Table Of Content

Contents Page: v Foreword Page: ix Acknowledgments Page: xi Introduction Page: xiii Part One: 1941–1949 Page: 3 "Design Today" Page: 5 "Organic Design" Page: 6 Covers for California Arts & Architecture, 1942 Page: 8 Covers for California Arts & Architecture, 1943 Page: 9 "City Hall" Page: 10 "Line and Color" Page: 13 "A New Emergency Transport Splint of Plyformed Wood" Page: 14 Covers for Arts & Architecture, 1944 Page: 16 Mass-Produced Housing Page: 18 "No man is an illand" Page: 20 "Case Study Houses 8 and 9" (1945) Page: 22 Evans Molded Plywood Products Page: 24 Covers for Arts & Architecture, 1947 Page: 25 "Mies van der Rohe" Page: 26 "Esthetic Qualities in Architecture" Page: 27 "We Live in One of the Newest Houses in California" Page: 29 "Case Study Houses 8 and 9" (1948) Page: 31 USC Lecture on Design Page: 32 Advice for Students Page: 35 Richard Neutra Apartments: Correspondence Page: 37 "Designer Charles Eames Tests Prize-Winning Furniture in His Own Home" Page: 38 "Case Study House for 1949" Page: 39 Case Study Houses: Truscon Steel Products Page: 57 Part Two: 1950–1959 Page: 59 "Case Study House 9" (1950) Page: 60 Case Study Houses: Correspondence Page: 68 Molded Plastic Chairs Page: 73 Eames Storage Units Page: 75 Designs for Kites Page: 76 "Design Today": Arboretum Speech Page: 78 Japanese Tea House: Correspondence Page: 92 "The Relation of Artist to Industry" Page: 94 "Design, Designer, Industry" Page: 97 Packaging for Soap: Correspondence Page: 100 Upholstered Wire Chairs: Correspondence Page: 101 AIA 1952 Speech Page: 104 "Japanese Architecture and the West" Page: 111 Royalties for Furniture Designers: Correspondence Page: 112 Chair Design Process Page: 115 MGM'S Executive Suite: Correspondence Page: 118 Architecture 1 and 2, University of California, Berkeley Page: 120 Washington University School of Architecture: Correspondence Page: 129 How the Chairs Are Made: Correspondence Page: 130 Upholstery for Furniture: Correspondence Page: 132 Buying a New Ford: Correspondence Page: 133 "A Communications Primer": Correspondence Page: 136 Visit to Germany: Exchange Program of the German Government, 1954/55 Page: 138 Compact Sofa Page: 140 Lounge Chair and Ottoman Page: 142 Omnibus Page: 146 Toy Orthopter: Correspondence Page: 150 "Toccata for Toy Trains": Correspondence and Narration Page: 151 Fine Art and Function: Correspondence Page: 153 Staffing the Eames Office: Correspondence Page: 155 Art Education in Public Schools Page: 156 "The Making of a Craftsman" Page: 157 Stephens Trusonic Speakers Page: 160 "St. Louis Train Station 1957" Page: 162 Furnishing a Home Page: 166 Aluminum Group Page: 167 "The India Report" Page: 176 "Architecture in Miniature" Page: 188 The Solar Toy Page: 189 Glimpses of the U.S.A.: Correspondence Page: 192 Industrial Arts Education: Correspondence Page: 200 Royal Institute of British Architects 1959 Annual Discourse Page: 203 Part Three: 1960–1969 Page: 205 "A Prediction: Less Self-Expression for the Designer" Page: 206 Architects and Science: Letter to Reyner Banham from Charles Eames Page: 208 Making Good Designs Better Page: 210 "The Design of Mathematics" (Some Notes About Doing a Mathematics Exhibition) Page: 212 What Must a Drumstick Do?: Correspondence Page: 214 Design Education: Correspondence Page: 216 "Architecture and Science": ICA Speech Page: 217 "A Visit with Charles Eames" Page: 218 Eames Contract Storage Page: 224 U.S. State Department Page: 226 "Chairs, Fairs, and Films" Page: 228 Films on Architecture: Correspondence Page: 230 "Evolution of a Design": Eames Tandem Seating Page: 232 Industry Film Producers Association Speech Page: 241 "Design: Its Freedoms and Its Restraints" Page: 244 Handwritten Notes on Design Page: 247 Graphex Speech: The 1964–65 New York World's Fair Page: 248 A Twenty-Five-Year Appraisal Page: 259 Immaculate Heart Page: 263 "Excellence" Page: 264 Gio Ponti Page: 266 "Art and Science" Speech Page: 267 100 Words on Symptoms of Creativity Page: 268 "The Eames Design": Public Broadcast Laboratory Page: 269 "The Eames Design": Correspondence Page: 272 "Eames": An Interview Page: 274 "Sitting Back with Charles Eames": Eames Chaise Page: 276 National Aquarium: Correspondence Page: 280 "What Is Design?": An Exhibition at the Louvre Page: 282 Puerto Rico Advisory Council on Natural Resources: Correspondence Page: 286 "Poetry of Ideas: The Films of Charles Eames" Page: 288 MIT Report Page: 298 Part Four: 1970–1979 Page: 303 Eames to Fehlbaum: Correspondence Page: 304 Eero Saarinen's Trick Page: 305 "Banana Leaf" Parable Page: 306 "Goods" Page: 307 "General Motors Revisited" Page: 309 "Renaissance Man" Page: 311 "Q & A: Charles Eames" Page: 313 "Eames on Eames" Page: 318 "Disciplines of the Circus" Page: 322 "The Language of Vision: The Nuts and Bolts" Page: 329 Design Process at Herman Miller Page: 332 An Eames Celebration: The Several Worlds of Charles and Ray Eames Page: 339 "Innovator in Earth Shoes" Page: 340 Arts, Education, and the Americas Page: 342 Library of Congress: Correspondence Page: 343 Eero Saarinen Page: 344 "Education as a Found Object" Page: 347 "A Conversation with Charles Eames" Page: 359 St. Louis Oral History Project: Interview with Charles Eames Page: 366 Notes on "Powers of Ten" Page: 383 U.S.-Japan Conference on Cultural and Educational Interchange Page: 385 Part Five: 1980–1986 Page: 387 "Warehouse Full of Ideas" Page: 388 Letter to Ronald Reagan Page: 389 Note to Rolf Fehlbaum Page: 390 From Business as Unusual Page: 392 Index Page: 394 A Page: 394 B Page: 394 C Page: 395 D Page: 395 E Page: 396 F Page: 397 G Page: 398 H Page: 398 I Page: 398 J Page: 399 K Page: 399 L Page: 399 M Page: 399 N Page: 400 O Page: 400 P Page: 400 Q Page: 401 R Page: 401 S Page: 401 T Page: 402 U Page: 402 V Page: 402 W Page: 402 Y Page: 402 Z Page: 402

Description:

An Eames Anthology collects for the first time the writings of the esteemed American architects and designers Charles and Ray Eames, illuminating their marriage and professional partnership of fifty years. More than 120 primary-source documents and 200 illustrations highlight iconic projects such as the Case Study Houses and the molded plywood chair, as well as their work for major corporations as both designers (Herman Miller, Vitra) and consultants (IBM, Polaroid). Previously unpublished materials appear alongside published writings by and about the Eameses and their work, lending new insight into their creative process. Correspondence with such luminaries as Richard Neutra and Eero Saarinen provides a personal glimpse into the advance of modernity in mid-century America.