The Eames DCW Chair, an abbreviation for the Dining Height (D) Side Chair (C) on Wood (W) Base. The all plywood chair was finally released in 1946, designed by Charles Eames and manufactured by the Evans Molded Plywood Company.
Years of designs and prototypes were finally developed and refined in 1946 to give four choices of adult chairs ready for the general market. The DCW was joined by a very similar lounge chair version with more laid-back sitting position (LCW) as well as metal leg dining (DCM) and lounge (LCM) variants. The series was very much a glimpse of future Eames Office projects in being the first to use changing base options with the same seat structures. Although the bases on the plywood series would be fixed, the theme of using interchangeable bases would be seen successfully on the Plastic and Wire Series.
The Eames DCW Side Chair sold most of its numbers in Calico Ash and Birch however the chair was offered in a wider variety of wood veneers than perhaps people are aware of. The chair was also available with fixed upholstery in leather and slunk skin and after Herman Miller bought the Evans Plywood Division in 1949 it introduced further chair color dyes and upholstery designed by Alexander Girard.
As the 1950’s moved on, newer materials were becoming available and the demand for wood-based products was shrinking. With the DCM and LCM selling more and having a ‘modern’ look, with metal as well as plywood, it was decided in 1953 to discontinue production of the DCW, hence the relatively low numbers of vintage versions.
After forty one years, in 1994, Herman Miller re-issued the DCW chair and to this day are back amongst the most popular of eames chair designs.
|Seat Height||17.5”||44.45 cm|
|Top||5 Layers of Molded Plywood, glued and with Rubber Shock Mounts|
|Base||Matching, 5 Layers of Molded Plywood|
|Feet||None, Alu Inserted Foot Rests|
Generations of designs are a mere natural evolution of a product over the years. They are certainly open to interpretation and act only as a guide in helping to authenticate, age and ultimately value an original piece. No production could ever be entirely defined as there will be cross overs and overlaps as well as introduced changes. Our interpretation of generations reflects on the best known differences and changes.