DOCSLIB.ORG

The Eames Splint: Much More Than Leg Support

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Eames Splint: Much More Than Leg Support 554 CONSTRUCTING IDENTITY The Eames Splint: Much More than Leg Support MITCHELL B. OWEN Massachusetts Institute of Technology Rarely has performing patriotic duty woven, or in this case nary, but in our old world, pretty things are usually laminated, so many primary social functions into one object equated with social irresponsibility.? as in the case of the splint designed and partially manufac- A close reading of the Eames splint and the context of its tured by Charles and Ray Eames. In architectural circles the production calls Smithson's normative characterization, and Eameses are widely renowned for both their 1949 Case Study many others like his, into question and reveals that this House near Los Angeles and their whimsically modern furni- particular view of the Eameses is just as much a product of ture designs which are still widely available today. Else- their office as any of their furniture or films. Only in this case, where, their films, exhibition designs, and toys have also the now identifiable Eames, that is, Charles Eames, the enjoyed critical attention and public enjoyment. However, "natural Californian Man," traverses the Atlantic to inspire their first successful commercial projects began withamolded rebuilding in the war-ravaged "old world" with his specifi- plywood leg splint produced for the US Navy during World cally "American life-form." It makes no difference to Smithson War 11. In a monographic history of the Eames Office the leg that Charles Eames moved to California when he was 34, splint, along with arm splints, litters, and airplane nose cones, hardly an impressionable age, nor that Charles's primary find themselves relegated to a technological footnote used to mentors were "old-world" masters - Mies van der Rohe and explain molded plywood experiments and processes which Eliel Saarinen. For this study, the methodology of mono- consequently enabled the office's first produced line of criti- graphic history is sequestered, bringing anecdotal evidence, cally acclaimed and commercially available plywood chairs.' banal chronology, and interdisciplinary inquiry into play in Eames furniture, however, should not be simplified as order to escape the temptation of formal continuities and formally attractive applied technologies: their production single-narrative histories which necessarily simplify the messy follows directly from their wartime projects within a matrix context of actual historical production. The results will be an of domestic and international ideologies, marketing strate- understanding of how Smithson's statements are both com- gies, and political maneuverings which inevitably impacted pletely accurate and ultimately untenable when confronted (reformulated in some cases) individual, regional, and na- with the complexity of the Eameses' operational milieu. tional identities and representations. But somehow, these The splint began as a suggestion by Dr. Wendell Scott in forces became nicely iced over, leaving an innocuous yet December of 1941, who, after having seen experimental ubiquitous naturalized historical narrative. For example, Pe- applications of the Haskelite molded plywood process7 in the ter Smithson's 1966 essay on the "Eames-aesthetic" reads: Eameses' apartment, suggested that they try to adapt the Charles Eames is a natural Californian Man, using his technology to the production of splints to replace the medi- native resources and know-how - of the film-making, cally problematic metal splints that were in use by the mili- the aircraft and advertising industries - as others drink tary. water; that is without thinking. And it is this combina- The Eameses had moved to Los Angeles from Cranbrook tion of expertise . which produces the apparent in 1941, into aNeutradesigned apartment complex which had casualness that is special to the American life-form and been secured for them by John Entenza, then publisher of its art-form. California Arts & Architecture magazine. While teaching at Cranbrook, Charles Eames had collaborated with Eero And, as it is the Californian Man's real originality Saarinen on molded plywood furniture designs which won to accept the clean and pretty as normal, it is not major prizes in the 1940 Museum of Modern Art's Organic surprising that it is the Eames' who have made it Design in Home Furnishing competition, with graphic assis- respectable to like pretty things. This seems extraordi- tance provided by Ray Kaiser, soon to become Eames. The 867" ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE 555 Fig. 2. Wood-legged dining chair (DCW), 1945. Photo Credit: Eames Office 01989,1998 cwww.eamesoffice.com> Fig. 1. Finished birch and mahogany production splints, 1943. Photo Credit: Eames Office O 1989,1998 <www.eamesoffice.com> 1940s had successfully reconfigured the magazine from its house-and-garden regional format into a modern chairs were slated for production until war shortages halted multidisciplinary journal where the decorative arts and de- their progress. sign were being treated on equal footing with the work of The splint was presented to the Navy early in 1942. painters and sculptor^.^ Revisions were made and presented again in early summer, A new editorial introduction, "Notes in Passing," first with Entenza accompanying Charles Eames on this trip. With appeared in the February 1940 issue as an annotated calendar the Navy's approval the equipment for mass production of cultural events, but soon became a full-fledged editorial entered the design process with funding being provided by addressing the poverty of the arts in southern California, Entenza, and their first splint order came in November. The American isolationist tendencies, and fascist progressions in design team formed the Plyformed Wood Company which Europe. began to develop other molded plywood products for the The Arts &Architecture circle grew to includemost young military. In October of 1943, with production having difficul- architects and designers of note in the southern California ties meeting demand, the rights to the operation were sold to region, and with editorial eyes cast eastward, the magazine the Evans Product Company, which added the Molded Ply- focused on artists exiled from Europe as well as American wood Division and maintained the staff and its Los Angeles artists and critics operating both in Los Angeles and New location for future development with Entenza acting as man- York. In name and layout, the magazine reflected its change ager and president. By war's end, 150,000 splints had been from its regional roots to the international art and architecture manufactured and shipped to the Navy. In 1943 MoMA's scene: the most drastic graphic redesign had occurred in the Design for Use show included molded plywood splints among February 1942 issue which gave the magazine its first com- other Eames plywood forms? pletely abstract cover, and California was dropped from the John Entenza, himself an import to the Los Angeles area title inFebruary of 1944. The international recognition ofArts after having conducted preparatory training for the diplo- &Architecture is only partly indicated by Entenza's position matic service under the Secretary of Labor in Washington, as American editor of Zodiac, the international design journal DC, purchased California Arts & Architecture magazine in based in Milan and Brussels begun in the 1950's, and by the 1938, prior to his entry into the splint business, and by the numerous reprints ofArts &Architecture spreads, even entire 556 CONSTRUCTING IDENTITY issues, in foreign publications.' Grace Clements, a "Post-Surrealist" abstract painter act- ing as Los Angeles art critic from 1942 to 1948 and as an editorial associate for the magazine, perhaps best exemplifies the directly political and cohesive atmosphere within the magazines narrative objectives. Clements, active in the Ameri- can Artists' Congress, an anti-fascist art organization based in New York, from the time of its chartering in the 1930s, contributed an article to the March 1936 issue of Art Front, a vehicle of the American Artists' Congress, in which she criticized formalism and Surrealist automatism and argued for a publicly legible art that addressed social issues: "If we had art- really had it - we wouldn't have the kind of poverty, exploitation, ugliness, and general chaos with which we have lived for so long."'She saw Post-Surrealism, distinct from its European ancestors, as an abstract language that could still carry narrative meaning and continually reinforced her posi- tion in the art columns of Arts & Ar~hitecture.~ Alongside the political activism that was continually being championed in the publication's pages was a realization that things were going to be drastically different after the war. Entenza's 1942 "Notes in Passing" reads: We have created fictions and expected them to stand as truths solid enough to uphold a social attitude that has become so cumbersome that it creaks with the weight of its own patches. The future. has been delayed and compromised and denied over and over again simply because we have not yet satisfied ourselves as to the Fig. 3. Advertisement for the Evans Product Company's Molded methods by which we could buy and sell it.' [emphasis Plywood Division. Arts & Arcliitect~re(July 1944). added] This realization was indicative of a more general national the table of contents. attitude, primarily at the industrial production level. Adver- The advertisement features a boy looking anxiously to- tising before and during the war continually reinforced
Load more

Recommended publications
  • Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017
    Vitra Accessories Collection Developed by Vitra in Switzerland Update: Maison & Objet, September 2017 The Vitra Accessories Collection encompasses the growing portfolio of design objects, accessories and textiles produced by the Swiss furniture company. The collection is based on classic patterns and objects conceived by designers such as Alexander Girard, Charles and Ray Eames and George Nelson. In addition to these classics, it also includes pieces by contemporary designers like Ronan and Erwan Bouroullec, Jasper Morrison, Hella Jongerius and Michel Charlot. Authenticity, joy and playfulness are hallmarks of the Vitra Accessories Collection. For the autumn / winter collection of 2017 Vitra will expand its accessories portfolio with design objects by Charles and Ray Eames, Alexander Girard and George Nelson. Charles & Ray Eames Charles and Ray Eames are among the most influential designers of the twentieth century. Working with tireless enthusiasm, the pair explored the fields of photography, film, architecture, exhibitions, and furniture and product design, making landmark contributions in each domain. Plywood Elephant & Eames Elephant (small), 1945 In the 1940s, Charles and Ray Eames spent several years developing and refining a technique for the three-dimensional moulding of plywood, creating a series of furniture items and sculptures in the process. Among these initial designs, the two-part elephant proved to be the most technically challenging due to its tight compound curves, and the piece never went into serial production. A prototype was given to Charles's 14-year-old daughter Lucia Eames and later borrowed for the exhibition at the Museum of Modern Art in New York in 1946. It still survives in the Eames family archives today.
    [Show full text]
  • After Seven Decades Strong, Good Design Continues Its Iconic History Awarding the Best and Most Recognized Design Products Worldwide
    MORE INFORMATION Jennifer Nyholm Chicago, Illinois USA [email protected] EUROPE CONTACTS: Fachanan Conlon Dublin, Ireland [email protected] AFTER SEVEN DECADES STRONG, GOOD DESIGN CONTINUES ITS ICONIC HISTORY AWARDING THE BEST AND MOST RECOGNIZED DESIGN PRODUCTS WORLDWIDE The Modern Design Revolution Persists in a Steady Loud and Showy Innovative Pace as It Did at the Offset of the 1950s. CHICAGO, ILLINOIS (MAY 25, 2020) — Seventy years ago, a group of die-hard advocates for modern design banded together to brand a novel marketing campaign to showcase and trumpet new American home furnishings, household items, and industrial objects with a revolutionary passion and zeal. Good Design® was founded in Chicago in 1950 by architects Charles and Ray Eames, Eero Saarinen, and Edgar Kaufmann, Jr., director of the Industrial Design Department, Museum of Modern Art (MoMA) and professor of Architecture and Art History at Columbia University with the first installation of Good Design at The Merchandise Mart in Chicago. The first Good Design exhibition was sponsored by The Merchandise Mart and The Museum of Modern Art, together with the Society of Industrial Designers, the American Institute of Decorators, the Home Furnishing Industry Committee, Neiman-Marcus, Lord & Taylor, The Art Institute of Chicago, and the American Institute of Architects. The Good Design exhibition opened at The Merchandise Mart on January 16, 1950 with the installation designed by Charles and Ray Eames. A reduced version of the exhibition, assembled by Eames, opened at MoMA in New York on November 21, 1950. This was the first time that a wholesale merchandising center and an art museum joined forces to present “the best new examples in modern design in home furnishings.” The program called for three shows a year: one during the Chicago winter furniture market in January, another coinciding with the June summer market in Chicago, and a November show in New York based on the previous two exhibitions.
    [Show full text]
  • BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann
    Media Contact: A. J. Fox · (510) 642-0365 · [email protected] BAMPFA Mounts Expansive Reevaluation of Groundbreaking Abstract Painter Hans Hofmann On View February 27–July 21, 2019 Hans Hofmann: The Nature of Abstraction Marks New Perspectives on Hofmann’s Experimental Approaches and Painterly Achievement, Featuring Rare Works and New Scholarship Press Preview: Monday, February 25, 2019 at 10 a.m. RSVP to [email protected] (Berkeley, CA) October 3, 2018—A monumental Hans Hofmann exhibition opens at the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) next year, marking a comprehensive reevaluation of one of the twentieth century’s most influential abstract painters. With nearly seventy paintings—including works from private collections that have never been exhibited in a museum setting—Hans Hofmann: The Nature of Abstraction presents an unprecedented and fresh look at Hofmann’s studio practice, focusing in particular on his continuously experimental approach to painting and the expressive potential of color, form, and space. On view at BAMPFA from February 27 through July 21, the exhibition will then travel to the Peabody Essex Museum in Salem, MA September 21, 2019 through January 6, 2020. Accompanied by a fully illustrated scholarly catalog on Hofmann’s career, the exhibition marks the most significant opportunity to reexamine the artist’s legacy since his death in 1966. Since that time, discourse around Hofmann has focused primarily on the remarkable color plane abstractions he created the 1950s and ’60s, which were the focus of major exhibitions at New York’s Museum of Modern Art and the Whitney Museum of American Art during his lifetime.
    [Show full text]
  • Preservation by Design: Archives and Records Services at Herman Miller, Inc
    Reprint: Business Archives Section Newsletter, 1998 Preservation by Design: Archives and Records Services at Herman Miller, Inc. By Robert W. Viol, Corporate Archivist, Herman Miller, Inc. Who is Herman Miller? Collections and Services departments. Space in the record Herman Miller Inc. is a leading Herman Miller’s corporate archival center has been designed to store multinational manufacturer of holdings have been described by requested documents and furniture, furniture systems and researchers as "awesome" - a accommodate lawyers from both furniture management services. testimonial to the corporate sides of the courtroom. Headquartered in Zeeland, officers, who have generously Michigan, Herman Miller has been provided monetary and moral Get Rid of that Backlog! It Costs a source of major innovation in the support, and to the dozens of men Us Money! residential and office and women, who have contributed Litigation research has environments. The company their effort, time and talent. The demonstrated the urgent need to emphasizes problem solving archives, now located in one of the eliminate the backlog of through design, participate company’s original buildings, uncataloged Herman Miller management, environmental documents the development of publications and non-Herman responsibility and employee stock Herman Miller product from its Miller materials containing third ownership. inception and creation to marketing party endorsements of our product. and distribution. Collections Every growing and viable archives Herman Miller, Inc. began in 1905 include publications, administrative will have a backlog of the as the Star Furniture Company, a records, photography, drawings unprocessed, however, when manufacturer of ornate and blueprints, oral histories, records or publications are reproductions of traditional-style audiovisuals, three dimensional requested as a result of a court home furniture.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]
  • Eames House Case Study #8 : a Precedent Study Lauren Martin Table of Contents
    EAMES HOUSE CASE STUDY #8 : A PRECEDENT STUDY LAUREN MARTIN TABLE OF CONTENTS 1. TITLE PAGE 2. TABLE OF CONTENTS 3. WHO? 4. WHERE & WHY? 5. DESIGN 6. PROPERTY DETAILS & SPECS 7.PLANS & SECTIONS 8. ELEVATIONS 9. PROGRAM 10. EXPERIENCE 11. SUSTAINABILITY 12. BIBLOGRAPHY WHO? C “EVENUTALLY, EVERYTHING CONNECTS” The Eameses are best known for their H -CHARLES EAMES groundbreaking contributions to architecture, furniture design, industrial A design and manufacturing, and the photographic arts. R “THE ARCHITECT & THE PAINTER” L Charles Eames was born in 1907, in St. Louis Missouri. He attended school there, developing an interest in engineering and architecture. By 1930 he E had opened his own architectural office. Later, he became the head of the design department at Cranbrook Academy. Ray Eames was born in 1912 in Sacramento, California. She studied painting with Hans Hofmann in New York before moving on to Cranbrook Academy where she met and assisted S Charles and Eero Saarinen in preparing designs for the MOMA’s Organic Furniture Competition. Married in 1941, they continued furniture design and later architectural design. & R A Y WHERE? WHY? In 1949, Charles and Ray designed and built their own home in Pacific Palisades, California, as part of the Case Study House Program sponsored by Arts & Architecture magazine. Located in the Pacific Palisades area Their design and innovative use of materials made the house a mecca for architects and designers from both near and far. Today, it is of Los Angeles, California. The Eames considered one of the most important post-war residences anywhere in House is composed of a residence and the world.
    [Show full text]
  • Authentic Eames® Moulded Plastic Chairs from Herman Miller Now in a New, More Sustainable Fibreglass
    Authentic Eames® Moulded Plastic Chairs from Herman Miller now in a new, more sustainable fibreglass. Herman Miller also announces a proprietary take Perhaps more than any design, the Shell Chair represents the back program in support of fibreglass recycling. Eames’ disinterest in superficial aesthetics and their agnostic approach to material. What mattered most to them was the integrity of the form, function and context. The chair, in The Eames Shell Chair, created by Charles and Ray Eames for fibreglass, was introduced by Herman Miller in 1950 – its now Herman Miller, is perhaps the epitome of the celebrated couple’s familiar form already a result of several refinements – as the design process—a philosophy characterised by a journey of first mass-produced plastic chair. The iconic design continued exploration, evolution, insight and delight. True to this spirit, the to evolve through the years with new colors, height options, Herman Miller Collection, in collaboration with the Eames Office, base variations, and the application of upholstery. But by the continues to push the boundaries of the Shell Chair form, first late 1980s the environmental risk associated with fibreglass introducing a moulded wood version and now with an advanced, production was recognised, leading Ray and Herman Miller to sustainable fibreglass chemistry and production process. The discontinue its production until a more suitable material could be result is the Eames Moulded Fibreglass Chairs, available through found. In 2000, Herman Miller reintroduced the Moulded Plastic authorised Herman Miller dealers. Chair in polypropylene. This durable, 100% recyclable material proved popular, with a softer profile and subtle matte texture.
    [Show full text]
  • Ational Register of Historic Places Registration Form
    NPS Form 10-900 OMB No. 10024-0018 (Oct. 1990) United States Department of the Interior National Park Service AR ational Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register ofHistoric Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/ A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form I0-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name St. Mary's Catholic Church other names/site number Site #PH0171 2. Location street & number 123 Columbia D not for publication city or town Helena-West Helena D vicinity state Arkansas code AR county Phillips code 107 zip code 72342 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this 1:81 nomination 0 request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set for in 36 CFR Part 60. In my opinion, the property 1:81 meets 0 does not meet the National Register criteria. I recommend that this property be considered significant 0 nationally 1:81 statewide 0 locally.
    [Show full text]
  • Charles Eames : Furniture from the Design Collection, the Museum of Modern Art, New York by Arthur Drexler
    Charles Eames : furniture from the design collection, the Museum of Modern Art, New York By Arthur Drexler Author Drexler, Arthur.;Museum of Modern Art (New York, N.Y.) Date 1973 Publisher The Museum of Modern Art ISBN 0870703145 Exhibition URL www.moma.org/calendar/exhibitions/1712 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art CHARLESEAMES FURNITURE FROM THE DESIGN COLLECTION THE MUSEUM OF MODERN ART, NEW YORK LIBRARY Museumof Mocfc-fnAft CHARLESEAMES FURNITURE FROM THE DESIGN COLLECTION THE MUSEUM OF MODERN ART, NEW YORK BY ARTHUR DREXLER LIBRARY" iteaurn of Mod&rr Art mha DEPARTMENT OF ARCHITECTURE & DESIGN TRUSTEES OF THE MUSEUM OF MODERN ART c. ^2 Arthur Drexler, Director William S. Paley, Chairman Emilio Ambasz, Curator of Design Gardner Cowles, Vice Chairman John Garrigan, Assistant Curator of Graphic Design Henry Allen Moe, Vice Chairman Mary Jane Lightbown, Research Associate David Rockefeller, Vice Chairman Kathryn Eno, Assistant to the Director Mrs. John D. Rockefeller 3rd, President Katherine Mansfield, Secretary J. Frederic Byers III, Vice President Jerry Bowen, Custodian Mrs. Bliss Parkinson, Vice President Ludwig Glaeser, Curator of the Mies van der Rohe James Thrall Soby, Vice President Archive Neal J. Farrell, Treasurer Susan Evens, Secretary Robert O. Anderson Carol Sullivan, Cataloguer Mrs. Douglas Auchcincloss Anny Eder, Conservator Walter Bareiss Margarete Hachigian, Researcher Robert R. Barker Alfred H. Barr, Jr.* COMMITTEE ON ARCHITECTURE & DESIGN Mrs. Armand P. Bartos William A.
    [Show full text]
  • Introduction
    daniel ostroff Introduction for the beginning of a fi lm about their molded texts provides a useful guide to their work and plywood chair—the one designated by Time allows for the widest possible range of subjects. magazine as the “design of the century”—Charles Charles observed that regardless of the product, Eames and Ray Eames wrote: “The problem of “the formula is the same for everything.”4 Here we designing anything is in a sense the problem of see how this “formula” applied to a variety of cre- designing a tool. And as in designing a tool it is ative problem-solving tasks. usually wise to have a pretty clear idea of what you The Eames Offi ce had three kinds of clients: want the thing to do. The need it is to fi ll, its par- businesses; public organizations, which included ticular objective.”1 museums, libraries, and government agencies; By approaching their work with this attitude, and teaching institutions. Examples of all of their as simple as it may seem, and by committing them- work, jobs where they purveyed not only designs selves to a “nuts and bolts” process, the Eameses but also ideas, are found throughout this volume. had an extraordinary impact on our world. They Clients in the business sector included the furni- created a well-documented legacy of architecture, ture companies Herman Miller and Vitra, plus ibm, furniture, toys, fi lms, exhibitions, books, and Westinghouse, Polaroid, and Boeing. Public sector graphic design. clients included the governments of the United My objective with this book is to present another States, India, and Puerto Rico, and the Secretariat important aspect of their legacy.
    [Show full text]
  • EAMES HOUSE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 EAMES HOUSE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Eames House Other Name/Site Number: Case Study House #8 2. LOCATION Street & Number: 203 N Chautauqua Boulevard Not for publication: N/A City/Town: Pacific Palisades Vicinity: N/A State: California County: Los Angeles Code: 037 Zip Code: 90272 3. CLASSIFICATION Ownership of Property Category of Property Private: x Building(s): x Public-Local: _ District: Public-State: _ Site: Public-Federal: Structure: Object: Number of Resources within Property Contributing: Noncontributing: 2 buildings sites structures objects Total Number of Contributing Resources Previously Listed in the National Register: None Name of Related Multiple Property Listing: N/A NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 EAMES HOUSE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this __ nomination __ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property __ meets __ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property __ meets __ does not meet the National Register criteria.
    [Show full text]
  • Prefabrication and the Post-War House
    142 WITHOUT A HITCH: NEW DIRECTIONS IN PREFABRICATED ARCHITECTURE haps the most important, because it is the principal and most intimately connected with Prefabrication and the environmental conditioning of human beings, is everything we mean when we say the word Postwar House: the “HOUSE.” It is here that we come closest to California manifesto the heart of man’s existence; it is here that he hopes for the satisfaction of his most human needs; it is here that he strikes the firmest roots into the ground; it is here that he achieves his strongest sense of reality not only in terms of things but also in terms of fellow human beings. It is first then to “the house of man” that we must bring the abundant gifts of this age of science in the service of mankind, Matthew W. Fisher realizing that in the word “HOUSE” we encom- Iowa State University pass the full range of those activities and aspi- rations that make one man know all men as himself.”1 In July 1944, a year prior to the cessation of World War II, the California-based journal Arts and Architecture published what was in es- sence a manifesto on the “post-war house” and the opportunities and necessity for prefabrica- tion. This was largely the work of John En- tenza, publisher and editor of Arts and Archi- tecture since the late-Thirties, and his editorial assistants, Charles and Ray Eames, with sig- nificant contributions from Eero Saarinen and Buckminster Fuller, among others. Entenza and his editors were fully aware at the time of the pent-up demand for new housing that awaited the end of the war.
    [Show full text]