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Ps2 emulator mac os x 1095. A stencil of Eames Century Modern in front of the Eames House, 2010 'Sitting high atop the Pacific Palisades and overlooking Santa Monica and the Pacific Ocean,' the crew fawns, the Eames House 'is still recognized as a revolutionary use of space and materials.' The house is the most salient work of, arguably the most distinguished couple in design history.

And a private tour for three lucky House Industries fans was an idyllic gesture for the inauguration of the typeface collection last spring. 'We are going to time the release with the sunset in the Pacific Palisades,' said House Industries owner Rich Roat in the run-up to the event. 'How poetic.' The tours, guided by the Eames's grandchildren, may seem like a lavish gesture — the House Industries catalog is free, while the privilege of seeing the Eames House interior and studio is only afforded to those with a $5000 membership — but the company considers the Eames Century Modern collection, like the namesake artists, worth celebrating in style.

Especially considering that, the typeface was a long time coming; Andy Cruz, Roat's partner and resident art director at House Industries, first presented the idea to Eames Demetrios back in 1999. 'We kept up the dialog and finally made a deal a few years ago,' Roat says. The Eames House was an obvious point of incorporation for the launch of the type collection for a number of reasons. After hashing out a licensing arrangement with the Eames estate in 2007, Cruz and Roat negotiated the final terms at the kitchen table in the Eames House. Back then, though the real typography work was still to come, the largest paperwork hurdle had been cleared and to commemorate the event, House Industries released a few of the Eames House, what Roat calls 'a celebratory notion.' Three years later, they’ve come full circle, with the Eames Century Modern font (drawn by Erik van Blokland, of Beowolf typeface fame, whom Roat calls a 'serial doodler') finally in the bag. The 'celebratory notion' has become a set of ' representing 29 separate hand-pulled screen passes.'

Can be used to build a miniature model of the Eames home and studio. Bottom: House Industries has issued the 36-piece Eames House Blocks set The Eames House hints at the myriad reasons why Charles and Ray Eames have attained an irreproachable degree of design celebrity over the years. The building isn't just structurally interesting or aesthetically telling or technically impressive or personally relevant to the Eames story. Much more than any other Eames creation, it is all of those things combined. Designated a National Historic Landmark in 2006, the house has been extensively documented by the U.S.

Library of Congress as a beacon that 'represented the fruits of postwar American life, combining living and working, indoors and outdoors, high style and popular culture.' Built more than sixty years ago, the house originated as in the celebrated on design sponsored by Arts & Architecture magazine in the mid-1940s, and is today both a touchstone and shrine to mid-century modernism. The structure is revered as an embodiment of the Eameses' artistic inclinations. But on the technical side, too, the house hits the mark. Not only were the Eameses charging headlong into the postwar prefabrication boom — embracing its numerous logistical and social advantages, which were particularly suited to modern architecture — they were also embracing design sustainability in a time of devil-may-care prosperity. The Seattle-based designer Claude Breithaupt points out that the Eameses were also well aware of the context in which the home would be placed, and planned accordingly.

'Great construction for the climate, giving lots of natural light and ventilation, which makes for the really nice interior space,' he says of the building's relationship to its perch between Santa Monica's bay and mountains. A photo of Eames House’s distinctive exterior, photo courtesy of Eames Office 'I have never been forced to accept compromises but I have willingly accepted constraints,' Charles Eames once said of his architecture. Not surprising, then, that the initial plans for Case Study #8, drawn up in 1945 by Eames and his friend and fellow architect, were remarkably different from what ultimately came to fruition. That first design, an ominous glass-and-steel pavilion pitched dramatically above the property, was more reminiscent of a cold financial center or airport skyway than the cozy modern house the Eameses are known for. Due to the postwar shortage of construction materials, the Eames/Saarinen plan was shelved until, after several years of delay, the building's design was completely re-configured. There would be no compromise, especially for Eames's own house.