Charles + Ray Eames APH 494/598

The Design School
Arizona State University
Charles + Ray Eames
APH 494/598
Max Underwood
TTh 10:30-11:45 Design South 137
Spring 2016
office TTh 1-2 Design South 307
APH 598: Charles + Ray Eames (3 credit hours)
“Examination of the Office of Charles + Ray Eames, their masterworks, and the specific personal and
cultural forces which shaped its evolution. Case studies/field trips. Professional level standing or
permission of the instructor.”
“True education is the habitual contemplation of greatness.”
Alfred North Whitehead, Dialogues 1953.
1
One of the most challenging questions that every student and professional intern faces during in their early career is:
How shall I practice? To assist them in answering this difficult, multi-layered and far-reaching question I developed the
Great Practice seminar in 1997. Each seminar has offered students and professional interns an opportunity to examine in depth
one significant design practice over the duration of a semester. The inspiration for these seminars sprang out of my own
experience of working in the Office of Charles and Ray Eames, and my extensive field research on the practices of Louis Kahn,
Luis Barragán, Tadao Ando, Peter Zumthor and Rem Koolhaas (OMA/AMO).
During the course of the semester, as the organization, growth and evolution of our selected practice is discussed, many key
issues will arise, which include: How do these designers understand, envision, and facilitate change in the profession? How do
they get their clients? How do they organize and manage their design work? What are their daily working relations with clients,
consultants and contractors? And, what is it about this practice that enables them to move from simply being a good practice to
great practice? It is my goal to provide each student with a model of professional excellence and practice that they fully
understand and can strive to emulate in their own life and professional career.
The Office of Charles and Ray Eames (1941-1988)
"The Eameses have so strongly influenced the way we sit, store things, build, play, communicate, teach, learn, and think,
it would almost seem that the diversity is their genius. Not so. What their genius represents is not merely minds versatile enough
to move in many directions, but minds so wholly centered that it brings precisely the same talent and experience to bear upon
problems that seem vastly different from each other. It is that unity of approach that lets us see the quintessential Eameses in
almost anything they do - whether it's an astronomy lesson or physics or a chaise lounge or a film."
Ralph Caplan Herman Miller: Adventures in Design lecture.
Charles and Ray Eames dedicated their lives to the endless search for connections, which celebrate the experiences of life and the
evolving nature of things, which surround us. Practicing in the dawn of the television age, the Eameses realized that designers
must be prepared to redefine the boundaries of projects and engage a multitude of creative activities. The breath and depth of
their creative work is simply staggering, which includes over nine hundred designs for furniture, toys, exhibitions, films, graphics
and architecture. The hallmark of Eames design is that it simultaneously directs a process of discovery to arrive at penetrating
insight, as well as convey and celebrate those discoveries clearly to people of any age.
From 1941 to 1988 the Office of Charles and Ray Eames redefined "design" as not simply making objects, but formulating new
ways to see and embrace the richness of life around us. The Eames Office was an experimental laboratory of catalytic clutter
where an array of cultural artifacts, raw materials, tools, and a multi-talented staff were transformed at any moment by fresh
perceptions, energetic discourse and hard work. The design projects, or "design problems," as the Eameses called them, were not
solved with willful gestures or preconceived notions, but with making precise connections between situations and conditions.
Problem solving began with extensive research and observation of the multiple situations and conditions that surrounded the
artifact of inquiry. Through the "intelligence of the eye," using the tools of photography and film, a rough understanding of the
ideas and their possible intellectual and emotional connections were reached and documented. Collective analysis of these
records, coupled with more precise research and discourse with consultants and area specialists, established the critical interrelationships, constraints, boundaries and ultimately a focus for future investigations. At this point, the design exploration of the
Eames Office shifted to combine the "intelligence of the eye" with the "intelligence of the hand." Simultaneous design activities
of scale models, full-scale material mock-ups, documentary film and photography became interdependent instruments of
discovery enabling future assessment and refinement to occur. The "design problems" were always mentally and physically
absorbing, challenging and demanding. Work in the Office of Charles and Ray Eames was "a difficult form of play."
In 1985, Charles and Ray Eames were internationally recognized at the World Design Conference, as "the most influential
designers of the 20th century". Today "Eames Design" is synonymous with the word "designer," and their creative work
continues to be the measure and standard against which all designers and their work are judged.
2
objectives
"Design is it! Fifteen years ago, companies competed on price. Today it 's quality. Tomorrow it's design."
Tom Peters The Circle of Invention: You can't shrink your way to Greatness 1997.
experiencing great practice
The first educational goal of the seminar is to enable each student to experience the richness of Great Practice – this semester,
The Office of Charles and Ray Eames. Students will develop a first hand understanding of and an appreciation for why great
design happens, how it is brought about, and what it is. This will be achieved by exposing the students to the breadth of design
venues the Eames Office worked in via readings, field trips to experience the work, films, faculty lectures, and case studies.
understanding great practice
The second goal of the seminar is to have each student understand the organization and workings of a great practice, and the
specific personal, cultural, political, economic, and technical forces which shape it's evolution. This is achieved through a
series of readings, films, faculty lectures, case studies and subsequent dialogues on the Eames Office’s formation, philosophy
of practice, core moral and ethical values, office management, design and construction processes, strategies for developing
technical expertise, and strategies for adaptation to growth and change.
formulate and implement your own new collaborative practice
The third objective is to allow each student the opportunity to formulate and implement, his or her own model of great
practice, within a new collaborative design practice or “office.” Each office will be asked to develop a set of core moral and
ethical values, philosophy of practice, office organization, design process, and then implement and test its success by executing
two hands-on material investigations.
format and methodology
"We work because it's a chain reaction, each subject leads to the next."
Charles Eames Norton Lecture #5, Harvard University, 29 March 1971.
our website
https://herbergeronline2.asu.edu/eames
introduction of the Eames practice: Lectures, readings and critical dialogues
The introduction of Charles and Ray, their philosophy, office organization, design methods, and practice strategies are
accomplished through faculty lectures, group dialogues of primary source readings and film screenings. These are always
followed by intense dialogue on the contemporary relevance and significance of their design work in comparison to professional
practice today.
results of the Eames practice; the masterworks: Case study presentations and critical dialogue
In depth research of several key masterworks throughout the Eameses career are presented by each student in a case study format.
The goal of the presentations are to demonstrate how the Eames Office approached the design of a specific project and how they
responded to the specific cultural, economic, technical, and aesthetic forces that shaped their decisions. A critical dialogue of the
contemporary relevance and significance of this masterwork in relation to the Eames Office’s design methodologies and in
comparison to professional practice today will follow all presentations.
immersion in the Eames practice: a field trip to directly experience the work
One of the most powerful experiences for each student in the Eames seminar will be our field trip to Los Angeles to visit the
Eames Case Study House, original Herman Miller Showroom, Eames Office Gallery and current exhibitions. History will come to
life and be made personal as each student visits the Eames House and other sites, and experiences first hand the richness of these
landmarks of 20th century design.
formulate and implement your own new collaborative practice
One of the most important aspects of any life changing learning experience is the opportunity to reflect and apply your newly
acquired knowledge and skills to your own life and practice. This will be achieved through the creation of a series of new
collaborative practices or “offices” – comprised of 4-5 student partnerships. Each “office” will be asked to develop a philosophy
of practice, office organization, and in turn execute two hands-on material investigations, with collaborative assistance from local
manufacturers, fabricators, artisans and your office. In the past many of these new “offices” extended and challenged the
normative professional office working methods that the students had previously experienced during their recent internships.
Each student will come to understand and appreciate: why great practice happens, how it is brought about, and what it is.
3
requirements
"I don't believe in this 'gifted few' concept, just in people doing things they are really interested in doing.
They have a way of getting good at whatever it is. The American educational system never tells the student that."
Charles Eames Norton Lecture #5, Harvard University, 29 March 1971.
It is assumed that every student in this seminar will take an active role in ensuring its excellent quality.
readings
Every student should complete all the required reading (listed below) and write a précis for each reading, outlining the major
ideas and issues presented, and lingering questions raised. You should be prepared to engage in a critical dialogue of these
précis everyday. Dialogue is the art of thinking together.
dialogues
Your active participation in the seminar dialogue is mandatory, without exception, so come prepared.
Also see William Isaacs, Dialogue and the art of thinking together (New York: Currency 1999).
case study research: Oral presentation, and dialogue (individual or partnership)
After reviewing each of the proposed seminar topics, select one topic you would like to research in depth, give a presentation,
and lead our seminar dialogues. The use of distributed laser printed outlines and illustrated PowerPoint or Keynote
presentation is required. Your individual or collaborative partnership’s case study presentation and outline shall include:
I. A brief description of the selected case study – text and images.
II. What major ideas did Charles and Ray Eames explored in this case study?
III. What were the major design methods Charles and Ray Eames utilized?
IV. How were the larger connections made as the design and construction developed?
V. How were the specific elements and materials utilized and refined?
VI. Why are these specific ideas significant for contemporary design?
Each student and/or collaborative case study partnership will meet with the instructor during my office hours to review the
their draft outline and digital presentation at least one week prior to its final presentation. Submission of your final case study
presentation as a PDF for inclusion on our course website is required, for distribution within the course.
formulate and implement your own new collaborative practice: Collaborative Shop work
Upon refection Charles Eames once shared with me that, "most significant learning comes from your own primary
experiences." This simple idea - that the real moments of profound and personally significant learning most often occur when
we are deeply involved with direct, hands-on experiences with life’s real world conditions and pressing problems - will
become the focus of this semester long project assignment - the formation and field testing of your own collaborative practice
or “office.” Each “office” will be asked to develop a set of core moral and ethical values, a philosophy of practice, office
organization, design process and implement and test its success by executing two hands on material investigations.
First, in the hand tool investigation, your “office” will be asked to celebrate the nature of one single material using only hand
tools and hand techniques. Secondly, in the power tool investigation, your “office” will be asked to celebrate the nature of one
single material using only power tools and techniques. Each investigation will be serially documented with digital
photography to allow your office to establish critical distance and re-evaluate the evolving work at hand (all steps in the
process and out comes, drawings, mockups, meetings with consultants, etc). As the work progresses throughout the semester,
your “office” is required to seek out and collaborate with local manufacturers, fabricators and artisans, whose extensive
knowledge will inform and enhance each investigation and subsequent refinement.
Each office will present at our 3 pinups – a Pecha Kucha presentation (20 images x 20 sec each), and pin up 11x17” color
prints of all 20 images, which summarize: 1) your office (i.e. include your office's philosophy and core values that guide
everything you do; an office organizational – staff/collaborators and their roles; 2) your office’s design process - a project flow
chart - showing the key steps in your investigations; and 3) your proposed material investigation/s. Your office’s work will be
serially documented with digital photography to allow your partnership to establish critical distance and re-evaluate the
evolving work at hand (all steps in the process and out comes - drawings, montages, meetings, etc.).
Submission of your office’s 3 Pecha Kucha presentations as PDFs for inclusion on our course website is required.
4
text
"You have to teach children to have a genuine respect for a large number of events and objects which are not of immediate gain
to them. It is the only thing which puts a human being in a situation where they can promptly assess the next step."
Charles Eames Norton Lecture #4, Harvard University, 25 March 1971.
Neuhart, John + Marilyn
Demetrios, Eames
Demetrios, Eames
Ostroff, Daniel
Neuhart, Marilyn & John
Eames Office
Eames Encyclopedia
Eames YouTube channel
Eames Design: The Work of the Office of Charles and Ray Eames (New York: Abrams, 1989).
An Eames Primer (New York: Universe, 2001)(2nd ed – April 2013).
Eames: Beautiful Details (Pasadena: American Modern Books, 2012).
An Eames Anthology: Articles, Film Scripts, Interviews, Letters, Notes, and Speeches (Yale 2015).
The Story of Eames Furniture (Berlin: Gestalten, 2010) 2 volumes.
www.eamesoffice.com
www.eamesdesigns.com
www.youtube.com/user/EamesOffice/videos
grading
"One could be sure that in the past when a man would rise to the point of producing work of greater quality, it was not through
any conscious attempt to excel but rather because he cared about what work he was doing - he was committed to his work. This
has become something rare - because being committed means becoming involved and to become involved means giving
something of oneself. It is only the rare ones today who seem to care that much. Yet, that quality that makes for excellence - that
commitment- is more important to us today on a daily operational basis than perhaps ever before. At least one of the reasons
this is true is quite simple. The nature of the problems we face changes even as we work with them. We cannot tell from what
disciplines or from what art of preparation for the next step will come. We cannot fall back on the lore of the art because that
lore does not exist. There is however, a tradition that is held in common by natural philosophers, explorers, pioneer woodsmenanyone who is in his daily life has been compelled to face new problems. That is tradition of respect and concern for the
properties and the quality of everything in the world around them. To excel in the structuring of a problem we must be
committed to a concern for quality in everything in the world around us. We must learn to care deeply."
Charles Eames from Slide show "Excellence, G.E.M.," 1967 from Eames Design
Work in the Office of Charles and Ray Eames was "a difficult form of play." The "design problems” were always mentally and
physically absorbing, challenging and demanding for everyone involved. Such will be the case in this seminar. Once under way,
each student's level of excitement and motivation to explore the connections between the Eameses and their own personal interests
will be contagious and fueled the overall level of inquiry and dialogue. Throughout the semester, each student will be consulted and
evaluated on their personal growth, in terms of the depth of their research, quality of their intellectual inquiry, and the quality of the
work produced.
case study presentation
material investigations
In-class dialogue – daily preparedness and participation
50%
40%
10%
Late work will not be accepted
Any act of academic dishonesty, such as plagiarism, will result in your automatic failure of the course, and a final grade of XE
“failure due to academic dishonesty” recorded, which will permanently remain on your ASU transcript. Please review the ASU
Student Code of Conduct, www.asu.edu/studentlife/judicial
"Do not take any job with whose objectives you do not agree, and don't take a job as a stepping stone to something else."
Charles Eames Norton Lecture #5, Harvard University, 29 March 1971.
acknowledgments
"Choose your corner, pick away at it carefully, intensely and to the best of your ability and that way you might change the world."
Charles Eames Norton Lecture #5, Harvard University, 29 March 1971.
The overall success of this seminar lies with the many individuals who unselfishly give of their time to engage in our
critical investigation and dialogues. I would like to acknowledge the following individuals whose efforts made this seminar a
reality. This seminar is dedicated to their tireless efforts to celebrate the rich experiences of life and the collaborative practice of
design at the highest level.
Charles and Ray Eames
Lucia Eames Demetrios, Eames Demetrios, and the current staff of the Eames Office (1978-present).
The staff of the Office of Charles and Ray Eames (1941-1978), including Michael Underhill.
Ford Petros, Christina Carbone and Meg McAleer of the Library of Congress: Eames Collection.
The artisans and master craftsmen of The Design School Workshop.
Numerous local manufacturers, fabricators, and artisans who assisted the students in their material investigations.
5
readings
week I
great practice: the worlds of Charles and Ray Eames
?
Cohn, Jason
An Eames Celebration (NY: WNET, 3 February 1975) (film 90 min.).
Eames: the architect and the painter (NY: WNET American Masters 2011).
Demetrios, Eames
Demetrios, Eames
Caplan, Ralph
“Introduction” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 6-9.
"The Worlds of Charles and Ray Eames" An Eames Primer (New York: Abrams, 2001) pp. 11-19.
Connections: The Work of Charles and Ray Eames (LA: UCLA Arts Council, 1976) pp. 15-54.
Neuhart, John & Marilyn
Eames Office
Eames Encyclopedia
Demetrios, Lucia Eames
Eames Design: The Work of the Office of Charles and Ray Eames (New York: Abrams, 1989).
www.eamesoffice.com
www.eamesdesigns.com
The Films of Charles and Ray Eames (Los Angeles: Pyramid, 1989-Present) DVD & Video, 5 vols.
Smithson, Alison & Peter
Albrecht, Donald
"An Eames Celebration" Architectural Design September 1966 (Special issue on the Eames Office).
The Work of Charles and Ray Eames: A Legacy of Invention (New York: Abrams, 1997)(Exhibit).
week I
awakening consciousness
Richards, M.C.
Mau, Bruce
Leonard, George
“Centering as a dialogue” Centering (Hanover: Wesleyan, 1962) pp. 9-32.
"An Incomplete Manifesto For Growth" I.D. Magazine March April 1999, pp. 36-38.
Mastery: The Keys to Success and Long-term Fulfillment (New York: Plume, 1992) pp. 5-150.
week II
Charles (1907-1978) and Ray (1912-1988)
?
NBC Today show interview with Charles and Ray Eames 1956 (film 15 min.).
Eames, Charles
Eames, Charles
Eames, Ray
Demetrios, Eames
Demetrios, Eames
Demetrios, Eames
Demetrios, Eames
Neuhart, John & Marilyn
Neuhart, Marilyn & John
“Charles Eames” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 10-29.
"Charles Eames and St. Louis" Washington University Architecture News Winter 1998, pp. 4-5.
“Ray Eames” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 30-61.
"A Good Learner" An Eames Primer (New York: Universe, 2001) pp. 47-61.
"Painting in the Broadest Sense" An Eames Primer (New York: Universe, 2001) pp. 63-75.
"From Mexico to Cranbrook" An Eames Primer (New York: Universe, 2001) pp. 77-91.
"Charles and Ray Eames" An Eames Primer (New York: Universe, 2001) pp. 93-105.
"Charles and Ray Eames: Chronology" Eames Design (New York: Abrams, 1989) pp. 17-25.
“Charles Eames, Ray Eames” The Story of Eames Furniture (Berlin: Gestalten, 2010) volume 1, pp. 37-63.
Stewart, Doug
Goldberger, Paul
Glickman, Michael
Auerbach, Alfred
Byron, Elizabeth S.
Kirkham, Pat
Kirkham, Pat
"Eames: The Best Seat in the House" Smithsonian May 1999, pp. 78-90.
"The Eames Team" New Yorker May 24, 1999, pp. 92-99.
"Ray Eames" Architect's Journal September 7, 1988, pp. 26-27.
"Charles Eames: Reminiscences" Interiors October 1978, pp. 234-237.
"All about Eames" House + Garden February 1984, pp. 124-129 & 200.
"Early lives and works," Charles and Ray Eames (Cambridge: MIT, 1995) pp. 9-59.
"A life long Collaboration" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 61-95.
week II
goods + things
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Goods (Venice: Office of Charles & Ray Eames, 1981)(film 6 min 25 sec).
Blacktop (Venice: Office of Charles & Ray Eames, 1952)(film 10 min 47 sec).
Day of the Dead (Venice: Office of Charles & Ray Eames, 1957)(film 14 min 48 sec).
Eames, Charles
Demetrios, Eames
"Society is in Need of Craftsmanship Values" Domus 796, September 1997, pp. 62-63.
"Lotas" An Eames Primer (New York: Universe, 2001) pp. 27-33.
McCoy, Ester
Paz, Octavio
Smithson, Allison
Smithson, Peter
Kirkham, Pat
"An Affection for Objects" Progressive Architecture August 1973, pp. 64-67.
"Use and Contemplation" In the Praise of Hands (Greenwich: NY Graphic Soc, 1974) pp. 17-24.
"And now Dhamas are dying out in Japan" Architectural Design September 1966, pp. 447-449.
"Just a few Chairs and a House" Architectural Design September 1966, pp. 443-446.
"Functioning Decoration" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 166-199.
6
week III
work + play - the Eames design process
Eames, Charles & Ray
Design Q & A (Venice: Office of Charles & Ray Eames, 1972)(film 5 min 20 sec).
Eames, Charles
Eames, Charles
Eames, Charles
Eames, Lucia
Demetrios, Eames
Demetrios, Eames
"What is Design?" Eames Design (New York: Abrams, 1989) pp. 13-15.
"Design Today" California Arts and Architecture September 1941, pp. 18-19.
"Design, Designer and Industry" Magazine of Art 44, December 1951, pp. 320-321.
“Work + Play” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) p. 62-65.
"Constraints" An Eames Primer (New York: Universe, 2001) pp. 167-177.
"Modeling" An Eames Primer (New York: Universe, 2001) pp. 205-213.
Bernstein, Jeremy
McCullough, Jane
"Profile: Tsung-Dao Lee and Chen Ning Yang" New Yorker May 12, 1962, pp. 49-102.
"Some thoughts about Eames" Zodiac Volume 8, 1961, pp. 122-125.
week IV
901 – the Eames office
Demetrios, Eames
901: After 45 Years of working (Santa Monica: Pyramid, 1989) (film 28 min).
Eames, Ray
Eames, Charles
Demetrios, Eames
Demetrios, Eames
Demetrios, Eames
“Eames Office” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 66-69.
“901 culture” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 70-105.
"The Guest/Host Relationship" An Eames Primer (New York: Universe, 2001) pp. 155-165.
"901 Culture" An Eames Primer (New York: Universe, 2001) pp. 191-203.
"If the Office were an Island" An Eames Primer (New York: Universe, 2001) pp. 215-225.
Neuhart, Marilyn & John
Caplan, Ralph
Lacy, Bill
Gingerich, Owen
Halpern, Francis
McQuade, Walter
Goldberger, Paul
Webb, Michael
?
“The Eames Office” The Story of Eames Furniture (Berlin: Gestalten, 2010) volume 1, pp. 22-35.
"Making Connections" By Design (London: St. Martins, 1982) pp. 183-203.
"Warehouse Full of Ideas" Horizon September 1980.
"A Conversation with Charles Eames" American Scholar Summer 1977, pp. 326-337.
"Have a Chair, Please" Westways November 1976, pp. 30-34.
"Charles Eames Isn't Resting on His Chair" Fortune February 1975, pp. 96-105 & 144-145.
"The Keen, Loving Eye of Charles Eames" Art News October 1978, pp. 135-136.
"Playing at Work" Metropolis November 1997, pp. 68-71, 95, 97, and 105.
"Dallo Studio di Charles Eames" Domus May 1963, pp. 26-40.
week V
photography + slide shows
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Something about Photography (Venice: Office of Charles & Ray Eames, 1976)(film 8 min 32 sec).
SX 70 (Venice: Office of Charles & Ray Eames, 1972)(film 10 min 47 sec).
Two Baroque Churches in Germany (Venice: Office of Charles & Ray Eames, 1955)(film 11 min).
Demetrios, Eames
Eames, Charles
Neuhart, John & Marilyn
Demetrios, Eames
Eames, Charles
“Photography + Slide shows” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 224-261.
“Multiple images + Communication” Eames: Beautiful Details (Pasadena: Amer Modern Books, 2012) pp. 262.
Eames Design (New York: Abrams, 1989) Survey all the photography.
"An Image can be an Idea" An Eames Primer (New York: Universe, 2001) pp. 227-239.
Images of Early America (Zeeland: Herman Miller, 1976).
Colomina, Beatriz
Colomina, Beatriz
"Eames Images" Daidalos #66, December 1997, pp. 41-53.
“Enclosed by Images: The Eameses Multimedia Architecture” Grey Room Vol. 2, pp. 6-29.
7
week VI
furniture + experiments
Eames, Charles & Ray
Eames, Charles & Ray
Fiberglass Chairs (Venice: Office of Charles & Ray Eames, 1970)(film 8 min 39 sec).
Kaleidoscope Jazz Chair (Venice: Office of Charles & Ray Eames, 1960)(film 6 min 28 sec).
Hartman, Carla
Demetrios, Eames
Demetrios, Eames
Eames Office
Eames & Saarinen
Eames, Charles & Ray
Eames, Charles & Ray
Neuhart, Marilyn & John
“Furniture + Experiments” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 106-153.
"Eames Chairs: A 30-Year Flash (Part I)" An Eames Primer (New York: Universe, 2001) pp. 35-45.
"Eames Chairs: A 30-Year Flash (Part II)" An Eames Primer (New York: Universe, 2001) pp. 107-119.
"History of Plywood Development" Bonhams Eames Catalog, 11 November 1998, p. 8.
"Organic Design: Winning Furniture Designs" California Arts and Architecture Dec 1941 pp. 16-17 (MOMA)
"Three Chairs/Three Records of the Design Process" Interiors April 1958, pp. 118-122.
"Evolution of a Design" Progressive Architecture November 1962, pp. 140-144.
The Story of Eames Furniture (Berlin: Gestalten, 2010)(2 volumes) Survey all the Eames furniture.
Kaufman, Edgar
?
McCoy, Ester
Drexler, Arthur
Kirkham, Pat
"Charles Eames and Chests" Art News May 1950, pp. 36-40.
"The Eames Esthetic" Canadian Architect June 1973, pp. 56-59.
"Charles and Ray Eames" Design Quarterly #98/99, pp. 20-29 & 58-59.
Charles Eames: Furniture from the Design Collection (New York: MOMA, 1973).
The Eames Lounge Chair: An Icon of Modern Design (London: Merrell, 2006).
week VI I
house + home
Eames, Charles & Ray
Eames, Charles & Ray
House: After Five Years of Living (Venice: Office of Charles & Ray Eames, 1955)(film 11 min).
Lucia Chase Vignette (Venice: Office of Charles & Ray Eames, 1978)(film 2 min 32 sec).
Demetrios, Eames
Demetrios, Eames
Eames, Charles & Ray
“House + Home” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 340-395.
"Case Study #8" An Eames Primer (New York: Universe, 2001) pp. 131-141.
"Case Study House #8," Arts + Architecture July 1944 p. 32, December 1945 p. 43-51,
March 1948 pp. 40-41, January 1949 pp. 32-33, February 1949 p. 37, March 1949 pp. 30-31,
April 1949 p. 40, May 1949 pp. 38-39, September 1949 p.33, and December 1949 pp. 26-39.
Neuhart, John
McCoy, Ester
Papademetriou, Peter
Steele, James
Kirkham, Pat
Eames House (Berlin: Ernst & Sohn, 1994).
"On Attaining a Certain Age" Progressive Architecture October 1977, pp. 80-83.
"A Magic Box" Casabella December 1998, pp. 120-126 (Entenza House - Case Study #9).
Eames House (London: Phaidon, 1994).
"Architecture" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 97-141.
week IX
toys + games
Eames, Charles & Ray
Eames, Charles & Ray
Tops (Venice: Office of Charles & Ray Eames, 1969)(film 7 min 35 sec).
Toccata for Toy Trains (Venice: Office of Charles & Ray Eames, 1957)(film 13 min 28 sec).
Hartman, Carla
Demetrios, Eames
Eames, Charles
Neuhart, John & Marilyn
“Toys + Games” Eames: Beautiful Details (Pasadena: Amer Modern Books, 2012) pp. 187-225.
"Take your Pleasure Seriously" An Eames Primer (New York: Universe, 2001) pp. 121-129.
"Charles Eames Designs: Coloring Toy" Design November 1953, p. 53.
Eames Design (New York: Abrams, 1989) Survey all the toys.
Brooks, Geraldine
Haber, Michael
Gueft, Olga
"The Quarter-Acre Universe" New York Times Magazine 27 September 1998.
"Designed for Play" Graphis March 1958, pp. 126-130.
"For Alcoa's Forecast Program, Eames Creates a Sun Machine that Accomplishes Nothing"
Interiors April 1958, pp. 82-83.
"Children as Experts" Architectural Design September 1966, pp. 471.
"Building Toy" Life July 16, 1951 pp. 57-58.
"Functioning Decoration" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 146-164.
Holdroyd, Geoffrey
?
Kirkham, Pat
8
week X
films + communication
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Powers of Ten (Venice: Office of Charles & Ray Eames, 1968 & 1977)(film 8 min 47 sec).
Parade (Venice: Office of Charles & Ray Eames, 1952)(film 6 min).
Blackships (Venice: Office of Charles & Ray Eames, 1970)(film 7 min 40 sec).
Copernicus (Venice: Office of Charles & Ray Eames, 1973)(film 9 min 30 sec).
Demetrios, Eames
Neuhart, John & Marilyn
Demetrios, Eames
Demetrios, Eames
Eames, Charles
Eames, Charles & Ray
Eames, Charles & Ray
“Films + Communication” Eames: Beautiful Details (Pasadena: Amer Modern Books, 2012) pp. 264-297.
Eames Design (New York: Abrams, 1989) Survey all the films.
"Films as Essays" An Eames Primer (New York: Universe, 2001) pp. 143-153.
"Proposals, Sketches and Powers of Ten" An Eames Primer (New York: Universe, 2001) pp. 241-251.
"Language of Vision" Bulletin of the American Academy of Arts & Sciences, Oct, 1974, pp. 13-25.
"Eames' Film on Urban Communication" Design Quarterly #80, 1971, pp. 19-22.
Powers of Ten (New York: Scientific American Library, 1982) (www.powersof10.com).
Schrader, Paul
Schuldenfrei, Eric
Kirkham, Pat
"Poetry of Ideas: The Films of Charles & Ray Eames" Film Quarterly Spring 1970, pp. 2-19.
The Films of Charles and Ray Eames: A Universal Sense of Expectation (New York: Routledge 2015).
"Film, Multi-media and Multi-screen presentations" Charles and Ray Eames
(Cambridge: MIT, 1995) pp. 309-361.
week XI
reflections
Underwood, Max
“Inside the Office of Charles and Ray Eames” Ptah (Helsinki: Aalto Foundation, 2006) pp. 46-63.
week XII
exhibits + spaces
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
World of Franklin and Jefferson (Venice: Office of Charles & Ray Eames, 1976)(film 28 min 20 sec).
National Fisheries Center and Aquarium (Venice: Office of Charles & Ray Eames, 1967)(film 11 min).
Mathematica Peep shows (Venice: Office of Charles & Ray Eames, 1961)(film 2 min each).
Textiles and Ornamental Arts of India (Venice: Office of Charles & Ray Eames, 1955)(film 11 min).
Atwood, Byron
Neuhart, John & Marilyn
Demetrios, Eames
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
“Exhibits + Spaces” Eames: Beautiful Details (Pasadena: Amer Modern Books, 2012) pp. 298-339.
Eames Design (New York: Abrams, 1989) Survey all the exhibits.
"Mathematica" An Eames Primer (New York: Universe, 2001) pp. 179-189.
Mathematica (New York: IBM, 1961).
IBM Pavilion New York Worlds Fair (New York: IBM, 1964-5).
A Computer Perspective (Cambridge: Harvard, 1973).
The World of Franklin and Jefferson (New York: IBM, 1976).
Danilor, Victor
Kirkham, Pat
"Mathematica" Museum 1974, volume 26, #2, pp. 86-98.
"Exhibitions" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 263-307.
week XIII
graphics + textiles
Eames, Charles & Ray
Eames, Charles & Ray
Eames, Charles & Ray
IBM at the Fair (Venice: Office of Charles & Ray Eames, 1965)(film 7 min 30 sec).
The House of Science (Venice: Office of Charles & Ray Eames, 1964)(film 14 min).
Atlas (Venice: Office of Charles & Ray Eames, 1976)(film 2 min 30 sec).
Demetrios, Llisa
Neuhart, John & Marilyn
Demetrios, Eames
Eames, Charles
Eames, Ray
Eames, Charles & Ray
“Graphics + Textiles” Eames: Beautiful Details (Pasadena: Amer Modern Books, 2012) pp. 154-187.
Eames Design (New York: Abrams, 1989) Survey all graphics.
"The Newton Deck of Cards" An Eames Primer (New York: Universe, 2001) pp. 21-25.
"A Prediction: Less self-expression for the Designer" Print January 1960, pp. 77-79.
"Ray Eames" California Arts and Architecture September 1943, p. 16.
"The Eames Report" (India) Design Issues Volume VII, Number 2, Spring 1991, pp. 63-75.
Owen, Mitchell
Demetrios, Eames
Kirkham, Pat
"The Eames Splint" ACSA Annual Meeting Proceedings 1998, pp. 554-560.
Powers of Ten Interactive (Los Angeles: Pyramid, 1999) CD-ROM.
"Early Lives and Works" Charles and Ray Eames (Cambridge: MIT, 1995) pp. 38-41.
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week XIV
Eames legacy
Eames, Charles & Ray
Clown Face (Venice: Office of Charles & Ray Eames, 1971)(film 16 min 27 sec).
Demetrios, Eames
Eames, Lucia
"Ten years apart" An Eames Primer (New York: Universe, 2001) pp. 253-261.
“Remembering” Eames: Beautiful Details (Pasadena: American Modern Books, 2012) pp. 396-403.
week XVI
next
Goetz, Thomas
“How to Spot the Future: 7 Rules for Identifying the Trends, Technologies, and Ideas
that will Change the World” Wired May 2012, pp. 153-161.
Kelley, Tom
"Living the Future" The Art of Innovation: Lessons in Creativity from IDEO,
America’s Leading Design Firm (New York: Currency, 2001) pp. 275-290 (IDEO).
“Design Principles: The Studio of Jobs and Ive” Steve Jobs (New York: Simon Schuster, 2010) pp. 340-7.
"Organizing for Rapid Iteration" Experimentation Matters (Cambridge: Harvard
Business School, 2003) pp. 201-239 (BMW & IDEO).
“House Perfect: Is the IKEA ethos comfy or creepy?” The New Yorker Oct 3, 2011, pp. 54-65.
"Breakout Artist" Wired Sept 2000 (Dean Kamen).
"Craft: from Eureka to Your House: The Evolution of a $50 chair" New York Times
Magazine Dec 13, 1998, pp. 96-100 (Karim Rashid).
"Change is Good" Metropolis July 2003 pp. 130-135 & 170-171 (Bruce Mau).
Isaacson, Walter
Thomke, Stefan
Collins, Lauren
Kirsner, Scott
Patton, Phil
Blum, Andrew
"There's a parable I'd like to share. . . In India, sort of the lowest, the poorest, those without and the lowest in caste, eat very
often--particularly in southern India--they eat off of a banana leaf. And those a little bit up the scale, eat off of a sort of a low-fired
ceramic dish. And a little bit higher, why, they have a glaze on--a thing they call a "tali"--they use a banana leaf and then the
ceramic as a tali upon which they put all the food. And there get to be some fairly elegant glazed talis, but it graduates to--if
you're up the scale a little bit more--why, a brass tali, and a bell-bronze tali is absolutely marvelous, it has a sort of a ring to it.
And then things get to be a little questionable. There are things like silver-plated talis and there are solid silver talis and I suppose
some nut has had a gold tali that he's eaten off of, but I've never seen one. But you can go beyond that and the guys that have not
only means, but also a certain amount of knowledge and understanding, go the next step and they eat off of a banana leaf. And I
think that in these times when we fall back and regroup, that somehow or other, the banana leaf parable sort of got to get working
there, because I'm not prepared to say that the banana leaf that one eats off of is the same as the other eats off of, but it's that
process that has happened within the man that changes the banana leaf. And as we attack these problems--and I hope and I expect
that the total amount of energy used in this world is going to go from high to medium to a little bit lower--the banana leaf idea
might have a great part in it."
Charles Eames Norton Lecture #1, Harvard University, 26 October 1971.
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