Konrad Wachsmann offers a personal view of Eames’s work. He notes Eames’s gift for attracting talented collaborators, from Ray Kaiser, to Herbert Matter, Harry Bertoia, Gregory Ain, Norman Bruns, and many others.
Wachsmann argues that, from the very first chair for Herman Miller, Eames was engaged in the design of the production process, and was not content to become a furniture designer.
Wachsmann illustrates his discussion of Eames’s interest in processes and production with a few minutes of the film House.
On the other hand, Wachsmann notes Eames’s playfulness, and presents the film Parade.
Wachsmann discusses the Eames office‘s engagement with exhibition design, praising their engagement with science, as illustrated in Mathematica: a world of numbers, the film A Communications Primer, and Copernicus.
Wachsmann screens the 1977 version of Powers of Ten.