Delightful, dainty, and functional: exactly what you can expect from Markian.
Minimalist and petite, Eames is a perfect way to display your table seasonings, condiments, or spices. Handmade locally by ceramic artist Kim Aitken, its white speckled finish is tactile, making Eames a precious addition to any table setting.
Kim Aitken is an Australian ceramicist living and working in Brisbane.
"I am a ceramic artist, a maker of pots with a studio practice in the beautiful bay area of Brisbane. I have been working with clay for over 12 years and still find it a creative challenge that inspires me. Well executed work that maintains the hand of the maker is a fundamental aspect of my artistic process.
I work with Australian Midfire clay using slipcast and hand-building techniques. Each piece may be organic in shape but is made with functionality and strength in mind and has a tactile quality while still being useful.
It is my hope that each piece is a celebration of our wonderful Australian lifestyle and brings a considered aesthetic to the homes it may go to."
Australian Midfire clay is used in the Kim Aitken by Markian range.
All pieces are food & dishwasher safe; however, they are delicate, so please handle them with care. We recommend handwashing.
Kim Aitken's pieces are mainly handbuilt. Handbuilding, the earliest known method of creating ceramics, is a technique in which one forms clay with hands and simple tools. This technique ensures each piece that Kim creates is unique and maintains an organic and tactile quality. Once the design and creation are finalised, the pieces are glazed and fired at 1240 degrees and are fully functional.
Serving tray: 110mm (L) x 85mm (W)
Pots x 2: 20mm (H) x 40mm (diameter)
Spoons x 2: 20mm (L)
“The details are details. They make the product. The connections, the connections, the connections. It will, in the end, be these details that give the product its life.” - Charles Eames
Charles Ormond Eames Jr. (June 17, 1907 – August 21, 1978) was an American designer, architect and filmmaker in professional partnership with his spouse, Ray Kaiser Eames, he was responsible for groundbreaking contributions in the field of architecture, furniture design, industrial design, manufacturing and the photographic arts.
Charles studied architecture at Washington University in St. Louis on an architecture scholarship. After two years of study, he left the university. Many sources claim that he was dismissed for his advocacy of Frank Lloyd Wright and his interest in modern architects. The university reportedly dropped him because of his "too modern" views.
Charles Eames was for several years head of the experimental design department at Cranbrook Academy of Art, Bloomfield Hills, Michigan. During that time (1939–41) he collaborated with the architect-designer Eero Saarinen on various design projects, one of which was a formfitting shell chair that won first place in the Organic Design Competition conducted in 1940–41 by the Museum of Modern Art, New York City. In 1940 he met and began working with Ray Kaiser, who was then studying painting with Hans Hofmann; Eames and Kaiser were married in 1941.
They moved to California, where they established a design firm, The Office of Charles and Ray Eames. The Eames design firm, best known for mass-producible but elegant furniture, was to powerfully influence furniture and industrial design for four decades. In 1946 the Museum of Modern Art invited Charles Eames to be the first designer to have a “one-man” exhibition of his furniture designs (he was often given sole credit for their joint efforts). The exhibition was highly successful, and the Herman Miller Furniture Company in Zeeland, Michigan, soon began mass production of their molded plywood furniture, including the iconic dining chair (DCM or Dining Chair Metal; 1945), constructed of two pieces of molded plywood joined by stainless steel tubing. Its numerous iterations, notably the plywood lounge chair (LCW or Lounge Chair Wood; 1946) as well as the different versions of the fibreglass armchair (1950) and the lounge chair and ottoman (1956), became some of the most recognized designs of the 20th century.
Following the success of their modern furniture designs, Charles and Ray turned their attention to domestic architecture to meet the postwar housing demand. The housing shortage predated the Great Depression, but the return of thousands of World War II veterans, combined with shortages in construction materials, created a real crisis. A project sponsored by California Arts and Architecture magazine, called the Case Study Houses, aimed to provide solutions to this problem by engaging young architects to design and build prototype—or case study—homes. The Eames’ contribution to this project, Case Study House #8, was built in 1951 in Pacific Palisades, California, as a family home for themselves.
In addition to graphic design, architecture, and furniture and product design, the Eameses also created innovative and groundbreaking films. Many of these were produced as corporate communications projects, such as their numerous films for IBM, while others were made at the behest of government organizations.
After Charles’s death in 1978, Ray Eames continued to work on various design projects.