by Fabi Architekten BDA in Regensburg, Germany.

9. The just-opened AETHER shop in San Francisco made entirely of shipping containers (and decorated with a pair of Eames Lounge Chairs) via The Fox Is Black.

10. Normann Szkop’s inspiring aerial photos of tulip fields in the Netherlands at Colossal.

Featured in photo: Eames Sofa; Eames Wire Base Elliptical Table; Eames Molded Plywood Lounge Chair with upholstered seat and back

1. Pop Photo’s look at this intriguing Polaroid SX-70 camera promotional video created by Charles and Ray Eames in 1972.

2. The spacious Casa Fray León by 57STUDIO in Chile (via Plastolux).

3. This thoughtfully designed apartment interior by Egue & Seta in Santa Caterina, Spain, found at Contemporist.

4. This glittering installation in Oslo featuring 8,064 floating LED lights (via Inhabitat).

5. Could this prefab sleeping cabin at Design Milk make an interesting home office?

6. Inspired by the imagination behind this “giant” concept for electrical towers in Iceland (via Inthralld).

7. All of the home-office eye candy at minimaldesks.com.

8.  The tour of this beachy home belonging to Kirsty Davey and Simon Taylor at the Design Files. (Their home office — and Eames Molded Plastic Armchair — is in the photo above by Brooke Holm).

9. “Living Small in an Architectural Landmark, Brooklyn Edition” at Remodelista.

10. We’re saying goodbye and thank you to our sister blog Discover this week. Its influence will still be a felt here at Lifework, however: its popular “Eye Delight” and “Sighted” posts will become some of our regular features — so stay tuned for more inspiration to come.

Photo: Brooke Holm / The Design Files

As is quite clearly stated on his website, J. Zachary Keenan makes “marks for personal and profitable endeavors”. Keenan, who shares a South Minneapolis studio with his wife Caitlin as well as two original Eames chairs, makes marks that include everything from logo, identity and print campaigns, to product design, illustration and even music production. His music tastes cover just as much ground, as you’ll hear in this week’s Playlist.

What do you listen to while you work?
Everything, literally. Motown, garage rock, jazz, shoegaze, folk, Hawaiian, etc. Almost anything that’s been released from the Ghostly International label finds it’s way into my work day.

How do you listen?
A pair of Grado Labs SR 80 headphones—really light, so I can wear ‘em for long stretches of time. And the open-air design let’s me hear what’s going on around me (like my son waking up from his nap in the next room).

Do you have any favorite music websites/providers?
After years of organizing and archiving a combination of MP3s and vinyl, I’m almost embarrassed to admit that Spotify has become my one-stop-shop for just about everything.

Does music influence your work?
It does. Not necessarily in aesthetics—maybe more so in attitude. Music is always an important part of the studio environment, but never just playing “in the background”. I hope that the creative work I produce plays a similar role in people’s lives.

Where do you find music recommendations? Who influences your musical taste?
Most of my friends and family have really great musical tastes. I think the seasons have the biggest influence on what I’m in the mood to hear.

What song or artist best represents the work you create?
Bruce Springsteen & The E Street Band. I’m not saying that I’m anywhere close to that amazing. But I like to think that I have a similar value in craft and work ethic. And I’ll take “timeless” over “new hot” any day.

Ideal place to sit and listen to your playlist:
The ideal place to sit and listen to my playlist is an Eames Walnut Stool (in “A-shape” configuration) — because you may be sitting and listening, and then you might want to get up and dance.

J. Zachary’s Playlist:
1. Small Axe, Bob Marley & The Wailers
2. Shuffle, Bombay Bicycle Club
3. I Confess, The English Beat
4. Faded High, Gayngs
5. Lufuala Ndonga, Konono N°1
6. Police & Thieves, The Clash
7. Vapour Trail, Ride
8. Atlantic City (cover), The Hold Steady
9. Romulus – Sufjan Stevens
10. Asleep, The Smiths
11. Island, IS, Volcano Choir
12. Like Gold, Erlend Øye

Photos: Caitlin Keenan

Shared office space in Atwater Village, Los Angeles, CA

A group of like-minded creatives (a photographer, videographers, graphic designers, and a DJ) call this loft studio in LA their work home. With its “mid-century modern meets the desert” style, it features a brightly-hued array of designs by Charles and Ray Eames, such as their Molded Plastic and Molded Plywood Chairs. (Photos: Bethany Nauert)

Curiosity Shoppe, Austin, TX

Distinctively-cool downtown Austin gets a little more curious with the arrival of this collective space, a multimedia outfit housed in a converted warehouse that’s packed with timeless Eames pieces, including a Wire Chair and Wire Base Elliptical Table. (Photos: Chris Perez)

The Design Office, Providence, RI

Independent designers work side by side in this downtown-Providence-based studio, which features a vintage-modern look led by designs like the Aeron Chair and the Eames Hang-It-All. (Photos: Sarah Rainwater)

Original post by Chris Perez. Used in partnership with Apartment Therapy Tech.

Designer Nitzan Cohen used his confident He Said Chair and its quieter partner, the She Said Chair, when creating the interior of the cafe-restaurant TABLE at the Schirn Kunsthalle art gallery in Frankfurt. (Photo: via Mattiazzi)

Chef Alain Ducasse choose Sam Hecht and Kim Colin’s graceful Branca Chairs for Mattiazzi for the tables at his Rech restaurant in Paris. (Photo: via Mattiazzi)

The distinctive Osso Chair by brothers and designers Ronan and Erwan Bouroullec for Matiazzi have found a home at the new St. Helliers Cafe, Bar, and Bistro in Auckland, New Zealand. (Photo: Babiche Martens)

A classic by Ray and Charles Eames — their Molded Plastic Side Chair — serves up style and comfort at the organic and sustainable Toast restaurant in Oakland, CA. (Photo: toastoakland.com)

Top photo: restaurantpaustian.dk; Restaurant Paustian in Copenhagen

Jeff’s work ranges from product and experience design, to designing Evernote’s building and physical workspaces. Previously Jeff founded the SF office for Hamburg-based Factor Design, launching products for Apple, Google and Coca-Cola just to name a few. Take note of Jeff’s diverse work and listening habits in our first Playlist of 2013.

What do you listen to while you work?
I usually need to listen to music that is more ambient so I can keep my thoughts straight and do the writing I need to for my work. My early years were spent listening to groups such as the Austrian duo Kruder and Dorfmeister. I also lived and worked in Berlin during the early 90′s when this kind of music and techno was booming.These early experiences made it easier for me to enjoy a wider range of music today.

How do you listen?
At the office, when I am working on a deadline or if I have uninterrupted work time in the evening, I will wear my basic Apple ear buds so I can still hear the ambient noise around me while signaling to others “I’m busy.” At home, I have multiple Sonos speakers set up throughout the house so my wife and I can listen to music in say, the dining room, and the kids can listen to their music downstairs while they are playing. In addition to being a great wireless system for an old house, the desktop and iOS controllers make the Sonos system perfect for a connected family like ours.

Do you have any favorite music websites/providers?
I have been a happy paid subscriber of Spotify since their launch in 2010. Buying music one song at a time through iTunes is too prohibitive and kills the discovery process for me. The lack of control with other subscription services such as Pandora and Internet radio services are annoying. I really appreciate the flexibility and the control Spotify affords. Plus, the Sonos system integrates seamlessly with Spotify.

Does music influence your work?
I rely on music more to help push me to get work done rather than provide inspiration or open up new avenues of exploration. I have been fortunate to work with and meet some famous rock-and-roll photographers on a few projects, ranging from the launch of the Apple iPod to some charity work we did through my studio, Factor Design. The most notable of those photographers was Jim Marshall, the famous photographer responsible for iconic images such as Johnny Cash flipping the bird, the last shot of the Beatles coming off the stage at Candlestick Park in San Francisco, and thousands more. We did pro bono work for a Multiple Sclerosis organization in San Francisco Jim steadfastly supported up until his death called “MS Friends.” MS Friends held a Rock and Roll photography gala and auction twice a year and we designed the identity and promotions for it. Meeting many of these photographers and hearing stories about touring with bands like Led Zeppelin, the Rolling Stones, the Doors, and others illuminated decades of musical history for me and make the images that much more vivid to me.

Where do you find music recommendations? Who influences your musical taste?
Now that there are third-party apps that are integrated within Spotify, I like to use many of those to help find new artists and broaden my horizons. I frequently listen to the We Are Hunted app which features emerging artists.

What song or artist best represents the work you create?
On a purely aspirational level, someone like Peter Gabriel. I grew up with his music and the stories they presented. As an artist, he has clearly been on a life-long quest to listen, learn and recast himself based on his experiences and influences at every given stage of his life. You certainly would not call him one-dimensional.

Ideal place to sit and listen to your playlist:
Kicking back in the Eames Lounge Chair and Ottoman, MCL black leather with oiled walnut. It’s relaxing and comfy and is the perfect place to listen and think — regardless of how comfortable the couch might be.

Jeff’s Playlist:
1. Dirty Little Secret, The Chevin
2. What’s The Matter, Milo Greene
3. Ho Hey, The Lumineers
4. Escape in the Afternoon, French Films
5. It’s Alright, Matt & Kim
6. Daniel, Bat For Lashes
7. Sun, Two Door Cinema Club
8. Demons, Imagine Dragons
9. Love Is Greed, Passion Pit
10. Aeolus, Freelance Whales

Photos: Jeff Zwerner

Book cover designer and lifestyle blogger Anna Dorfman showed us not one, but two home offices: the first in a small rental apartment in Brooklyn, and the second in upstate New York, where she and her husband are slowly renovating an 1891 Victorian row house. (Photo: Anna Dorfman)

Architectural photographer David Lauer gave us a tour of his new mid-century-built home in Denver, complete with a home office centered around bold color choices, like his green Mirra Chair. (Photo: David Lauer)

This weekend-getaway workspace belonged to J3 Productions and Happy Mundane’s Jonathan Lo, who is normally based in Orange County, CA, but instead opted to rent a “second office” near the beach in San Diego for the summer. (Photo: Jonathan Lo)

A sunny view and an original Eames Wire Chair passed down by her grandparents made up this tour from photographer-turned-designer Jennifer Levy of CAVdesign. (Photo: Jennifer Levy)

Artist Laura Hughes let us take a look at her combination home/workspace (Aeron Chair included) in the middle of Manhattan. (Photo: Laura Hughes)

Makoto Mizutani and Ben Luddy — better known as the brains behind multidisciplinary design practice Scout Regalia — let us take a peek at their living space/company headquarters in the Echo Park neighborhood of Los Angeles. (Photo: Scout Regalia)

We found out just how organized the workspace of a professional organizer can be with this step inside the home office of Justin Klosky, founder and Creative Director of O.C.D. Experience, a bi-coastal organizing service. (Photo: Justin Klosky)

Photographer Clark Lara introduced us to a space filled with modern Herman Miller designs — check out the Embody Chair, Eames Molded Plastic Chairs, and Eames Storage Unit just in the one photo above — as well as his scene-stealing dog, Cooper. (Photo: Clark Lara)

Singer, songwriter, producer, photographer, cinematographer, and director Thomas Piper Jr. showed us around his home workspace in Bedford-Stuyvesant, Brooklyn. (Photo: Thomas Piper Jr.)

Food writer and co-author of The Kimchi Cookbook Olga Massov gave us a glance at her Brooklyn home office (as well as her well-stocked kitchen). (Photo: Amy Feezor).

Our SAYL chairs fit nicely in the newly-built backyard office shed shared by organizer Vanessa Hayes and her husband Dan, a technology/marketing/media consultant, in San Antonio, TX. (Photo: Vanessa Hayes)

Kiwi-born and London-based designer and illustrator Marcia Mihotich — who collaborates with the likes of Industrial Facility and other arts-related organizations — opened the doors to her live/work space, which includes a cushy Eames Soft Pad Management Chair. (Photo: Marcia Mihotich)

Tell us about yourself: what you’re passionate about, what inspires you, and where you’re going. I’m inspired by people who roll with the punches and who aren’t afraid to constantly reevaluate where they are in life and where they’re headed. The older I get, the less I worry about making plans or setting goals for myself, and the more I focus on making sure I’m happy and comfortable with where I am right now. Working in the book publishing industry right now means having to constantly adapt my skills as a designer to constantly-evolving formats. Ultimately, my job is to get people to read more books — whether that means a printed volume on a shelf or something that’s downloaded to an iPad. My heart will always lie with the physical, printed book format, but I’m also excited to see where we’re headed in the world of digital publishing.

How are your spaces set up? Where do you do most of your work? And what would you change if you could? I work for a publishing company in an office building all week long at my 9-to-5 job, so I don’t have a lot of control over my primary workspace. Fortunately, my department is set up in a big, open space surrounded by windows overlooking midtown Manhattan — I think I’d have a hard time being shut in an office or sitting in a cubicle all day.

If I’m being honest, most of my freelance work and blogging time happens on the sofa. I have a desk set up in the apartment that doubles as a dining table, but I seldom sit there unless I really have to concentrate and do a lot of writing. At the house, we have an office set up that doubles as a recording studio for my husband, a technologist and musician. The desk is made from my father’s old drawing table, and sitting at it to work always feels very special.

As I get older, my back doesn’t really appreciate how much time I spend working on the sofa, so I really need to be better about working at a proper desk! The one thing I can’t do is work amongst clutter. I know a lot of artists and designers like to be surrounded by inspirational images, but I find that kind of stuff distracting — aside from my computer, I really just want a notepad, a glass of water, and maybe a dog or two nearby.

You have several pieces by Charles and Ray Eames. Why did you choose them? I’ve been collecting vintage Eames shell and wire chairs since we bought our house — there’s an embarrassing number of them stacked up in our basement. They really do look great in old houses! I love the contrast between the ornate Victorian details of our house and the smooth, rounded curves of the shell chairs. I’m always on the lookout for new (old) Eames chairs to bring home and rehabilitate. They’re classics, and they go with everything. They’ll never go out of style.

Aside from the vintage Eames chairs, we also have a large Eames Storage Unit (ESU) in our dining room. It holds everything — extra cups and plates, candle holders, placemats, cookbooks, our telephone, magazines, tools, office supplies, you name it. And, of course, we have a couple of Eames Hang-It-Alls, which truly do function as their name promises.

Do you have other Herman Miller pieces? At my day job, I sit in an Aeron chair for hours on end. The Aeron really has become the gold standard among ergonomic office chairs, and for good reason. As someone with various joint and nerve issues, I can’t say enough good things about what a difference it has made in terms of comfort in my daily life.

Photos: Anna Dorfman. The Brooklyn apartment appears in the first two photos; the remaining are from the home in Newburgh.

1. The can’t-be-missed photos in “LIFE With Charles and Ray Eames: The Simple Art of Beauty” at life.time.com.

2. A look at the Miller House archives at The Fox Is Black.

3. The eclectic Copenhagen home of designers Camilla Ebdrup and Andreas Stenmann at Design*Sponge.

4. The clever Architecture for Dogs site, including Konstantin Grcic‘s design for a poodle.

5. In other Konstantin Grcic news, his Medici Chair for Mattiazzi recently won the Icon Award 2012 for “Best Furniture Design.”

6. 10 Beautiful Buildings Shaped Like Triangles from Flavorwire.

7. This design-focused gift guide from the Society of Publication Designers.

8. The sleek new Ovale cutlery designed by Ronan and Erwan Bouroullec at Dezeen.

9. This color-packed Romanian home design featuring Eames Molded Plastic Chairs and Wire Chairs (via Decoist).

10. The Domus Civita renovation project (complete with grottos and caves) by Italian architecture firm Studio F at ArchDaily.

Photo: Francois Dischinger for Herman Miller / Medici Chair Outdoor by Konstantin Grcic for Mattiazzi

Each hybrid synthesizes essential traits from two “parents” of differing typologies; for example, a set of bookshelves combined with the stepped form of an arena results in the book-arena, which doubly functions as storage and seating for office-wide meetings. Other hybrids include the tree-chair, mountain-offices, house-table, and sky-cave …. This conceptual intertwining of interior office and exterior world expands the experiential possibilities of inhabitation. To sit in a chair as if inside a tree, or occupy a table as one would a house, is to prompt a rethinking of how we exist with objects and environments. One’s fundamental notions of dwelling and working are consequently upended, yet simultaneously clarified.

This larger idea of merging solutions within the office space has already won Ogosta the AIA Los Angeles Next LA Honor Award 2012 as well as recognition in several publications. But the details also got our attention: the project’s light, airy setting incorporates several designs by Charles and Ray Eames, such as Eames Aluminum Group Management Chairs, Eames Molded Plastic Chairs, and Eames Molded Plastic Armchairs with Rocker Bases — all in white. We asked Ogosta why he selected these styles and color. “It was important that the seating be compatible with the limited palette of wood and white materials for the project,” he stated. “The various Eames chairs seemed to complement the project’s furniture hybrid-objects, as they have a simplicity which does not distract from the overall space.”

Also considered? Charles and Ray’s California connection. Explained Ogosta, “The project also aims to internalize and clarify the surrounding areas of Los Angeles — its natural forms, its urban character, and its cultural openness — so including Eames chairs seemed appropriate given that they are indigenous creations of Southern California.”

See more of Hybrid Office here and at edwardogosta.com.

Images: edwardogosta.com

1. The Selby’s latest tour featuring illustrator Richard Haines and student Ji Tan in Brooklyn.

2. This look at Belgium-based graphic designer Davy Dooms’ apartment at Plastolux (and in the photo above by Niko Caignie).

3. The Eames Molded Plastic Chair reimagined for the reDesign 2012 gala at the Textile Museum of Canada.

4. “4 New Reasons (As If You Need Them) to Justify Working from Home” per U.S. News & World Report.

5. This cheery roundup of brightly colored front doors at Design Milk.

6. The Case Inlet Retreat by MW/Works Architecture in Puget Sound, WA, featured at TheCoolist.

7. Charming Eames toys spotted at EamesDesigns.com.

8. Skyscrapers designed to make you happy if you work in them via Co.Exist.

9. Creative home library designs at Decoist.

10. Yves Béhar’s “Designing for the Future” talk at the Chicago Humanities Festival.

Photo: Niko Caignie / Plastolux

Give us a little insight on your background. I’m originally from Wisconsin and graduated from UW-Madison with a Bachelor of Science in Art. I was artistic from a very young age. At about age 12, I got very interested in the then-new home computer technologies of the early 80′s. I grew up right along with the rapid advancement of computer graphics. As there was no computer graphics major at the time, I took to many forms of art, including photography. I also had a strong interest in architecture and studied some of that curriculum. I landed a job at a local computer graphics company before graduating. The company grew rapidly and I helped develop software (from the artist viewpoint) that was widely used in the movie industry. It wasn’t long before my ambition caused me to pack up and move to L.A. I started working in the visual effects industry just as it was blossoming. This was 1992. I rose to a supervisor level and worked on over 20 major movies during my film career. The last film I worked on is “The Life of Pi” directed by Ang Lee, which comes out November 21.

How long have you been a photographer? Well, I’ve been a photographer on the side ever since college, but started thinking about it as a serious career change a few years ago. I had the opportunity to study with and assist one of world’s leading architectural photographers, Tim Griffith. This really took my work to the next level and I knew I was ready to go full time. The gradual transition has allowed me time to acquire the costly cameras, tilt-shift lenses, lighting, and computer equipment necessary for the best results. I also feel my 20-year experience in supervising the fine details of film visuals really gives me an edge to produce outstanding architectural photography in which details and precision are paramount. Today’s best architectural photography requires extensive post production, which is very similar to compositing in the visual effects field.

While Los Angeles has world-class architecture and is responsible for my love of mid-century modernist architecture in particular, I felt a desire to explore life in a new city and the mountains of Colorado came calling. I now live in my own mid-century home in Denver. I quickly went to work as a top photographer for the regional magazine Modern In Denver. It’s allowed me to meet many people in the design industry here and I look forward to the rapid growth of my business.

Tell us what you’re passionate about, what inspires you, and where you’re going. My admiration for the modernist architects and seeing their work firsthand in California really ignited my interest in architectural photography. I studied the works of great modernist photographers: Julius Shulman, Ezra Stoller, Ernie Braun, and Balthazar Korab. Photographers such as those give me plenty of inspiration to continue to fine-tune my craft. Although a much smaller market than Los Angeles, Denver has many fine architectural firms and the city has a booming art scene and really great restaurants. I appreciate how the smaller size makes the city more accessible than the wide sprawl of LA, not to mention less traffic! I still have ties to Los Angeles and enjoy going back from time to time. As my business grows, I look forward to more traveling assignments in other markets.

In addition to architectural work, I also shoot landscape photography and plan on more gallery showings of those pieces. The Rocky Mountains offer spectacular and endless amounts of subject matter.

Were there any special considerations that influenced the set up of your office? What do you like or dislike? It’s a great, comfortable space. I didn’t need a large office but wanted to have enough room to allow a seating area for clients. I kept it simple and tied it with the rest of the house by including some mid-century pieces. The carpet and painted walls are neutral with bright-colored furniture and pop artist Roy Lichtenstein prints. I brought a bit of the Pacific Ocean to Colorado with my seven-foot photographic print on canvas by artist Olivier Pojzman. The vantage point not far from where I lived in Marina Del Rey. I confess I miss the ocean. I make my own fine-art prints on an Epson pro wide-carriage printer. Quality prints are great to show architectural clients. As my business grows, I’ll be looking to move into a larger commercial office space. It would be nice to stretch out a bit more and have access to an outdoor area.

You have both a Mirra Chair and an Eames Lounge in your space. Why did you choose them? One of the companies I worked for in Los Angeles supplied Aeron Chairs for all the employees. I fell in love with them. I went to a local supplier intending to purchase the same and came across the Mirra Chair. I really liked the aesthetic difference and the color options… the lower price didn’t hurt either. I decided on a green one to go with my DWR Nine.Two.Five office furniture. I also often work on my laptop in my Eames Lounge Chair. I’ve had it for over 10 years now. It’s great when people that don’t know about such an iconic furniture piece still fall in love with it immediately. It’s definitely my favorite place to sit in the house!

Photos: davidlauerphotography.com

1. This before-and-after look at a full home renovation (check out those kitchen chairs) at Design Sponge.

2. This article about design and innovation by Continuum’s Gianfranco Zaccai — subject of one of our recent “Why Design” videos — at Co.Design.

3. Dwell and City Modern’s recent tour of Brooklyn homes.

4. This smile-inducing photo at the Be Inspired Tumblr.

5. The home of Italian architects Marcello and Maria Pia Zappador spotted at emmas designblogg.

6. Inc’s advice on how to stay inspired at work.

7. 10 emerging architecture firms to watch, per Flavorwire.

8. Artist Junya Ishigami’s helium-filled Cuboid Balloon in the Museum of Contemporary Art in Tokyo (via The Fox Is Black).

9. Contemporary Taiwanese style showcased at Freshome.

10. The amazingly playful concept of an “urban moon bounce” across the Seine in Paris via Architzer.

In above photo: Eames Aluminum Group Executive Chair, Nelson Pedestal Table, Eames Sofa, and Eames Elliptical Table.

Rustum’s biggest indulgence: his vintage Eames Molded Armchair from the early 1950s.

A white Eames Molded Plastic Side Chair with an “Eiffel Tower” wire base balances the bold color of the room’s surroundings.

An impressive vintage lighting collection complements the unique space.

An Eames Hang-It-All stands watch over the area dedicated to working and living.

More white seating, this time in the kitchen area, using a pair of Eames Molded Plastic Side Chairs with wood dowel bases.

See more of the tour at Apartment Therapy Tech.
By Gregory Han. Photos by Rustum Babayev. Used in partnership with Apartment Therapy Tech.

Spotlighting Eames-made material never exhibited before (much of it rare), this show at the PM Gallery and House takes a look at the creative process the pair — and architect and a painter — used to meet the needs of each design project they undertook. (“Recognizing the need is the primary condition for design,” Charles once said.) The exhibition runs through November 3. Per the Eames Office, plans are in the works to bring the show to Santa Monica at the end of 2013.

Get details at ealing.gov.uk. For an insightful video overview from the BBC featuring Charles and Ray’s grandson Eames Demetrios and curator Carol Swords, visit bbc.co.uk.

Image: hermanmiller.com/discover

You started your photography studio in 2005. What led to that point? I started out photographing weddings in college. Several of my classmates did not see the “art” in shooting weddings, so they would turn those kind of projects down. I personally thought it was a great way to gain experience. I wound up contacting other photographers in the area and shadowing them as well. I talked with all types: a horse photographer (yes, that is a thing), studio portrait photographers, wedding photographers, press photographers with the Houston Chronicle, and even a crime scene photographer. Working with these different types of photographers helped me to find what I was good at.

I shot on the side for quite a few years. Soon, after getting tired of working outside sales for a mobile company, I decided to jump in feet first and see if I could run a successful studio.

Tell us what you’re passionate about, what inspires you, and where you’re going. Of course, I am passionate about photography; but deeper than that, I would say I am passionate about people. I want to give my clients not only great images but also a great experience. I always tell my friends that I want my clients to choose me because of me — my personality and my work, not because I fit their budget. Inspiration for me comes from everywhere. Other photographers in my area inspire me, as do graphic designers and movies. As for where I am going, I honestly just want to keep photographing weddings and hopefully do more destination weddings.

Tell us about your space. Were there any special considerations that influenced its set up? What would you change if you could? My current space was designed with Eames and Herman Miller furniture in mind. My previous studio was a 100-year-old farmhouse that was designed for my clients’ needs only. It was great and it had a lot of character, but I didn’t feel like it expressed me as a whole. So when it came time to move, I knew I wanted all new (and some vintage) furniture for the place. The new studio is located in a warehouse/business complex. There are several other creatives in the complex, which helps with inspiration. I love the concrete floors, but do not like that I am the second floor.

Why did you chose these particular Herman Miller pieces? My first Herman Miller pieces were the four vintage orange Eames molded fiberglass chairs. I knew I wanted them at my meeting table. I love how the orange pops and how it reminds a lot of people of their old school chairs. My favorite is the Eames Storage Unit (I will never let that one go). It is very versatile, has plenty of storage, and is a piece of art in itself. And I like that I can move my Nelson tables around easily and rearrange the seating areas.

I knew I wanted original Herman Miller pieces and not knock-offs. I scoured Craigslist, garage sales, storage auctions, and business furniture liquidators. I chose these pieces because they function as art; to me, they are not just chairs — there is a lot of nostalgia there.

Photos: Clark Lara

1. What’s the perfect Bohemian interiors furniture accent? Eames Molded Plastic Chairs, says Bohemian Treehouse.

2. Your daily transit is in the cards with Norman Ibarra’s repurposed Metrodeck playing cards. (Via Core77)

3. Jägnefält Milton takes rail transit and city planning down a completely new track.

4. Tour the Portland-inspired Midori.so, a new green (sustainable and covered in ivy), co-workspace in Shibuya, Tokyo. (Via Spoon & Tamago)

5. Dwell’s Olivia Martin considers the individuality of designer Ray Eames.

6. Fast Company profiles Herman Miller’s sleek and strong AGL Table Group, designed by Leon Ransmeier.

7. Ease into your weekend with David Garland’s look into the musical equivalent of mid-20th century modern design, on WNYC.

8. Arnold Newman’s portraits offer us an intimate look into the lives of Charles Eames and other artists. (Via WSJ)

9. Check out these light and lively workspaces for kids on Apartment Therapy.

10. Photographer Shawn Clover seamlessly merges present day San Francisco with its well-shaken 1906 ancestor on Colossal.

Featured in the above photo: Eames Molded Plastic Armchairs and Eames Molded Plastic Side Chairs

What year was TP1 established? What led to that point? TP1 was founded in 2005. Up until then — and for most of his career — our founding partner Jan-Nicolas Vanderveken had been a freelancer. It has been suggested that he launched TP1 because he was tired of working alone in his basement.

Along with fellow founding partner Joseph Blauer, he assembled a team of 35 strategists, designers, and techies who combine their strengths to communicate in new ways — and inspire others to do the same. TP1 stands for “Tous pour un,” which is French for the Musketeers’ motto, “All for one!”

Tell us about TP1: what you’re passionate about, what inspires you, and where you’re going. We love great design, new ideas, and cowboys. We like vintage posters, architecture, retro video games, playing Rock Band, Lego, karaoke, drinking beer, and jamming with the TP1 band (we’re music lovers, as you probably guessed). We also really like fearless clients.

Last year, we organized the agency into teams. Instead of being grouped by specialty (strategy, user experience, design, project management, and technology), TP1 is now organized into five small, multi-disciplinary teams comprising a variety of talents to deliver great products. The teams even have names: Shaolin Racoons, Apaches, Right Clique, Magic, and The Jedis. This structure greatly influenced the way we designed the space.

Tell us about that space. What do you like or dislike? What would you change? We wanted a space as creative as we are. That is, a space that could feed — and accommodate — the creativity that fuels everything we do.

First, we selected the building. We wanted an older, but well-maintained location with a lot of natural light. We found everything we wanted in the Castle Building, located in the heart of downtown Montreal. The owner is great to work with, and we even got a rooftop patio.

Despite the very tight turnaround time, the design team at Moureau Hauspy (MHAD) proved up to the challenge. The proposed design concept was resolutely transparent, with well-lit open spaces. Apart from a few closed, but glassed-in offices, the rest of the workspace is entirely open, with five distinct areas for each of our five teams.

The walls are mainly white, although a few are black slate for functional reasons (to display various projects and activities, and for brainstorming). The concrete floor has been left untouched, other than a simple tarnish. This gives the space an urban, industrial look, which is complemented by touches of wood for a warmer atmosphere.

Most of the furniture was custom designed by the MHAD team. A few of the wooden tables, including one in the conference room, were made ​​from recycled bowling alley wood. A “pixelier” — or a three-dimensional flipboard with multi-coloured sides — was installed in the entrance to the agency. It establishes a connection between the visitors’ waiting area and the rest of the workspace. Employees create original images by spinning the small cubes according to colour, making the “pixelier” a unique way to showcase our potential for innovation.

Special attention was given to lighting, both natural and artificial. Workstation lighting is avant-garde and flexible. We installed a system of pulleys, coloured cables, and sockets above each workstation, enabling each employee to adjust their own desired level of lighting.

The layout also includes a large lounge and dining room with kitchenette. Comfort was one of our priorities. And although TP1’s DNA is firmly digital, ideas are still born from old-fashioned words and images. To help keep the creativity flowing, MHAD created an “atelier” room with walls you can write on. Blackboards and white boards cover three of the walls, while the fourth is partially converted into a floor-to-ceiling cork board. The conference room is also primed for productivity with just-right ergonomics and a style that retains the building’s original cachet.

We wanted to create an open, uncluttered, minimalist, functional workspace capable of expressing our collective identity and supporting the team’s vast creative potential.

What we like the most about it? The rooftop terrasse, windows that actually open, the natural light, the “pixelier,” the fact that it can be turned into a great party space (awesome speakers and central sound system) and our amazing Simonelli Appia espresso machine.

There’s not much to dislike. After using the space for a few months, there were a few adjustments that needed to be made, such as the acoustics in one of the conference rooms and a lack of storage space for coats and boots during our Canadian winter.

You have SAYL Chairs in your space. Why did you choose them? The SAYL Chairs are probably the first thing we selected for the new office. There was a demo at MHAD, given to them by Herman Miller’s Montreal branch, and we found the chair to be extremely comfortable and surprisingly well priced. We were also impressed by the fact that the SAYL won a Core77 design award. The Google Montreal office might have even copied us — we spotted a few SAYLs in their new space!

We like that they’re very comfortable and firm, perfect as a work chair, and offer good value, an amazing warranty, and original design. We’ve recommended it to others, and even loaned a few to one of our clients while they waited for delivery of their own.

Do you have other Herman Miller pieces in the office? Eames Aluminum Group Management Chairs (mesh model for the boardroom and leather model for Jan-Nicolas’ office). Great, timeless design. There’s nothing not to like about them. We also have a couple Nelson Platform Benches and some Eames Molded Plastic Chairs.

Lastly, are there any gadgets, desk accessories, or apps that TP1 can’t do without? An orange Link task lamp by Pablo, a Tivoli Model One radio, TODO Blackboards by Erratum Design, the beer fridge (always stocked with McAuslan’s beer, a local brewery). As for apps, we’re avid Foursquare users (don’t forget to check in when you visit). And post-its!

Click here to see a video on TP1’s move into this relatively new space in October 2011.

Photos: Cindy Boyce

Above: The “terrace” in Konstantin Grcic’s Munich studio, a spot where he and his team can step outside for a breather and relax in their choice of chairs, from Grcic’s own Chair One and Myto designs to classic Plastic Molded Side Chairs by Charles and Ray Eames.

Photo by: Oliver Mark / Dwell

Yesterday’s tour of thelab, a media arts company based in the Chelsea neighborhood of Manhattan, gave just a taste of the impressive interior design of the space. Take a video tour to get an even better sense of how it incorporates some Herman Miller classics — Eames Aluminum Group Management Chairs, an Eames Sofa Compact, Eames Molded Plastic Chairs and Molded Plywood Coffee Tables — as well as contemporary designs like Aeron.

Video: Courtesy of thelab