The Eames created a distinct space where nature and civilization impact and affect the presence of one another. Human relationship to the surrounding social environment is also pertinent when constructing the Eames’s narrative. Ray Eames’s sculpture fashioned from a salvaged post of the old Ocean Park Pier sits in the patio space directly outside of the living room. The sculpture was fashioned from a 5-foot burnt wooden beam with a rusted curving spike protruding from the top. Ray Eames did not radically transform or alter the object in any way. She merely took the burnt wooden post out of its original context as a piece of rubbish, places on a pedestal, and brought it into her home, turning it into a piece of history that now tells a story
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The Eames House was originally part of an architecture program called the Case Study Houses headed by John Entenza, the editor of Arts and Architecture. The idea was to create a home for a specific clientele influenced by the post-war modern world using materials and techniques derived from the experiences of World War II. The Eames’s plan for the house was designed to adapt accordingly to its surrounding environment, creating a space where human civilization and nature coexists harmoniously. The visitors enter into a new ecological setting when they visit the house and are presented a unique vision of human life and the world at large, filtered through their understanding of the behavior and orientation of objects. The objects themselves also enter into a new ecological setting, one that is incapable of absolving itself from human life and experience due to a structured life-and-work model of their presentation. Objects need to be present otherwise there would be no cultural significance to The Eames house. But, they do not exist at the house in the way that object oriented ontology wants them to exist. Individual objects at The Eames House are broken away from its habitual environment. Charles and Ray Eames, as well as visitors to The Eames House, liberate the intended functions and meanings from the object in such a way that it sets up entirely new relationships with other elements—material and
The Eames House was originally part of an architecture program called the Case Study Houses headed by John Entenza, the editor of Arts and Architecture. The idea was to create a home for a specific clientele influenced by the post-war modern world using materials and techniques derived from the experiences of World War II. The Eames’s plan for the house was designed to adapt accordingly to its surrounding environment, creating a space where human civilization and nature coexists harmoniously. The visitors enter into a new ecological setting when they visit the house and are presented a unique vision of human life and the world at large, filtered through their understanding of the behavior and orientation of objects. The objects themselves also enter into a new ecological setting, one that is incapable of absolving itself from human life and experience due to a structured life-and-work model of their presentation. Objects need to be present otherwise there would be no cultural significance to The Eames house. But, they do not exist at the house in the way that object oriented ontology wants them to exist. Individual objects at The Eames House are broken away from its habitual environment. Charles and Ray Eames, as well as visitors to The Eames House, liberate the intended functions and meanings from the object in such a way that it sets up entirely new relationships with other elements—material and