LECTURE

MAX UNDERWOOD INSIDE THE OFFICE OF CHARLES AND RAY EAMES

“ o not seek to follow in the footsteps of Eames legacy, it is important to examine the masters. Seek what they sought.” 1 what occurred inside the Office of Charles D MATSUO BASHO, ZEN POET (1644–1694). and Ray Eames, for it is primarily the incu- bation itself, enshrined by Charles and Ray The mere mention of CHARLES and R AY Eames, that gave birth to such as plethora EAMES delivers to an older generation an of ideas, innovative processes, profound in- immediate, collective smile. Countless of sights, and landmark creative works. us from a not-so-distant era remember with fondness our first experiences of their in- Charles and Ray: the formative years “I don’t novative designs, or “gifts,” as the Eameses believe in this ‘gifted few’ concept, just in affectionately referred to their creative people doing things they are really interest- works.2 We lovingly recall relaxing within ed in doing. They have a way of getting good the embrace of an Eames Lounge Chair and at whatever it is.” 4 Ottoman (1956), vividly remember watch- CHARLES EAMES. ing with childlike wonder the exponential journey in the film, Powers of Ten (1977), or As we look back on the formative years of fondly relive the silent approach, through a Charles and Ray’s lives, prior to the founding flowering meadow and a magically-lifting of their office in 1941, we are immediately coastal fog, to the mythical Eames House struck not only by the wealth of their lived itself (Arts and Architecture Case Study experiences, but by their perseverance and House #8, 1949). resilience to overcome personal, family and Charles and Ray Eames (1907–1978 and professional adversity. Time and time again, 1912–1988) dedicated their lives to the throughout their lives, whether it was the endless search for connections. They cel- early death of their fathers, the hardships ebrated the embodied experiences of life. In of the Great Depression, divorce, or the out- their endeavor of discovery, they exalted an break of World War II, they both demonstrat- with endless drawings. At seventeen, her increase our pleasure, expand our percep- Charles and Ray evolving nature of the ideas, artifacts and ed incredible fortitude to push beyond such world changed radically with two earth- tions, and enrich our lives.” 6 Eames, October 1976. ©LUCIA EAMES, DBA EAMES OF- 5 phenomenon in order that they might better obstacles. shattering events: her father’s sudden Charles Eames was born on June 17, 1907 FICE. define, enrich and sustain our daily lives. Born in Sacramento, California, on death from a heart attack, and the advent in St. Louis, Missouri, the gateway to the One of the most enduring hallmarks of December 15, 1912, Ray Kaiser arrived into of America’s Great Depression. During the American frontier and western expan- the Eames design legacy was its direct- a family immersed in the theatrical tradi- turbulent years that followed, as her family sion. His father, C H A R L ES SR . fought in the ed process of discovery and insight. This tion. Her father, ALEXANDER, managed the relocated to the East coast and moved fre- Union army during the American Civil War, process, in addition to the particularities of local Vaudeville theater and Ray fondly quently, Ray found solace in her daily ar- became a Pinkerton detective after the war Max Underwood is a teach- any design itself, was essentially a means recalled wonderful evenings at the theater tistic pursuits. In 1933, when the family and then a special agent for the Missouri er and architect who worked in the Office of Charles and for celebrating and communicating these and the dinners that followed with many settled in New York City, Ray began a six- Pacific Railroad. Like his father, Charles Ray Eames. He currently is a discoveries to people of every age. The international stars, including A L JOLSON year intensive study with the painter H A NS was curious about the events and people Professor of Architecture at breath and depth of the Eames’ thirty-seven and the ballerina ANNA PAVLOVA. As the HOFMANN, where her renowned sense of around him, was an avid reader of instruc- Arizona State University and a principal in Underwood + years of creative work from 1941 to 1978 is years progressed, Alexander’s theater would perception, color, shape and structure were tions, and loved to draw. In 1921, following Crisp, a collaborative design simply staggering: They forged over 900 pio- be among the first to introduce the new refined and honed to perfection. As she the death of his father, shot by train robbers, and architecture practice neering designs for furniture, toys, exhibi- art form of motion pictures to Ray and his later recalled, “My interest in painting is Charles began a variety of after school learn- with Barbara Crisp based in 3 Tempe, Arizona. tions, film, graphics and architecture. northern Californian audiences. In high the rediscovery of form through movement by-doing jobs to help support his strug- [email protected] Another generation is now poised to school, Ray excelled in art. The pages of and balance and depth and light using this gling family. From the age of fourteen, his inherit Charles and Ray’s “gifts.” As this class notebooks from her favorite subjects medium to recreate in a satisfying order my range of work experience included a print generation seeks to better understand the – History, English, and French – were filled experiences of this world with a desire to shop, grocer, drug store, lighting fabricator,

4 6 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 47 2005:2 construction and a steel mill. In his limited the fallout of the Great Depression. During the building.” 8 It was during this same on trial-and-error experiments with their free time, Charles discovered his father’s these hard times, and with the added re- period that the great Finnish architect, “Kazam! Machine”,10 Charles and Ray slowly hobby, photography, and over the years per- sponsibilities of a family, Charles engaged ELIEL SAARINEN, then the director of the learned how to produce a perfect compound fected his artistic and technical skills. This in a series of odd jobs to make ends meet. He Cranbrook Academy of Art in Michigan, curved shell in response to the constraints became the foundation for his life-long reli- designed opera sets, completed measured contacted Charles after seeing photo- of material, fabrication and comfort. As ance on still photography and film as a way drawings of the New Orleans cathedral for graphs of St. Mary’s Catholic Church in with all subsequent Eames designs, the final of perceiving and seeing deeply into the task the Historical American Building Survey, Architectural Forum magazine, and subse- form was not willfully predetermined, but at hand. and finally, frustrated with the lack of work quently offered him a fellowship to join the grew out of recognizing, accepting, and rig- In 1925, Charles attended Washington in America, moved to San Luis Potosi and Architecture and Urban Planning program orously working through all the constraints University on a scholarship and studied Monterrey, Mexico for almost two years. in 1938. of the particular design problem under con- architecture for two years. At the time, the Upon his return from Mexico in 1935, At Cranbrook, Charles revived his learn- sideration. School of Architecture was immersed in a Charles re-established his architectural by-doing philosophy, and not only ex- Following Pearl Harbor and America’s neo-classical Beaux-Arts curriculum, and practice, and completed several major com- plored each of Cranbook’s various allied art entry into World War II, Charles and Ray Charles was dismissed after his second year missions including the St. Mary’s Catholic studios, but found time to work part-time in found themselves in hard times and at for his advocacy of FRANK LLOYD WRIGHT. Church in Helena, Arkansas, and the JOHN Eliel Saarinen’s architectural office, where one point even contemplated joining the He then began working as a draftsman in a and ALICE MEYER Residence in Huntleigh he met the new junior partner, Eliel’s son, Ringling Brothers and Barnum Bailey circus local architect’s office. In 1929, he married Village near Saint Louis, with its innovative EERO. Charles and Eero quickly became as clowns. But fortuitously, Dr. W E N DE L L his first wife, CATHERINE WOERMANN, aluminum windows and poured concrete close friends and professional collaborators, SCOTT, a Navy surgeon came for a visit, and daughter of a local Saint Louis contractor, floors. As Charles fondly recalled, “Going who would share many projects through explained the military’s pressing need to and a year later their only child, daugh- into practice in the 1930’s is really some- their lives until Eero’s untimely death in solve a problem with their metal splints ter LUCIA, was born. On their honeymoon, thing. And it’s the greatest thing that could 1961. Most importantly, it was at Cranbrook and litters. The problem being the metal they traveled to Europe, where Charles happen, because you practice architecture where Charles refined his conceptual think- traction splints would vibrate when ac- was exposed to new modern architecture and you have to do everything. And we did ing and design process, while teaching in cidentally struck, re-injuring the arm or and the work of MIES VAN DER ROHE, L E some little churches, we did some houses the new Industrial Design Department, leg of a wounded solider due to this move- CORBUSIER, and the Bauhaus. Charles ob- and residences, and if there was a sculpture working in the Saarinen office, and dabbling ment. Almost in unison, Charles and Ray Charles and Ray visit- served that “it was like a cold shower, a true to do, you carved the sculpture. If there was in the new medium of film. suggested an answer – molded plywood! ing the Eames House awakening for a Midwesterner.” 7 Upon their a mural to paint, you painted the mural. Following her mother’s death in 1940, Within weeks, the Eameses had developed a during construction, return in 1930, Charles opened his own ar- We designed vestments, we designed light- Ray Kaiser audited classes at the Cranbrook prototype molded plywood splint and were 1949. ©LUCIA EAMES, DBA EAMES OFFICE. chitectural office, which soon failed due to ing fixtures, and rugs; you helped build Academy of Art, where she met and assisted subsequently commissioned to produce Charles Eames and Eero Saarinen in prepar- these splints for the war effort. By war’s ing designs for the Museum of Modern Art’s end in 1945, Charles and Ray, with 15 staff ‘Organic Designs in Home Furnishings’ members in their Venice, California office, competition. Their designs for mass-pro- had manufactured over 150,000 splints and duced molded plywood furniture, an ergo- stretchers. In addition, they found time to nomic one-piece chair shell, comprised of endlessly investigate new experimental compound three-dimensional curves, won post-war molded plywood applications that first prize in the both the Chairs and Case included glider shells, chairs, children’s Goods categories. furniture and animals. In 1941 Charles divorced Catherine, married Ray Kaiser and moved to Los The characteristics of Eames Design “There is Angeles, California, as Ray said, “so they no Eames style, only a legacy of problems could just get some work done.” 9 After un- beautifully and intelligently solved.” 11 successfully searching for work, Charles BILL LACEY. decided to follow his recent passion for film and went to work designing and building For the Eameses, design was much more sets for the MGM film studios, while Ray than making products. Design was a way continued to paint and do freelance com- of being, a daily practice on their journey mercial graphic design. In the evenings towards personal mastery, not a precon- and on weekends the Eameses continued ceived process or wrote activity. Throughout their molded plywood investigations in their lives, Charles and Ray made design their RICHARD NEUTRA designed Strathmore their life and celebrated the gift of life Apartment (1941). Through endless hands- through their design work. Rarely did sepa-

4 8 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 4 9 2005:2 12, 1962 New Yorker magazine article. As warding and of great personal interest. As between being forced to make compromises Yang observed, “We learned that physics Charles advised, “Do not take any job with and the necessity to recognize constraints. I should not be a specialist’s subject, physics whose objectives you do not agree, and don’t have never been forced to accept compromis- is to be built from the ground up, brick by take a job as a stepping stone to something es but I have willing accepted constraints.” 16 brick, layer by layer. We learned that ab- else. Get involved in things that are of value The best graphical representation of these stractions come after detailed foundation to you and don’t get involved in things that constraints in action is Charles’s 1969 design work, not before.” 13 The major lesson was you do not value.” 14 It was their belief when process sketch for What is Design? which that the creative process is never set, but one worked on things of value, that an inex- identifies the three major spheres of influ- rather follows the inquiry of the problem at haustible curiosity would be sparked and a ence; society, client and design, who’s in- hand. Discoveries are made incrementally, natural passion for hard work would emerge. dividual constraints converge to define the day-to-day, through perseverance, endless When Charles would come to a staff mem- area of investigation of a design problem.17 experimentation and carefully weighing ber’s desk to discuss a particular facet of a In the Eames Office, one quickly learned the various alternatives. design problem being worked on, he would difference between being forced to make To better comprehend the Eames creative ask one question, “What is interesting?” not, compromises and the necessity to willingly process, it is important to explore some of “What have you been working on”? or, “Are recognize and respect constraints. the major characteristics used in the Office. you finished?” This one simple question immediately brought clarity to the heart of 4) Make connections 1) Do only challenging problems the problem under consideration. As well, it The boundaries of design are the bound- Eames Lounge Chair ration exist between their personal and Each day, one was continually struck by the confirmed ones depth of inquiry as they con- aries of problems, not disciplines. Charles and Ottoman, 1956. professional lives. As an example, the joy of interesting and challenging problems that tinued to push towards new discoveries. It and Ray fully understood that progress and ©LUCIA EAMES, DBA EAMES an impending grandchild’s birthday party the Eameses took on. Problems, that know was Charles and Ray’s belief that the design insight typically occurred on the edges of a OFFICE. would spill over into the Office with unique one ever considered being problems, until problems that were of genuine interest to discipline, as well as between them. Solving gifts being designed, and decorations, in- Charles and Ray identified them with solu- them, when passionately solved, would be of any design problem began with extensive teractive games and food being created and tions. Problems and investigations might interest to a great many other people. research and observation of major issues and prepared. arise from their own observations and per- conditions from various fields of knowl- When asked to define design Charles sonal interests, or from explorations already 3) Respect constraints edge surrounding the topic of inquiry for would reply, “Design is an insightful plan under investigation in the Office, or the stack Charles and Ray had distrust of willful cre- the specific problem under investigation. for arranging elements in such a way as to of inquiry letters on Charles’ desk, or a close ative expression based on their wealth of Charles loved the infamous eleventh edition, accomplish a particular need.” 12 Charles friend’s observations, that in time might bear knowledge and vast accumulated experience. twenty-eight-volume set of the Encyclopedia and Ray believed that every design project, the fruit and become a “design problem.” At the outset of any problem, they always in- Britannica (1910). He considered these or “design problem” as they were called in Questions created problems as well; ex- sisted on identifying the limitations and con- volumes to be a wealth of new perceptions, the office, was unique and required the for- amples being, “How does communication straints within which a designer must work. thoughts and analogous methods for attack- mulation of a distinctive creative process. work in the age of mass communication?” (A Charles continues, “Design depends largely ing and modeling tough new problems repre- Every Eames design articulated the need Communications Primer, 1953), or “What is on constraints. The sum of all constraints. sentative of the time, not merely a storehouse being addressed, expressed the process the difference between how computers and Here is one of the few effective keys to the of knowledge. With the assistance of the which formed it, and the specific problem humans think?” (Think, 1964). Each problem design problem – the ability of the designer Eames staff, and internationally recognized of origin it, thus becoming the resultant was mentally stimulating, physically absorb- to recognize as many constraints as pos- researchers and specialists, Charles and pleasure of its own solving. To this day, ing and demanding, as well as fun to solve. sible – the willingness and enthusiasm for Ray would delve intensely into the ques- the breath, depth and level of new insights These were not simple problems, where the working within these constraints – the con- tion or circumstance under investigation, gleaned from each creative process and sub- process is already known and only a solution straints of price, of strength, of balance, of seeking not just literacy, but deep involve- sequent design “gift” are simply mind-bog- needed. Simple problems, finite in nature, surface, of time, and so forth. Each problem ment. Essential questions and potential in- gling. that did not inspire further questioning, has its own peculiar list.” 15 The Eames cre- vestigations for each problem were carefully How did the their creative process work were not of interest to the Eameses. Rather, ative process was not a docile submission to posed after everyone was fully immersed in in the Office? When clients, visitors or new Charles and Ray were always drawn to the constraints, only a respect for them, as one all aspects of the problem. Research in the staff members would question how the challenging problems, those that required a worked from part to whole, from the par- Eames office always went beyond the point creative process and design really works, sensibility to remain open, active, to contin- ticular to the general. As Charles elaborated, where most designers would stop satisfied, Charles or Ray would share the story of the uously be a spawn for ideas that translated to “Design is an act of faith and discipline, and and far beyond what was originally thought Nobel Prize winning physicists TSUNG- future work in various areas of inquiry. where the restrictive lines are not clearly necessary. “Oh, that is just something you DAO LEE and CHENG NING YANG. Lee and delineated, the designer must find them or learned in school,” 18 Charles would comment Yang’s process of discovering that parity 2) “What is interesting?” draw them. The rules of the game do not when he thought one was not thinking conservation doesn’t hold for weak interac- The Eameses always advocated that the require docile submission to constraints, hard enough. He kept asking questions and tions, is beautifully described in the May design problems undertaken should be re- only respect for them. Learn the difference probing deeper until everything had been

50 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 51 2005:2 considered. New discoveries or “connec- ematical concepts, physically envisioning salt water aquarium functions as observed, to the status quo. On the other hand, there tions” started to emerge as everyone in the these processes, developing fresh insight on recorded and learned from the daily habits are the pelagic animals. And if that current office became energized by the rich rewards how mathematicians think and work, and of its potential inhabitants: the hermit crab, stops, they’re in trouble. They’re dependent of sustained rigorous inquiry. One of the endlessly investigating ways a visitor might starfish, jellyfish, octopus, shark, etc. As on change. Their whole idea of security is keys to the Eames creative process is the be inclined to share these ideas. The result Charles described, “We’re working on an essentially when the current is flowing by art of solving complex design problems by was a landmark shift in museum exhibi- aquarium in the office, so naturally we have them. That gives them oxygen upon which making connections; connections between tion design, the invention of the interactive an aquarium. We have a lot of marvelous they live, and that sort of frees them from everything – ideas, values, events, objects, exhibit. As a visitor “played” with the soap little animals, mostly invertebrates and some other predators, it brings them closer to food. materials, details and other people’s lives. As bubbles in the minimal surface display, or fishes, that sort of cluster together, have high They’re very secure in change. And I have a Charles and Ray refin- Charles explained, “Eventually everything challenged anxious children to multiplica- territoriality in the way they act and behave. feeling in a way that we as a society and as ing the sling locations connects – people, ideas, objects. The quality tion answers with the multiplication cube, And if those little animals feel too much of a group are gradually becoming pelagic in of the Aluminum Group Chair, 1958. of the connections is the key to quality per abstract mathematical concepts came alive a stream, too much of a current flow, they’re our feeling. That if anyone is going to really ©LUCIA EAMES, DBA EAMES 19 se.” Daily, the Eameses pushed and in- as living phenomena that could be joyfully uneasy. These animals are sort of geared feel secure, he must have not an insistence OFFICE. spired everyone to understand such connec- discovered by all. As Charles summarized, tions and celebrate them by translating them “One of the great secrets of science is the into physical form. But it didn’t stop there. genuine fun and pleasure that scientists get Charles and Ray wanted each resultant out of it. One of the great purposes of this design solution to inspire its users to discov- exhibition is to let the cat out of the bag.” 21 er these connections as well, to learn from The lasting impact of this simple interac- them, and experience the fun and reward tive exhibit can be seen in the Nobel prize of making their own new connections that winners, who commented years later that would subsequently be shared. As Charles their success in science and math was would comment, “Ideas are cheap. Always spawned from their own childhood visit to be passionate about ideas and communicat- the Eames’s Mathematica exhibit. ing those ideas and discoveries to others in the things you make.” 20 For example, the 6) “Real learning comes through primary ex- film Toccata for Toy Trains (1957) seamlessly periences” connects play with the enduring beauty of Reflect for a moment about how you learned antique toy trains by contrasting personal to ride a bicycle. A caring parent or friend memories of past train travel with the threat effortlessly rode the bicycle, and then gave of the automobile, by creating a race between lengthy verbal directions on how to ride it, a toy car and a toy train – the race of tech- and ultimately ran along side as you first nology. Charles and Ray’s goal was to offer a tried to pedal and steer. You failed, time kind of wide-eyed, wondrous way of seeing and time again, but ultimately you taught and understanding the significance of the yourself to ride the bike through direct or connections between events and the things primary experience. Charles and Ray be- we experience daily. lieved “real learning comes from primary experiences,” 22 physical interactions of our 5) Seek to be curious and see anew living body with the world around us. No When first meeting Charles and Ray, one matter what the design problem was that was struck by their incurable curiosity, the Eameses were working on, they were a thirst for knowledge, and a passion for always striving to immerse themselves in seeing things anew. They were never afraid the primary experience of the problem, and to explore a new area of investigation and ultimately sought ways in which the end re-interpret themselves because of it. During users could share in those rich experienc- the development of their first major exhibi- es. During the development of the National tion, Mathematica: A World of Numbers and Fisheries Center and Aquarium, (1966–1969), Beyond (1961), Charles and Ray endlessly Charles and Ray not only filled their office searched for ways to bring math alive for with shells and marine biologists, they in- the child and the scientist. As their design stalled several large 250 to 1,000 gallon evolved, the Eameses continually searched aquariums with live marine life. This was for new ways of perceiving abstract math- the vehicle to begin to understand how a

52 2005:2 through the experience by which you can shows and short films, ranging in such retreat, consolidate yourself, regroup, and diverse topics as Mexico’s Day of the Dead take a try again.” 27 Simultaneous design in- celebrations (Day of the Dead, 1957), daily vestigations utilizing text, graphics, films, life in America (Glimpses of the USA, 1959), multiple scale models and full size proto- and the introduction of computers (Think, types converted abstract questions and ten- 1969; Computer Landscape, 1971).29 “Films,” tative ideas into powerful primary experi- Charles said, “come as a result of two situa- ences for careful consideration by clients, tions: It’s either a logical extension of some long time friends, office staff, and specialists immediate problem we are working on, or it in the areas under investigation. Following is something we have been wanting to do for these enlightened conversations, new per- a long time and can’t put it off any longer.”30 ceptions, connections, and a deeper under- Many times, as a current investigation, an standing of the problem would evolve and exhibit model, or furniture prototype was immediately direct the next investigation. entering a critical stage or nearing comple- It was Charles and Ray’s belief that the es- tion, Charles would grab a movie camera sential qualities of a problem would exist and shoot “a casual couple hundred feet of as long as an individual keeps them in play. film,” 31 while Ray or another staff member Thus, as the world continued to change, the would shoot a couple of rolls of print and Eameses were constantly seeking new ways slide film. Then, like anxious children in for envisioning information and modeling a candy store, Charles, Ray and members their emerging understanding of it as new of the staff would gather around the light and insightful connections came into focus. table, followed by the conference room to see what illusive new perceptions they had 8) Use film and photography as essays captured. Removed from their immediate “They’re not experimental films, they’re work at hand, these visual notes and visual Charles and Ray pho- on the status quo, but he must feel secure in Unlike normative design practices of their not really films. They’re just attempts to get essays became essential tools for gaining tographing an early change. I think that we’ve all now experi- time, which separated the activities of the across an idea.” 28 critical distance to their work, as well as ¼-inch scale model of the Mathematica ex- enced this in a sense, where if you recog- design office from fabrication, production, CHARLES EAMES. a method for re-seeing and raising new hibition, 1960. ©LUCIA nize a change and it’s sort of like being in a and construction, the Eameses seamlessly questions. Clients, invited guests or staff EAMES, DBA EAMES OFFICE. place that you have never been before, and united these activities within their office. After growing up with both of their fathers members would spend many a lunch hour in suddenly things become orientated, and a Work within the Eames Office maximized involved in photography, and at the dawn an impromptu Eames essay festival, where value appears that you’d never known before. the intimate physicality of each problem and of the motion picture age, it should come past and present investigations would effort- And it seems to me that this is an aesthetic the fundamental understanding that comes as no surprise that Charles and Ray would lessly blend in the flickering images floating feeling.”23 from learning directly from primary experi- utilize still and motion picture cameras within the darkened conference room. ences. New perceptions, or as Charles and throughout their lives to inform their 7) Engage in the hands-on process of envi- Ray called them “a new depth of vision,” 25 design. Of significance were their efforts to 9) Do concurrent problems coupled with si- sioning, modeling, and prototyping might occur by increasing the number of si- record visual notes and visual essays as a multaneous design activities “One should be prepared to follow an in- multaneous activities to enhance everyone’s means of communicating rich and complex “We work because it’s a chain reaction, each vestigation with a restudy of the problem, to direct experience of a question under study. experiences and to critically re-see the subject leads to the next.” 32 look upon detailed problems as if they were These typically included physical model- world around them. For the Eameses, film CHARLES EAMES. being attacked for the first time; to restate ing at multiple scales and sometimes an es- and photography were not simply ways of solutions in terms of theory and in actual sential object, an event, a scale model, or a recording things or events. They were es- The Eames office was filled with the fruit- prototypes; and fully explore their cultural full-scale inhabitable mockup, to test drive sential ways of analytically and interpre- ful interplay between concurrent design meaning. In order to insure the validity of and “walk through an experience in order tively immersing a viewer in the primary problems, and simultaneous design activi- such an investigation and such restatement it to regroup and try again.” 26 As Charles com- experiences of a particular subject, to evoke ties, across a broad range of inquiry that will be necessary to bring together and bring mented, “The thing about models, about their sense of wonder and intellectual cu- included furniture, exhibitions, graphics, to bear on the questions all the disciplines using them, is that a model doesn’t have to riosity. Over the years, Charles and Ray toys, film and architecture – all that effort- which can restate the questions of famil- be a total theory of a field. It doesn’t have developed the ability to recognize abstract lessly fed and informed one another.33 As iar problems in a fresh clear way. The task to be a golden thread that sort of leads you beauty in everyday occurrences and convey a result, Charles, Ray and the staff were of translating the details will be difficult, through a labyrinth. A model, a true model, that beauty to a wide audience via photog- constantly energized by the activities and painful, and pricelessly rewarding.” 24 in the experimental and feeling-your-way raphy and film. During their career they potential new collaborations. People were CHARLES AND RAY EAMES. sense, can just be a kind of tentative walk made over 130 essays, multi-screen slide busy researching, drawing, building, photo-

5 4 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 55 2005:2 graphing, editing, as others talked to clients, this fluidity and strived to eliminate imper- maturity, and most importantly, their per- for reality. That’s why knowledge and con- experts, scientists, friends and entertained fections through constant iteration and re- sonal and professional consciousness to ev- sciousness are two quite different things. the invited guest. In 1976 for example, as finement. A chair might be in production for eryone in the office. 37 Knowledge is like a product we consume work continued on the refinement of their several years, always under constant inves- Great practitioners are conscious to the and store. All we need are good closets. traveling exhibition, The World of Franklin tigation relative to newly available materials world – awake to the core of their being. By consciousness I mean a state of being and Jefferson for its Paris début, which in- or manufacturing techniques, and ultimately Each day they strive to live consciously, “awake” to the world throughout our organ- cluded French translations of all the exhibi- further refinement. An example is the origi- supported by the experiences that develop ism. This kind of consciousness requires tion panels, a new film and two books were nal DCW plywood chair (1946). The rubber and inspire their intellectual and emotional not closets, but an organism attuned to the introduced. During this time, Charles and shock mounts were originally secured in persona. They continue to transform and finest perceptions and responses. It allows Ray also found time to investigate EDW I N place by an electronic cycle welding process, expand their knowledge into a unique ca- experience to breathe through it as light LAND’s new SX-70 camera and create the film where radio waves would cure the bonding pacity to perceive the world and offer life- enters and changes a room. When knowl- Something about Photography, propose a new agent. This proved to be an inadequate solu- giving response. Their ever-increasing con- edge is transformed into consciousness and exhibition on computing (IBM 590 Proposal), tion, and after endless trial and error by the sciousness empowers them to adapt, discov- into will, ah then we are on the high road continue work on a Leather and Teak Sofa, Eames Office working in collaboration with er new ideas and methods of inquiry, and to indeed.” 38 and work on four new films, Powers of Ten, members of the HERMAN MILLER production direct their future in meaningful ways. M.C. RICHARDS. Daumier, Atlas and Look of America. line staff, a new resorcinol phenolic adhesive It is my observation that great practitio- and production process of heat and pressure ners are conscious individuals first; that Seek to be involved and care deeply “One must 10) Seek constant refinement through endless was ultimately developed.35 Remember cre- they embrace this aspect of their lives to obtain not just literacy but deep involvement iteration ative work is never done. It is an endless reit- the point that it spills into daily work and and profound understanding.” 39 “Invention is the hardest kind of work and erative process that eliminates imperfections professional life. They don’t simply replicate CHARLES EAMES. requires intense application of every faculty. with each subsequent refinement. a core disciplinary knowledge, but seek to There is no guesswork about it. There is no advance it through their own insights, offer- Throughout their lives, Charles and Ray unfailing principle of luck in it. The goal Awakening consciousness: a staff member’s first ing new ways of seeing and inhabiting our Eames not only sought to understand the must be reached by process of elimination. day in the Eames Office “The Eameses have world. rich and fertile landscape of indigenous of- Every factor must be studied, examined, and so strongly influenced the way we sit, store Throughout our lives, we must each con- ferings worldwide, but also were deeply then eliminated if it is not what you want, things, build, play, communicate, teach, sider the translation of our own conscious- involved in the endless search for the fun- until you have narrowed the entire problem learn, and think, it would almost seem that ness as a human being into an expanded damental connections between personal down to two or three points. Then it is pos- diversity is their genius. Not so. What their professional context – to vision the depth of experiences, artifacts, phenomenon, and our sible that luck or accident may play a minor genius represents is not merely minds versa- our values, ethics, and beliefs about design, larger world. A dinner guest arriving at the part, and someday the whole thing will tile enough to move in many directions, but test them, and bring them to life through Eames House on a moonlit evening would be dawn upon your mind and see the goal you minds so wholly centered, that they bring discipline and critical work. Therefore, greeted by the smiling faces of their gracious have been working for. Genius is 1% inspi- precisely the same talent and experience to education must be more than professional hosts, a table whose linen cloth was covered, ration and 99% perspiration. Accordingly, bear upon problems that seem vastly differ- training. It must nurture and sustain a tra- similar to an elegant Japanese Kaiseki meal, a genius is often a merely a talented person ent from each other.” 36 jectory for lifelong evolution and growth. with 20–30 small imported dishes of season- who has done all of his or her homework.” 34 RALPH CAPLAN. Each student of design must be encouraged al foods from around the world and adorned THOMAS ALVA EDISON, to question, challenge current models, and with colorful flowers and candle light. In WHO PATENTED 1,093 INVENTIONS IN HIS LIFE. What would a new staff member do on their generate keen alternatives to what design is this enchanting atmosphere, free of everyday first day of work in the Office of Charles and today. In the ‘real world’, enlightened clients cares, these simple international tastes and Within the Eames office, the period of refine- Ray Eames? Rather than immediately going seek out the conscious designer, rather than wares would provoke stimulating conversa- ment and elaboration continued for as long to work on a specific task, they would be un- the trained designer, to identify and propose tions about past travels, world cultures and as necessary, in most cases for as long as the expectedly asked to play all day with a toy, solutions to the unprecedented conditions current events, as well as remind each de- design problem remained fresh. It was the the Musical Tower – sixteen-foot high xylo- of our rapidly changing world. parting guest of their need to become more phase of their creative process that took up phone tower toy, developed by the Eameses “Everybody really knows that educa- awake to their surroundings, and more fully the most time and involved the most dif- in the mid 1950’s. Why? As the new staff tion goes on all the time, everywhere, all alive and present in their daily lives. With ficult work. Everyone working at the Office member endlessly rearranged the xylophone through our lives, and that it is a process of each of their designs, the Eameses shaped developed the discipline to suspend judg- keys and released the marble throughout the waking up to life. It takes a heap of resolve ideas, events and circumstances, while rede- ment, create with rigor, and develop patience day, experimenting with different combina- to keep from going to sleep in the middle fining the way people perceived, thought and as solutions evolved and more fully revealed tions of musical sounds, everyone could hear of the show. It’s not that we want to sleep felt about living, and living in the world. themselves. Many new insights and trajec- and share in this person’s curious discover- our lives away. It’s that it requires certain In 1969, when asked by MIT to help infuse tories emerged as Charles and Ray were pre- ies, as well as frustrations. By days end and kinds of energy, certain capacities for taking the universities’ science and technological- sumably just putting finishing touches on an through this seemingly simple exercise, this the world into our consciousness, certain ly laden curriculum with art and aesthet- initial insight. They were fully engaged in new person had revealed their personality, real powers of body and soul to be a match ics, the Eameses rejected the idea of adding

56 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 57 2005:2 Charles (in lift), Ray an obligatory art appreciation or art history and Venice Beach, within a bustling neigh- (behind lift truck) and course. Instead Charles and Ray designed an borhood of artists, craftsmen and manufac- their staff outside 901 filming the alterative situation, where these future sci- turing shops, 901 Washington Boulevard, picnic scene for entists could not only experience for them- an unassuming twelve thousand square foot Powers of Ten: A selves first hand the aesthetic possibilities warehouse was home to the Office of Charles Rough Sketch for a Proposed Film of their own discipline, but were required to and Ray Eames from 1943 to 1988. Upon en- Dealing with the convey those new aesthetic discoveries and tering the creative world of this design labo- Powers of Ten and joys to others. The Eameses recommend- ratory for the first time, one was immediately the Relative Size of the Universe, 1968. ed that each MIT student be challenged to overcome with a sense of delight, wonder- ©LUCIA EAMES, DBA EAMES develop packets of information for teaching ment and awe. It was like walking into the OFFICE. local elementary school children about the circus big top on opening night or diving fun and the richness of science. Ultimately into the ocean teeming with a school of fish these future scientists had to share and for the first time. One was greeted by the convey the beauty of scientific inquiry and receptionist’s smile, a welcoming handshake, profound insight. and was immediately transformed into their “One could be sure that in the past when honored guest. One was then ushered down a man would rise to the point of producing a narrow hallway that quickly revealed work of greater quality, it was not through the main universe of the Eames Office – a any conscious attempt to excel but rather vast open warehouse space, perfectly lit by because he cared about what work he was large skylights, and subdivided by layers of doing – he was committed to his work. This flexible partitions, temporarily attached to has become something rare – because being the wooden bowstring trusses above by c- committed means becoming involved and to clamps. Within seconds there was a tsunami become involved means giving something of visual, sensual and emotional stimuli as of oneself. It is only the rare ones today who one took in the cacophony of inspirational seem to care that much. Yet, that quality design artifacts, observed staff activities, and that makes for excellence – that commit- ultimately met Charles and Ray Eames. ment – is more important to us today on a One could not walk anywhere in the daily operational basis than perhaps ever Office without pausing to admire, play with, before. At least one of the reasons this is or reflect upon the significance of any one true is quite simple. The nature of the prob- of the hundreds of magical design arti- lems we face changes even as we work with facts that filled every nook and cranny of them. We cannot tell from what disciplines the office. These beautiful objects gathered or from what art of preparation for the next from throughout the world, were inspira- step will come. We cannot fall back on the tional touchstones of admired design and lore of the art because that lore does not offered valuable lessons and eternal design exist. There is however, a tradition that is truths. “We are not collectors.” As Ray would held in common by natural philosophers, remind a guest, “We found things and kept explorers, pioneer woodsmen – anyone them as examples of the principles or aspects who is in his daily life has been compelled of design. We kept it to show it, to use it, to to face new problems. That is tradition share it, to give insight to others and our- of respect and concern for the properties selves.”41 Each became the genuineness for a and the quality of everything in the world question being asked or a solution being de- around them. To excel in the structur- veloped. Simple objects from the past, such ing of a problem we must be committed to as toys, were seen by Charles and Ray as spe- a concern for quality in everything in the cific cultural artifacts that revealed the same world around us. We must learn to care quiet elegance, truthfulness of materials, and deeply.” 40 expert craftsmanship that they sought in CHARLES EAMES. their own work. Many times clients, collabo- rators, friends or a new staff member would The design laboratory of the Eames Office be shown several of these objects as tools Situated ten blocks from the Pacific Ocean for extending their aesthetic appreciation or

58 2005:2 for better understanding the significance of ing an honored guest, quickly developed ing world. In 1949, with the design and By the early 1960’s, as Charles and Ray the problem at hand. The richness of these an ability to simultaneously play and work construction of their own house, Case Study were asked to convey larger and more objects was endless, as was their ability to hard, becoming immersed in numerous House #8, Charles and Ray redefined the complex amounts of information in shorter inspire, stimulate and sustain creativity. pleasurable offerings of hands-on discovery. vital connections between body, place and periods of time, their multi-media spaces of In addition to the hundreds of design As Charles commented, “It makes me feel home through their architecture. Unlike visual information evolved and became all touchstones, there were infinite resources guilty that anybody should have such a good other period modernist houses, which were encompassing spatial information environ- within 901. There were drawers and shelves time doing what they are supposed to do.” 44 abstractly juxtaposed against their natural ments. Filled with dense interactive expe- filled with raw materials, a workshop with Anyone who entered this design laboratory sites and sparsely inhabited without any riences, each of the Eameses’ information an endless variety of tools and jigs, numer- of the Eames Office always gave more time trace of preceding generations, the Eameses environments enveloped its visitor with the ous still and movie cameras, demountable and energy than they had ever dreamed pos- magically connected the body, landscape, ar- joys of discovering knowledge and ways of walls covered with information from specif- sible. tifacts, and seasonal changes with the rituals thinking by using both their mind and their ic problems, and a fully equipped darkroom. of daily life. Constructed for $1.00 per square physical body. For example, in 1964, when In addition, there was a conference room for Their significance and legacy “The Eames’ foot, utilizing off-the-shelf prefabricated TOM WATSON, the president of IBM, wanted meetings and screenings, numerous draft- desire to move freely in a world of enormous materials, the house was an indoor-outdoor to introduce the computer at the New York ing and layout tables with identical baskets and unlimited possibilities is combined with stage for life, filled with beautiful touch- World’s Fair, he called Charles and Ray. of drafting equipment, an extensive library, an acute sense of discrimination and taste, stones that effortlessly drifted in and out of Rather than presenting this new technol- delicious food and strong coffee prepared an ability to select among the unlimited pos- the ephemeral skin of the house, to merge ogy on a revolving pedestal, the Eameses, by a full time office chef, the beauty of fresh sibilities, and return considerable richness to with the meadow landscape and the daily working with Eero Saarinen, proposed an cut flowers, stimulating consultants, and a the world.” 45 ebb and flow of their lives. immersion experience in complex think- multi-talented staff ready to be transformed EAMES CELEBRATION. With the dawn of the television age and ing, thus linking the powers of the human at any moment by a new question or fresh the rise of mass media communications in mind and the computer’s digital mind. In insight. As work progressed on any design Charles and Ray Eames firmly believed that the late 1950’s, the Eameses shifted their a suspended state of time, visitors became problem, all of these resources came into design had a moral and ethical responsi- primary focus from the design of furniture, absorbed in hands-on interactive exhibits play and any combination was legitimate. bility to recover and connect us to the lost toys and architecture, to the design of new (Mathematica and the Computer court), a The only criterion was whether the resourc- spirit of humanity within the context of the spaces for the emerging information age. multi-screen film essay on complex thinking es really had the capacity to deal with the nuclear cold war, post World War II popula- These spaces were filled with simultaneous processes (Think), and a gift of the English inquiry at hand. tion increases, and the rise of mass media. At layers of complex information, multi-media dictionary on microfilm, which any child The office was always filled with Charles the beginning of their shared career, they in- images, and ephemeral phenomenon, which could read with a magnifying glass after and Ray’s long time friends, collabora- stinctively began to address this disconnect sought not only to present new informa- returning home. In addition, as American tors, and new consultants who contributed through the investigation of the fundamental tion, but also personalize and connect with political and business interests began to fresh questions, perceptions and insights phenomenological relationships between the the visitor’s own life in meaningful ways. spread throughout the globe, Charles and to daily work. Friends like BUCKY FULLER, body and the ephemeral experiences and es- For example, in the 1959 cultural exchange Ray were always present as ambassadors of PHYLIS and PHILIP MORRISON, LEE KRASNER, sential elements of our lived daily existence – program in Moscow, between the US and the cross cultural information exchange, SANDRO GIRARD, Eero Saarinen, GEORGE furniture, toys, and architecture. Charles and the Soviet Union superpowers, Charles and seeking ways to introduce the American NELSON, KONRAD WACHSMANN, or BI L LY Ray began their furniture designs, like other Ray developed a totally new type of com- public, political and business leaders, to the WILDER would be invited over to see a new modern designers of their time, by testing the munication experience – the multi-media cultural riches of the people and places that film essay, a prototype, or a model in prog- functional and technological limits of emerg- presentation, Glimpses of the USA, consist- they needed to respect and embrace. For ress. Similar to reviewing dailies in the ing modern materials and newly declassified ing of seven large billboard screens filled example, in their exhibition Nehru: His Life film industry, Charles and Ray could then wartime production processes. But it was with over 2,200 still and moving images, and His India, (1965), the Eameses presented observe the trajectory of their developing their attention to increasing the connections presenting the wonders of a typical day the cultural diversity of India in images, as work, notice details, discuss problems, and between intimate experience, tactile memory, in American life. As the cold war politics well as spatially, using an interactive envi- debate insights with their trusted friends ergonomics, kinesthetics, and sensual materi- of the infamous Nixon-Kruschev kitchen ronment filled with relics, food, and song, and staff. “Listening does not take place ality, that would transform their painstaking debate on capitalism and communism so that each viewer was compelled to multi- unless you are willing to be changed by investigations in plywood, steel, plastic, and ensued outside the American pavilion, sensually explore and define for themselves who you are listening to.” 42 This forum also aluminum into timeless classics. Similarly, Soviet families warmly connected with the the new relationships among artisan crafts, allowed the Eameses to pay close attention when Charles and Ray began to investigate joys and dreams of the American family. Yet historical events, and the newly indepen- to their own goals, to access whether the childhood play and the design of their in- it was the Eameses simple ending, a bunch dent Indian people. work was indeed proceeding in the manner teractive toys, filled with gaps for imagina- of flowers, the beloved Russian forget-me- As the information age exponential- to which they aspired, and what changes tion and open-ended discovery, they would nots, that would ultimately link each of ly expanded in the mid 1970’s, with the needed to be made. celebrate the interaction between the child’s these global citizens to their shared respon- emergence of mobile phones and desktop Work within the Eames office was “a diffi- developing mind, body and their immedi- sibility to preserve the collective spirit of computers, the Eameses began to explore cult form of play” 43 where everyone, includ- ate environment within their ever-expand- humanity. the dawning digital age and the “age of

6 0 2005:2 INSIDE THE OFFICE OF CHARLES AND RAY EAMES 61 2005:2 Charles at his office choices.” Charles keenly observed in 1978, 1 Attributed to the Japanese Zen poet, Ray Eames: a Legacy of Invention Charles and Ray Eames (New York: desk, circa 1970. ©LUCIA “our ability to gather information has out- Matsuo Basho (1644–1694). (New York: Abrams, 1997) p. 185. Abrams, 1989) pp. 60–61. EAMES, DBA EAMES OFFICE. 2 “The motivation behind most of the 19 Charles Eames narration from a 36 Ralph Caplan, Connections: The stripped our ability to model it. Beyond things we’ve done was either that we film on the “ESU” storage system Work of Charles and Ray Eames the age of information is the age of choices. wanted them ourselves or we wanted 1961, quoted from Ralph Caplan, (Los Angeles: UCLA Art Council, Where the art and discipline of choice to give them to family and friends. Connections: The Work of Charles 1976) and Ralph Caplan, Herman And the way to make them practical and Ray Eames (Los Angeles: UCLA Miller: Adventures in Design lecture has to be raised to a new level and com- is to have the gifts manufactured.” Art Council, 1976) p. 15. (Zeeland: Herman Miller, 1978). bined with a fairly rigorous view of the Charles Eames from the documen- 20 Charles Eames from Deborah 37 You can see and hear the musical nature of the information. The key to im- tary An Eames Celebration (New Sussman, Donald Albrecht, The Work towers in the documentary film, York: WNET, 3 February 1975). of Charles and Ray Eames: a Legacy Eames Demetrios, 901: After 45 Years proved choices is developing improved 3 For a complete survey of of Invention (New York: Abrams, of working (Santa Monica: Pyramid, models. For example FRANK OPPENHEIMER’s creative work refer to John & Marilyn 1997) p. 185. 1989). Exploratorium in San Francisco.” 46 It was Neuhart, Eames Design: The Work of 21 Charles and Ray Eames Collection, 38 M.C. Richards, Centering: In Pottery, the Office of Charles and Ray Eames Library of Congress, Box #218. Poetry and the Person (1964) pp that endless search for developing improved (New York: Abrams, 1989) and www. 22 Charles Eames, Charles Elliot Norton 15–16. models of choice, using new mobile digital eamesoffice.com. Lectures in Poetry #4, Harvard 39 Charles Eames, “Making technologies, that drove them to investigate 4 Charles Eames quoted in Bill Lacey, University, March 15, 1971. Connections” Aspen Design “Warehouse Full of Ideas” Horizon, 23 Charles Eames, Charles Elliot Norton Conference, June 1978, (unpublished instant photography (SX 70, 1976), personal September 1980, p. 27. Lectures in Poetry #1, Harvard outline and notes, p. 1, Charles and computing (IBM 590, 1977), and videodiscs 5 For more details on Charles and University, October 26, 1970. Ray Eames Collection, Library of (early DVD, Polavision, 1977), and which Ray’s formative years see John & 24 Charles and Ray Eames, Eames India Congress, Box #58). Marilyn Neuhart, “Charles and Ray Report (Venice: Office of Charles and 40 Charles Eames on excellence from has become the foundation for many current Eames: Chronology” Eames Design Ray Eames, April 1958). “Slide Show: G.E.M.” from John and design investigations, as these essential re- (New York: Abrams, 1989) pp. 17–25. 25 Charles Eames quoted in Digby Diehl, Marilyn Neuhart, Eames Design: The lationships continue to be explored. And Eames Demetrios, An Eames “Charles Eames Q & A” Los Angeles Work of the Office of Charles and Ray Primer (New York: Universe, 2001) Times WEST Magazine, October 8, Eames (New York: Abrams, 1989) p. The examination of the logogram that ments, which in their own time and place pp. 47–105. And “Charles Eames and 1972. 319. Charles and Ray developed for their office were the incubators of human inquiry, in- St. Louis” Washington University 26 Charles Eames, Charles Elliot Norton 41 Pat Kirkham, “Introducing Ray and used throughout their career, a simple novation and craftsmanship at the highest Architecture News Winter 1998, pp. Lectures in Poetry #6, Harvard Eames (1912–1988)” Furniture 4–5. University, April 26, 1971. History #26, 1990, pp. 140–141. asterisk, seems an appropriate way to con- level of humanity. MICHELANGELO’s studio, 6 Ray Eames, California Arts & 27 Charles Eames, Charles Elliot Norton 42 Alan Alda, Scientific American clude. Why an asterisk and not their names THOMAS EDISON’s laboratory, W I L L I A M Architecture September 1943. Lectures in Poetry #6, Harvard Frontiers on Fresh Air, 3 Feb 2005. 7 Charles Eames, from the documen- University, 26 April 1971. 43 Charles Eames from Elizabeth or an image of one of their creative works? SHAKESPEARE’s theater, ORVILLE and W I L BU R tary An Eames Celebration (New 28 John and Marilyn Neuhart, Eames Sverbeyeff Byron, “All About Eames” Because, Charles and Ray wanted a symbol WRIGHT ’s bicycle shop, WATSON and CRICK’s York: WNET, 3 February 1975). Design: The Work of the Office of House and Garden, February 1984, p. that represented not themselves, the office, Cambridge laboratory, BEETHOVEN’s study, 8 Eames Demetrios, An Eames Primer Charles and Ray Eames (New York: 124. (New York: Universe, 2001) pp. Abrams, 1989) p. 192. 44 Charles Eames from Herman Miller or their resultant designs, but one that re- and HEWITT PACKARD’s garage, are repre- 59–60. 29 See The films of Charles & Ray for the Home Catalogue (Zeeland: flected their higher ideals and values – the sentative of a few such places of creative 9 Ray Eames, from the documentary Eames, to date 5 volumes have been Herman Miller, 1994). creative process and life long search for pro- inquiry and served as agents of enormous An Eames Celebration (New York: released on video and DVD, avail- 45 An Eames Celebration (New York: found connections “among the unlimited cultural change, and who’s influence con- WNET, 3 February 1975). able from WNET, 3 February 1975) and 10 For details see John & Marilyn and Beatriz Colomina, “Enclosed by “Charles Eames” Portfolio Magazine, possibilities and return considerable rich- tinue to impact our lives today. Neuhart, “1941, Experimental Images: The Eameses’ Multimedia Number 2, Summer 1950. ness to the world.” What is phenomenal is The true legacy of the Office of Charles Molded Plywood Chair Seats” Eames Architecture” Greg Room number 2, 46 Charles Eames, “Making that the asterisk is used in many disciplines and Ray Eames is not solely the furniture, Design (New York: Abrams, 1989) winter 2001, pp. 6-29. Connections” Aspen Design pp. 26–27. 30 Eames Demetrios, An Eames Primer Conference, June 1978, (Unpublished of inquiry. In astronomy, it is used to mark films, exhibitions, toys, architecture or cel- 11 Bill Lacey “The Eames Legacy” Los (New York: Universe, 2001) p. 149. outline and notes, p. 2, Charles and the “fixed star of reference” on charts. In ebrations they created, but the wonderfully Angeles June 1989, p. 77. 31 Charles Eames, Charles Elliot Norton Ray Eames Collection, Library of physics, the asterisk is the symbol of a laser, rich and creative process that gave birth to 12 Charles Eames from the film Design Lectures in Poetry #4, Harvard Congress, Box #58). Q&A 1972. University, 15 March 1971. 47 The Eames Office is no longer a a beam of intensely concentrated light. In these creations. Charles and Ray considered 13 Jeremy Bernstein, “Profile: Tsung- 32 Charles Eames, Charles Elliot Norton design office, but is now dedicated to medicine, it is the symbol of birth. In reli- their work a formulation of seeing, thinking Dao Lee and Chen Ning Yang” New Lectures in Poetry #5, Harvard communicating, preserving and ex- gion, the asterisk is the symbol of the point and making in new and courageous ways. Yorker May 12, 1962, pp. 49–102. University, March 29, 1971. tending the work of Charles and Ray 14 Charles Eames, Charles Elliot Norton 33 The “Chronology: The Work of the Eames. See for where worshiper response begins. In print- It was a fusion of problem solving, creative Lectures in Poetry #5, Harvard Office of Charles and Ray Eames more details. ing, it is the symbol of a footnote, an exten- thinking, reiterative testing of an idea and University, March 29, 1971. 1941–1978” is a loose insert “gift” 48 Jeannine Oppewall from Pat sion or elaboration of an insight or idea. In a way of working that continues to spur our 15 Charles Eames from the film Design which accompanied, John and Kirkham, Charles and Ray Eames: Q&A 1972. Marilyn Neuhart, Eames Design: The Designers of the Twentieth Century invention, as one glance through an inven- imaginations today, and for many genera- 16 Charles Eames from the film Design Work of the Office of Charles and Ray (Cambridge: MIT, 1995) p. 89. tor’s notebook, the asterisk is the symbol of tions to come. Q&A 1972. Eames (New York: Abrams, 1989). profound insight or a new idea. As a staff member departed the Eames 17 John & Marilyn Neuhart, Eames 34 George Bryan, Edison: the Man and Design (New York: Abrams, 1989) his Work (New York: Garden City Now, 28 years after it’s closing, the Office to pursue the next phase of their life, p.13. Publishing, 1926). magical place known as the Office of Charles’s parting words were, “Remember 18 Deborah Sussman from Donald 35 John and Marilyn Neuhart, Eames Charles and Ray Eames has vanished.47 In the standards here, don’t let them down.” 48 Albrecht, The Work of Charles and Design: The Work of the Office of spirit it has moved on, and joined the ranks of the other landmark creative environ- MAX UNDERWOOD

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