Materials Investigation, Analysis, and Treatment

In 2011, the Eames House Conservation Project began with an effort to understand the conditions of the house, focusing on areas where deterioration was evident or suspected. A multidisciplinary team that included conservators, scientists, architects, engineers, geologists, and arborists identified various conditions and vulnerabilities that required attention. Based on their recommendations, the Conservation Institute conducted a series of on-site investigations, assessments, and/or treatments; in several cases, commissioning specialized consultants to carry out the work. These efforts addressed a cluster of interrelated conservation issues that affect the building envelope and interior finishes, the house’s contents and collections, and the landscape. The results of some of the studies detailed below were published in 2019 in Eames House Conservation Project: Investigations 2011 to 2016.

The living room floor presented an interesting conservation challenge. In the early 1950s, the original bare concrete floor was covered in white vinyl tiles, which after some sixty years, had reached the end of their useful life span. They had grown brittle, cracked, and discolored and had loosened as the adhesive began to fail.

Examination of the tile and adhesive materials revealed that both were laden with asbestos, necessitating careful removal and abatement. Following the tiles’ removal in 2012, the moisture intrusion source was investigated, confirming that it was seeping through the concrete slab. Working with Escher GuneWardena Architecture, the Conservation Institute evaluated liquid moisture barrier systems to ensure compatibility with the new flooring.

A variety of possible replacement flooring materials were evaluated. Oddy testing was conducted to minimize the risk of off-gassing, a potential hazard to the interior collections. Aesthetically, the new tiles needed to match the originals, which were no longer available. Thorough consideration was given to the color and surface appearance of the replacement material, as well as such factors as durability and maintenance requirements. The Eames Foundation carefully weighed the decision between using an off-the-shelf product, which would be very much in the spirit of the Case Study Program, and a custom-made product, which would closely replicate the appearance of the original.

Ultimately, the foundation settled on a custom vinyl composite tile to achieve the best color match; tiles were custom cut to match the original 9" x 9" dimensions, which are no longer standard. Finally, floor tile acrylic sealers were evaluated to reduce the risk of damage to collections and to achieve the optimal final appearance.

The rear wall of the living room is covered in floor-to-ceiling vertical wood paneling, which extends through the glass end wall along the south patio, visually integrating the room with the outdoors. While the warm golden wood paneling is an important aesthetic feature, scant information about its material characteristics, including the wood species, could be located. After years of exposure to daylight through large expanses of glass, wood finishes had degraded, and there was evidence of possible biodeterioration. In 2012, microscopic examination determined there was no insect damage, but fungal growth was evident. DNA analysis identified the presence of two types of fungi, both of which were easily remediated in the treatment phase.

Before developing a conservation treatment plan, it was necessary to determine what type of wood was used in the paneling. Through microscopic examination of the cellular structure of the wood, a Getty Museum conservator determined with certainty that it was a species of eucalyptus (Eucalyptus microcorys), commonly known as Australian tallowwood. Whether the choice of eucalyptus was a conscious design decision is unknown, but interestingly, a magnificent row of eucalypts stands just outside the living room windows opposite the paneled wall.

To develop a treatment plan for the paneling, coating samples were collected and investigated. Once prior coatings were identified, conservators recommended a treatment plan that would preserve the original varnish treatments, including the patina, to the greatest degree possible. On the interior, treatment began with gentle, overall cleaning. Before application, several re-saturating varnishes were evaluated for color and appearance to minimize the aesthetic impact on the wood. The exterior paneling required stripping and revarnishing.

The light, steel framework of the Eames House has been coated in a glossy black paint for many years. However, Charles Eames originally described it as a “dark, neutral, and very satisfying gray” (Arts and Architecture, December 1949, pg. 33). It is not known when it was changed from gray to black. Color is also used on the opaque infill panels; some are brightly painted, and others a soft gray. Little information is available about the original choice of paints, but Ray Eames was an artist and a colorist who likely had a strong hand in their selection and placement.

To better understand and document the use of color at the house, the Conservation Institute carried out microscopic examination and chemical analysis of paint samples taken from select areas of the interior and exterior metalwork and four painted exterior panels in late 2011. This investigation focused on paint stratigraphy and pigment composition.

To further understand the paint history of the building, in situ paint investigation on selected areas of the exterior metalwork followed in 2012. With the aid of on-site microscopy, conservators made small exposure windows, carefully excavating each layer to expose the layers beneath. When analyzed in the laboratory, samples from both the interior and exterior metalwork showed evidence of repeated puttying, priming, and painting campaigns over the life of the house. They confirmed that the color of the metalwork had changed over time.

Through this examination, Conservation Institute staff discovered a first-generation paint layer in a dark, opaque, warm gray color. The paint was distinctively mixed, perhaps hand-tinted, using mineral pigments including red iron oxide, Prussian blue, and chrome yellow. The first-generation interior paint, while similarly pigmented, was a somewhat lighter shade than the exterior. The understanding of the paint stratigraphy gained from this investigation, correlated with documentary evidence, will inform future choices about repainting the metalwork.

Water ingress is of considerable concern in flat-roofed and glass-walled structures such as the Eames House. In the absence of sufficient drainage, water pooled easily on the roof, then cascaded down the building facade. In late 2014, the Eames Foundation undertook a reroofing campaign. Guided by the foundation's consultants and input from the Conservation Institute, roof details were minimally altered to reduce ponding and improve drainage. Institute staff also advised the Eames Foundation and their consulting architect in matters related to repairs of windows and metal work to enhance the performance of the building envelope while minimizing impacts on historic fabric.

In 2014, the Conservation Institute engaged a consultant to provide geotechnical evaluation services for the Eames House site and produce a topographic map. The evaluation involved reviewing existing geotechnical and geologic documentation, site reconnaissance, and a topographic survey to identify the primary geotechnical conditions affecting the site. The evaluation concluded that the geotechnical aspects of the site were in good condition and observed no slope failures or geotechnical hazards. It noted site areas that might require maintenance and/or additional study, and made recommendations for actions to improve slope erosion, manage irrigation, and improve drainage

The topographic map created by a professional surveyor provided the location and extent of existing site elements and components as well as conditions and features of the land’s surface, both natural and artificial, contributing to a greater understanding of the Eames House site and serving as baseline documentation.

One of the essential elements of the Eames House site is the landscape. Among the significant features of the landscape are the open meadow with views of the Pacific Ocean, the steep upper slope at the rear of the building complex, and numerous eucalyptus groupings, the most relevant of which is the row of mature eucalyptus trees that defined the location of the residence and studio.

In the fall 2014, a horticulturist and consulting arborist inventoried 246 individual trees with trunks four inches or greater in diameter, and smaller trees in prominent locations. Each tree was evaluated for its physiological and structural condition and rated according to a Safe Useful Life Expectancy (SULE) classification system.

Cultural practices were also studied. Other plant species, including shrubs, groundcovers, and potted plants, as well as hardscape materials were surveyed and inventoried and their locations recorded on a series of maps. This documentation provides evidence for sound risk management and a basis for future conservation strategies and succession planning.