Manijeh: October 2010 Archives

RE-CON: Competition Sleeves

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I've finished the lasercut files for all the sleeves for the various competition entries and hopefully can cut them tomorrow if I get a slot. 

Beckham Lookbook - Thumbnails

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this book is finished... the others are still in progress. Sorry that the thumbnails are so small but its too big to upload the whole thing onto the blog (52 pages) 

WIP: Lawson/ Saatchi plate

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I was thinking back to an earlier tutorial where Adam suggested I stage contemporary life as the Eames' would have. I then thought to differentiate this plate from the Beckham plate, it should become a lot more domestic. I removed the images of Nigella and replaced them with art and images of food  -  a wall of polaroids reminiscent of the Eames' exhaustive documentation of their everyday meals, environment and lives. Its still a work in progress since I have to add objects onto the counter and make the interior a bit less Eames-like. 

Thinking about the discussion from Tuesday and trying to frame a relevant research question to progress with for the rest of the year; here are my thoughts so far:

To what extent does the architect embed themselves within the project, especially in the context of the individualized, private sphere of the domestic environment?
Do they create a neutral backdrop? A didactic experience? A highly prescriptive inhabitation? Which of these would be most relevant to today's society? Does the house become a monument to the architect? 

Given my interest in the persona vs. the project, I'm interested in the overlap when the architect designs for themselves and becomes the inhabitant. Or, when the architect designs a prototype for mass implementation (thereby creating a fictional client) - how much of themselves do they project onto the architecture? 

All a bit unclear now but I'm trying to make it clearer for tomorrow.

Updated Venturi and SANAA plates

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The House as a Multi-Screen Billboard: (building as a sign)

The House as an Inhabitable Experience: (helping people to relate to architecture, architecture relate to people and people to relate to themselves)

still to come: updated Nigella/ Saatchi plate (two condensed into one plate) and I hope to have preliminary pages for each entry's supplementary materials to show on Friday. 

The real story behind the Eames'

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(a review by Alice Rawsthorn in the New York Times - 24 Oct 2010)

The Story of Eames Furniture 

Let's start with a good old-fashioned design book, the whopping two-volume "Story of Eames Furniture" by Marilyn Neuhart, an American designer whose husband, John, worked at the Eames Office. She bills it as both "a good solid story filled with good, interesting, hard-working characters," and a "warts-and-all-story" that debunks the myths of Charles Eames as a "two-dimensional cardboard hero" and his wife, Ray, as "a feminist heroine."

Ms. Neuhart's bluntness (she describes working with Ray Eames on an earlier book as "one of the most agonizing experiences of my professional life") makes for a rollicking tale that includes Charles's womanizing, the irritating indecisiveness of both Eameses and their shameless deletion of inconvenient facts from his biography.

The result is a design geek's dream. Packed with information and insights on the development of every piece of furniture produced by the Eames Office, it is filled with product shots, technical drawings, advertisements, magazine and newspaper clippings, snapshots, profiles of the Eames's collaborators and employees, and anecdotes. Take the time that Charles Eames took his friend and fellow designer Eero Saarinen to a drive-in movie theater to see Judy Garland and Mickey Rooney in the 1940 film "Strike Up the Band." As Saarinen said to him afterward: "Those two youngsters might just go somewhere."

The Story of Eames Furniture is sold on Amazon for £122.33

RE-CON: Plates update

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Initial Brief and Guidelines:


Updated version of the Beckham's Inhabitation of the Eames House
(unabashed self promotion):



Using this initial fictional brief, I hope to develop a set of guidelines for inhabitation based on Charles and Ray's documentation of their house.

I think this competition, through the design of the brief and its constraints as well as the various entries; will be a way to make the Eames House more about my own narrative. In this way, I can discuss themes of lifestyle, inhabitation, self-promotion/ advertising and the power of the image - all of which were my main interests when studying the Eames House. 

 I will also develop a list of celebrity couples but any suggestions are welcome. So far the couples I have thought of are: Robert Venturi and Denise Scott Brown (for an interesting postmodern approach), David and Victoria Beckham (for unabashed self-promotion) and Charles Saatchi and Nigella Lawson (for their combination as art collector and 'domestic goddess')

latest Eames discoveries...

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Charles Eames has a posthumous twitter account filled with retweets of Eames related posts and iconic quotes - his self-promotion continues from beyond the grave...

Charles' desk

Ray's desk

At last some proof of who was the real collector of the pair...

and finally:
10/10/10 or 10 October 2010 was known as 'International Powers of Ten Day' whereby more than 50,000 people around the world organized and participated in Powers of Ten-related events. 

Charles and Ray Eames died on the exact same day yet ten years apart... 

Uninhabiting the Eames House

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I've carefully removed all objects and furnishings in the living room of this iconic image of the Eames House in order to learn more about the relationship between the Modernist container of this Case Study House and the plethora of objects that inhabit it. 


This is an image of just the objects themselves without the container.
(they are all on individual layers in the photoshop file)

Architecture as Performance

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Charles and Ray Eames inhabiting their architecture...

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