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The Eames House (also known as Case Study House No. 8) is a landmark of mid-20th century modern architecture located in the Pacific Palisades neighborhood of Los Angeles. It was designed and constructed in 1949 by husband-and-wife Charles and Ray Eames to serve as their home and studio.

It was one of roughly two dozen homes built as part of The Case Study House Program. Begun in the mid-1940s and continuing through the early 1960s, the program was spearheaded by John Entenza, the publisher of Arts & Architecture magazine. It was developed to address a looming issue: a housing crisis. Millions of soldiers would be returning from the battlefields of World War II, and were wanting to start families. John Entenza recognized that houses needed to be built quickly, inexpensively, yet without sacrificing good design. In a challenge to the architectural community, the magazine announced that it would be the client for a series of homes designed to express man’s life in the modern world. These homes were to be built and furnished using materials and techniques derived from the experiences of the Second World War. Each home was designed with a real or hypothetical client in mind, taking into consideration their particular housing needs.

Click here to see their design brief more clearly from the December 1945 issue of Arts & Architecture .

First Design: Bridge House (unbuilt)

The first plan of the Eameses’ home, known as the Bridge House, was designed in 1945 by Charles Eames and Eero Saarinen. The design used pre-fabricated materials ordered from catalogues, a continuation of the idea of mass-production. The parts were ordered and the Bridge House design was published in the December 1945 issue of the magazine, but due to a war-driven shortage, the steel did not arrive until late 1948.

While they were waiting for delivery, Charles and Ray picnicked in the meadow with family and friends, flew kites and did archery. By then, Charles and Ray had “fallen in love with the meadow,” in Ray’s words, and they realized that they wanted to avoid what many architects had done: destroy what they loved most about a site by building across it.

Second Design: Eames House

Charles and Ray then set themselves a new problem: How to build a house that would 1) not destroy the meadow and trees, and 2) “maximize volume from minimal materials”. Using the same off-the-shelf parts, but notably ordering one extra steel beam, Charles and Ray re-configured the House. The new design integrated the House into the landscape, rather than imposing the House on it. These plans were published in the May 1949 issue of Arts & Architecture . It is this design that was built and is seen today.

Charles and Ray moved into the House on Christmas Eve, 1949, and lived there for the rest of their lives. The interior, its objects and its collections remain very much the way they were in Charles and Ray’s lifetimes. The house they created offered them a space where work, play, life, and nature co-existed.

While many icons of the modern movement are depicted as stark, barren spaces devoid of human use, photographs and motion pictures taken at the Eames house reveal a richly decorated, almost cluttered space full of folk art, thousands of books, shells, rocks, prisms, etc. The Eameses’ gracious live-work lifestyle continues to be an influential model.

The House has now become something of an iconographic structure visited by people from around the world. The charm and appeal of the House is perhaps best explained in the words of the Case Study House Program founder, John Entenza, who felt that the Eames House “represented an attempt to state an idea rather than a fixed architectural pattern.”

Help us share the Eameses’ joy and rigor with future visitors, so they may have a direct experience of Charles and Ray’s approach to life and work.

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Southern California’s Case Study Homes Reimagined Modern Living, and Remain Relevant Today

“they introduced us to a better way of living,” one expert says, the case study houses were experiments in american residential architecture., newsletter sign-up, week in review.

Shares the stories you may have missed from the world of luxury real estate

On a Friday afternoon in the spring, a small group wandered below a canopy of towering eucalyptus trees in an idyllic and sun dappled Southern California yard. The Pacific Ocean below sparkled a dazzling shade of blue, birds chirped and sang overhead, and cheerful bright orange poppies blanketed a nearby hillside embankment.

The crowd was here to take a self-guided tour of the Eames House, an architectural marvel of glass and steel, built by Charles Eames and his wife, Ray, in the late-1940s. The couple moved into the property on Christmas Eve 1949, and continued to live and work there for more than a quarter century until their deaths. In 2004, the couple’s step-daughter, who then owned the house, gave it as a gift to the non-profit Eames Foundation, which she founded in part to protect it. In 2006, it was declared a National Historic Landmark.

The house, situated on a Pacific Palisades bluff, north of Santa Monica and south of Malibu, is “unselfconscious,” “created in its own little world, screened all around by trees, foliage and hills,” which serve as a “shock absorber,” according to the description of the property in the December 1945 issue of Arts & Architecture magazine. It was here that the Eames House was introduced as part of the magazine’s famed Case Study Houses program, for which publisher John Entenza commissioned major architects of the day to design and build affordable and efficient model homes meant to address the mid-century housing boom and serve as a template for how returning GIs and their families wanted to live after World War II.

Between 1945 and 1966, 36 homes were designed and 25 were built—most of them in Los Angeles. The Eames House—Case Study House #8—is one of two that has nonprofit status, and is eagerly toured by architecture buffs from around the world. The other is Pierre Koening’s iconic Stahl House—Case Study House #22—which overlooks the city’s expanse from a point of remove in the Hollywood Hills.

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Of the 23 homes that remain, three were demolished over the years, and another four were renovated past the point of recognition. The 16 Case Study Houses that remain in close-to or in their original forms, designed by architecture greats including Craig Ellwood and Richard Neutra, are owned and lived in by private individuals, and traded at a premium every time they change hands.

But why are these homes that were meant to be affordable, and cater to an average American family, now worth millions? The answer to that question is multi-layered.

There’s the architecture itself, and the style that was introduced as part of the Case Study program—modest in scale, modern and easy to live in, with a harmony between indoor and outdoor spaces, an abundance of natural light, and a type of open-floor plan that’s still in demand today.

Floor to ceiling windows in Case Study House #18.

Then there’s the land, handpicked decades ago because it was so good, with views of the ocean or mountains, flat lots, with a connection to nature, that is now near-impossible to find in an increasingly dense and urban L.A.

And finally, more than anything, they’re traded at a premium because over time, they have been elevated to become exceedingly rare classic works of art.

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“This limited edition of homes will never be expanded—and will, in fact, likely diminish—because one will be destroyed somehow,” said Billy Rose, president of the L.A.-based real estate firm The Agency, who sold Case Study House #20A for $12.5 million in 2016. “There is some intrinsic value to that.”

And unlike in Europe or other parts of the world, where such rare and valued art might stay in a family for generations, in California, where the average person moves every four years, that isn’t the case, said Frank Langen, a realtor with Deasy Penner Podley, who listed Case Study House #18 in April 2018 for $10 million. “Everything is for sale in Southern California,” Mr. Langen said, "even the architecture.”

Art You Can Live In

One Case Study property that is considered functional art, not shelter, according to Mr. Rose, is Case Study House #21B, which sold in February for $3.26 million. Situated on an “A” lot in a Hollywood Hills canyon, the experimental and minimalist Pierre Koenig-designed property, which is also known as the “Walter Bailey House,” was originally designed for a childless couple, and is just 1,280 square feet.

Case Study House #21 was designed by American architect Pierre Koenig.

Added to the National Register of Historic Places in 2013, the property was bought by film producer Allison Sarofim from art gallerist P.J. Park in February. During the 12 years that Mr. Park owned the house, he occasionally used it as an outpost for his Seomi International Gallery, hosting art shows and exhibitions in the space, said Andy Butler, marketing director for Compass Realty’s Aaron Kirman Partners group, who represented the seller in this sale.

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At that price—over $3 million and close to $3,000 per square foot for what is essentially a one-bedroom apartment—“it’s almost like buying a Picasso,” Mr. Butler said. “Buyers of this type of home typically have tens of millions of dollars’ worth of art in their private collection, of which this home is now part.”

As part of an art collection, owners of Case Study Homes don’t often live full-time in the property, but rather reside in a much larger space. Or if they do choose to live in it full time, it is “for a moment in their life,” Mr. Butler said. “People want to live in the art—to have parties there, and other architects come through—but they probably wouldn’t do that for any length of time because they are used to and can afford much more space.”

The Case Study Premium

Once it’s clear why Case Study Homes are worth so much, the question becomes: Are they worth more than other similar mid-century homes designed by Case Study architects because of that label? Mr. Langen, who sold a non-Case Study home designed by Craig Ellwood, would say yes—pointing to #21B as a reason why.

Known as “The Smith House,” the property that he sold this summer, was completed in 1958, and is located in the architecturally significant Brentwood community of Crestwood Hills. At 1,500 square feet, with an additional 530 square feet of outdoor deck space, it is larger than the Koenig house, yet, at $2.3 million, sold for almost $1 million less. “Mine was arguably a better house,” he said, “in a better location.” While the market did go down in the six months between the sales, at least part of the premium, he said, is based on the Case Study name.

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Mr. Butler agreed. “The Case Study Program name definitely adds something extra,” he said.

But sometimes, that price premium can be made less clear by outside factors, like the addition of a second home to a Case Study lot.

This happened to two of the three Case Study Homes that are located on lots adjacent to the Eames House on that Pacific Palisades bluff. For the first—Case Study House #20A, which was designed by Richard Neutra and previously owned by the late-“Simpsons” TV series co-creator, Sam Simon—there is a second, much larger (almost 9,000-square-foot) house on the lot. Mr. Rose sold the pair together in 2016 for $12.5 million, and notes that the high price wasn’t for the Neutra home alone. But the second property may have negatively impacted a price-per-square-foot premium. “The other house kind of saddled the Case Study program home,” Mr. Rose said, adding that he thinks they would have gotten a larger premium if they could have separated #20A out. “The other house just wasn’t as sympathetic, or harmonious, with the land.”

The second Pacific Palisades home with an additional much larger house on the lot is #9, which was designed by Charles Eames and Eero Saarinen, and is known as the “Entenza House.” As you walk up a long driveway to the Eames House, you can see the Entenza House to your left, and the two-story Barry Berkus behemoth that was built on the lot and blocks the Case Study Home’s view. Together, the pair sold for $15.95 million in 2012.

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“If you’re studying architecture, you learn about the Eames House, which is timeless, and perfectly integrates the home with nature,” Mr. Langen said. “But then right next to it is the Berkus house, which is the only home on that plot that you can see from down on the beach. It serves as a sort of antithesis to the Case Study program.”

The final Pacific Palisades lot houses Case Study House #18. This Rodney Walker-designer property, known as “West House,” was listed in April 2018 for $10 million, and is currently being leased by a long-term renter for $20,000 per month.

Case Study House #18 was listed for $10 million.

At just over 1,700 square feet, #18 is somewhat larger than the other Case Study Homes. But the current $20,000 per month lease price is significantly higher than what it is worth, Mr. Langen said, adding that, “if it wasn't a Case Study house, there is no reason it should rent for more than $7,000 per month.” Even if you tack on an extra $5,000 per month for the exquisite ocean views, that still leaves $8,000 per month left of value that in part can be attributed in part to the Case Study name.

When it was listed for $10 million, Mr. Langen said much of that cost was for the land, as there is plenty of room to build on the half-acre lot. But because #18 is landmarked and can’t be torn down, Mr. Langen said he has to wait for the right buyer. “Design sensibility and money don’t always go hand in hand,” he said. “It’s definitely a small market.”

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Case Study House #18's current lease price is significantly higher than what it is worth, according to the property's listing agent.

An Enduring Legacy

While Case Study Homes are rare, and the ones that remain no longer cater to the “average American,” for which they were intended, their impact on affordable housing, private buildings and public community spaces is clear, said architect Michael Bohn, senior principal and design director at Studio One Eleven, a Southern California-based firm known for progressive, urbanist architecture.

“That first group of Case Study architects established the outdoors as being important on both a city-scale and an individual building-scale,” he said, “which has been embraced by architects everywhere.”

When trying to address the affordable housing problem in Southern California by building more dense, mixed-use projects, architects know that it’s important to have, “ample daylight and connectivity to the outdoors—if not through a private yard, then through a private courtyard, that a lot of people can use at one time,” he said. “All of our projects embrace the ideas of community and authenticity and indoor-outdoor harmony.”

Additionally, as was the impetus of the Case Study Homes, affordability is often pursued by using new materials and new construction technologies, such as shipping containers, modular housing and new types of timber construction, as glass and steel were first used in residential design as part of the post-World War II program.

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Beyond affordable housing, the principles of modernism introduced by the Case Study program, including the push to strip away the unnecessary and ornamental, including baseboards and moldings that you might find in “Old World” homes, like Tudors, and Mediterraneans, and focus on building homes that are functional and utilitarian, has also endured at all price points.

“If you drive through Palm Springs or the Bird Streets in Beverly Hills today, you see the effect of the Case Study Houses everywhere,” Mr. Butler said.

Mr. Rose agreed. “I typically get three to six calls every year from real estate agents who say, ‘I’ve got a client looking for a Case Study Home. Do you know anyone building one?’” he said, with a laugh. “But what their client is really looking for is a contemporary or modern home with indoor-outdoor harmony.”

Seventy years after their introduction, “Case Study” is now shorthand for that, Mr. Rose said, and for good reason. “They introduced us to a better way of living,” he said, “and a much better lifestyle.”

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“Buck wanted to stand in every room from his house, turn his head, and see every view. Even the bathroom. And so that was kind of what inspired the design of the house.”

Among the most famous photographs of modern architecture is Julius Shulman’s picture of Case Study House #22, also known as the Stahl House after the family that commissioned it. Two girls in white dresses sit inside a glass cube that seems to float atop a cliff over the illuminated grid of Los Angeles at night. Built by a family with a “beer budget and champagne tastes,” the two-bedroom home designed by architect Pierre Koenig changed residential design in LA. While Shulman’s image and others of the building have appeared in countless publications, advertisements, films, and TV shows, the story of how the house came to be and what it was like to live there is less well known.

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Eames House – The Modern Stylings of Case Study House 8

The Eames House, which is also referred to as the Case Study House 8, is a prime example of modern architecture that is found in Los Angeles. The Eames House had a large impact on interior design as a concept and is overall very inspirational to architects and interior designers alike. Charles and Ray Eames were pioneers of combining human-centered design with warmth and comfort to create a perfect living and working space for them, their family, and guests.

Table of Contents

1.1 About Charles and Ray Eames
2.1 How the House Was Built
2.2 The Exterior of the Eames House
2.3 The Interior of the Eames House
3 Conservation of the Eames House
4.1 Who Lived in the Eames House?
4.2 How Many Case Study Houses Still Exist?
4.3 Are the Case Study Houses Open for Visitation?
4.4 What Is a Case Study in Architecture?
4.5 What Is the Significance of the Eames House?
4.6 How Much Is the Eames House Worth?
4.7 How Much Does It Cost to Visit the Eames House?

History of the Eames House

The Eames House was part of the Los Angeles Arts and Architecture Magazine Case Study Program when it was designed in 1945. The goal of these case study homes was for them to prioritize the use of modern technology and materials that were invented during World War II.

The Case Study House 8 was designed and built by the husband-and-wife duo, Charles, and Ray Eames in 1949, who moved into the house that same year. The house served as their home and creative studio for the remainder of their lives, which was a total of 40 years of occupying the house. Charles passed in 1978 and Ray passed in 1988, exactly ten years later, to the day.

The objective of the house was for it to be built entirely from prefabricated materials that would not in any way disturb the site and surrounding nature while demonstrating a modern style that is economical and easy to build.

The brief also stated that the architect had the choice of freedom when it came to the real or hypothetical client. The proposal that Charles and Ray submitted suggested that the client of the house is to be “a married couple working in design and graphic arts, whose children were no longer living at home”, which uncoincidentally was exactly the period where they were in their lives, making the client very real.

Originally, the house was baptized the “Bridge House” and designs were published by Charles Eames and fellow architect Eero Saarinen.

War-related shortages, however, put an abrupt stop to their original plans for the house. Originally Charles and Ray wanted to build two separate buildings: A hillside studio and a separate house with a view of the ocean. By the time the war was over, the couple had a close connection to the surrounding meadows, and they chose to reconceptualize Case Study House 8.

They did this by merging the two buildings while still making use of the same amounts of materials, with the addition of a single steel segment.

In 2004, Lucia Eames, Charles’s daughter, created the Eames Foundation, which is a nonprofit organization that aims to protect and preserve Ray and Charles’ house as well as offer educational events to celebrate the legacy of Charles and Ray Eames. In 2006, the house was selected as a national historic landmark. In 2020, over 200 eucalyptus trees were harvested on the property for preservation purposes.

Two of these trees were used to manufacture a special edition of the class Eames Low Table Rod (LTR) table, which included solid-wooden tops.

About Charles and Ray Eames

Charles Ormond Eames, Jr. and Bernice Alexandra “Ray” Kaiser Eames were industrial designers, graphic designers, artists, and filmmakers. Charles and Ray met in 1940 at the Cranbrook Academy of Art, where Charles was first a scholar of an industrial design fellowship, but later became an instructor. Ray enrolled in multiple courses at the academy in order to expand upon her preceding education in abstract painting. Charles separated from his first wife and then married Ray in 1941. They used their honeymoon time to move to Los Angeles.

It was in Venice, Los Angeles where they began The Eames Office in a former garage while working on furniture design for 13 hours a day and seven days a week.

They worked under the name of their own company, the Eames Office where they contributed greatly to architecture and furniture design. The most well-known furniture pieces that they have designed are the Eames Lounge Chair and the Eames Dining Chair. The Eames were believers in “learning by doing”, and they taught multiple notable designers.

They were the founding fathers of plywood molding, which they tested over and over until they perfected the skill.

Charles and Ray Eames were also the masterminds of the company Herman Miller, which is a 112-year-old global décor and furniture company. Some of the original Herman Miller furniture designs were even created in and for the Case Study House 8, such as their ottoman and lounge chair.

Charles strongly believed in the architectural design principles of Frank Lloyd Wright , which unfortunately resulted in him being expelled from Washington University’s architecture program. In terms of his architecture career, he designed three houses in St. Louis as well as two churches in Arkansas without an architecture license.

Charles and Ray Eames were big believers in ergonomic design: designing for the needs and measurements of humans. They were known for sampling and testing designs and furniture pieces over and over until they got it exactly right.

The lines were blurred between their living and working life, and as such their guests were usually the happy guinea pigs of their new inventions.

Taking a Closer Look at the Eames House

What started out as a case study turned into the lifelong home and workplace of two creatives who intended for the house to be a blueprint for living. In order to fulfill Charles and Ray’s wishes it is important that we closely analyze their intent for the house, the site as well as the interior and the exterior in order to be able to fully understand how all of it came together.

How the House Was Built

Solely making use of the off-the-shelf parts that were ordered, along with one extra steel beam, a two double-story structure with two parts was erected and designed into the landscape, instead of just enforcing the building on top of it. A concrete retaining wall that is 8 feet tall and 200 feet long acts as a support for the steel frame. The steel frame of the house consists of two rows of four-inch I-beams that were placed 20 feet apart.

The foundation for the house and the steel frame was completed in a mere 16 hours by a total of five workers, and the rest of the house was finalized within a short eleven months.

The house consists of two boxes that serve two different functions: One box was for living, and the other served as their work and creative studio. Both boxes are double volume at each end of the combined cube which continues through to the exterior courtyards. A simplistic pre-manufactured steel frame was used to build the house.

The steel frames consist of four-inch I-beams for the walls and further 12-inch-deep web trusses for the structure of the roof.

The Exterior of the Eames House

The house is built on top of a 150-foot cliff with views of the Pacific Ocean. The site is mostly flat aside from one steep part of the land that imitates a western retaining wall. The house is a true example of the De Stijl Movement that took place outside of Europe.

Key characteristics of the De Stijl Movement were sliding walls and windows, which the Eames House has plenty of.

Between the steel frames are a variety of transparent and solid-colored panels that are made from glass, fiberglass-like “pylon”, asbestos, plywood, and plaster. These panels were arranged specifically according to the changing sunlight inside the house throughout the day. The arrangements of these panels suggest a clear Japanese influence.

The combination of the black lines created by the pre-manufactured steel supports and the primary-colored panels have a sense of familiarity to it because it strongly reminds of the famous Piet Mondrian paintings . While doing a paint excavation study for the conservation plan of the house, researchers found that some of the panels were previously painted a warm gray, which indicated that Ray Eames mixed the paint by hand.

Somewhere along the road, black paint was used over the existing gray paint.

The entrance door has a clearly marked gold-leaf panel above it, which makes it easily identifiable. A small courtyard splits the main house and the studio and was not part of the original plans, but luckily only required one extra beam. A central courtyard that visually combines the two buildings is paved with brick, marble, and wooden pavers that were arranged in a grid shape.

The Interior of the Eames House

In contrast to the cold steel frames that make up the skeleton of the house, the interior of the Ray and Charles’ house is very warm, colorful, and inviting, especially considering the wooden floor finish used throughout. Wooden staircases connect the upper and lower level of the house.

The use of these natural materials is an ode to nature, linking the interior with the exterior and blurring the lines of architecture and nature.

The underside of the ribbed ceiling of the Ferrobord roof decking was painted white, which makes the colorful primary painted exposed web joists stand out against it and makes it a design feature in its own right. The interior of the house is a completely free-flowing space with no evident divisions between spaces, even private and public areas are blurred. For example, the bedroom on the top floor overlooks the public living area on the bottom floor, with only a short terrace that joins the two rooms.

There is, however, a corrugated glass screen that conceals the utility area behind the kitchen, where food was prepared in copious amounts by Ray on a regular basis. This was because they loved hosting others but also believed that the mess of daily life should be hidden in some way from your guests to make their experience as pleasurable as possible.

The lower level of the house includes a living room with an alcove with a built-in corner sofa, a spiral staircase, a hallway with closets, the kitchen, and utility space.

The Eames House bedroom can be found on the upper mezzanine level of the house. The bedroom has a sliding wood panel in the middle, that when closed, clearly divides the Eames House bedroom into a separate master bedroom and a guest bedroom when needed. The Eames House bedroom overlooks the double-volume living area and acts as a mezzanine level. Also included on the second story are multiple hallways with aluminum closets, two bathrooms, and a wire-fixed skylight.

The studio building also boasts a mezzanine level, but one that is much shorter in length than that of the main building. The studio’s ground floor consists of a bathroom, a utility sink, a dark room for the processing of photographs, and also a large double-volume space to inspire and create within. The mezzanine was originally used only for storage, but also served occasionally as the guest quarters.

The main house consists of two bathrooms, which was a surprising thing for the time, as it was the norm for traditional houses to only contain one bathroom.

The reasoning behind this was that only the husband had to get ready for work during the mornings. Of course, post-war, when women were also becoming accustomed to having jobs, the multi-bathroom home became a popular notion in America. The multi-bathroom facilities are also an ode to how Charles and Ray valued their visitors and their experience of the house visit. The studio block also contains a bathroom, as the family usually ended up sleeping there during the summer.

The décor inside the house consists of a wide collection of things that Charles and Ray accumulated throughout their lives: fold art, toys, seashells, bright textiles, expressionist abstract paintings, antiques, and furniture pieces designed by themselves. The interior of the house is a great example of the style of that period as well as the role that California modernism played in architecture within an international context. Their interior collection also includes Isamu Noguchi floor lamps, Japanese kokeshi dolls, Native American baskets, Chinese lacquered pillows, and Thonet chairs.

The interior of the house is sometimes described as maximalist, which sparked controversy as it was so contrasting to the much-loved Modernism-style. Fans of the Eames house applauded Charles and Ray for “humanizing” modernism.

The items in the Eames House living room were briefly transferred to the Los Angeles County Museum of Art (LACMA) and displayed from 2011 to 2012 for an exhibition. This was something that had to be done to obtain the necessary funds to address the general wear and tear on the house. During this time, the deteriorated floor tiles were also removed, which exposed the original concrete floor below.

Conservation of the Eames House

Although the house was so easy to erect, and a delight to live in as well as visit, the Ray and Charles’ house is not without its problems. Being so close to the ocean, the steel columns have to be repainted constantly to deter rust and corrosion. Although right next to the ocean, being in LA, the site is very desert-like as well, which is not a positive characteristic for the site on which a building is to be conserved. This along with the use of rubber flooring that discolors over time and the wear and tear of the parquet flooring makes the house a very high-maintenance building.

Being a historic treasure, these faults pose a great threat, as they become an eye sore to the visitor, which alters the experience that Charles and Ray wanted people to experience when visiting the house: to enjoy the house in relation to the landscape.

The Getty Conservation Institute has started implementing practical but unobstructed ways to conserve the house moving forward. The idea is to keep the house as true as possible to the time when Charles and Ray Eames were occupying it. This means that things like watermarks in corners that result from Charles spritzing his beloved plants with water daily should be left untouched where possible and only finished with invisible UV protectors to extend the materials’ life.

During the Getty-sponsored exhibition in 2011, where all the contents of the double-volume Eames House living room were temporarily relocated to the Los Angeles County Museum, professional conservators had the opportunity to properly assess the damage to the structure. With the entire Eames House living room cleared out, it was the perfect opportunity to repair asbestos-covered cracked flooring, which needed urgent attention. The floor was replaced with vinyl-composite tile flooring.

The most urgent of all the problems was the separation of glazing and steel caused by water seeping down the glass facades. The first phase of the repairs needed to be done before the contents of the house could be reinstated and ended up costing almost five thousand euros.

The problem was that to respect the wishes of Charles and Ray Eames, the house could not be sealed off like typical museums. The idea was for living things like plants and flowers to still be very evident in the house and for visitors to use the house as Charles and Ray intended it to be used. This meant that live plants had to be included and windows and doors had to be in working condition.

Along with the previously mentioned measures, the furniture and décor of the house are kept in the same locations as Charles and Ray had them when they were still alive. The curtains of the house also remain drawn most of the time to reduce the damage of light exposure to the contents within the house.

The Eames House is regarded as the most successful out of the twenty-five Case Study houses that were built. This is because it was considered a functional and comfortable living space while at the same time making an architectural statement. The Case Study House 8 was such an inspiration that it was even used as the setting for fashion shoots during the 1950s and 1960s for magazine publications like “Vogue”. Just goes to show that human-centered design was and will probably always be the most sought-after design style.

Frequently Asked Questions

Who lived in the eames house.

The house was not only designed and overseen by the husband-and-wife duo, Charles and Ray Eames, but it also served as their primary home and art studio. The couple happily lived in the house until their deaths.

How Many Case Study Houses Still Exist?

Until today, 20 out of the 36 experimental prototypes still exist, although many were never built to begin with. Most of the case study houses can be found in Southern California, and a few are also in Northern California and San Diego. Another small group of Case Study apartments was also established in Phoenix.

Are the Case Study Houses Open for Visitation?

The two most popular case study houses, being the Eames House and the Stahl House , are open for visitation to the public. The Eames house is restricted to four or five visitors at a time in order to preserve the house as much as possible while raising funds for the necessary repairs.

What Is a Case Study in Architecture?

A case study is seen as the in-depth research and documentation of a built project from the design process right through to the installation and habitation. The aim of case study houses is to continually learn from mistakes and improve on future builds.

What Is the Significance of the Eames House?

The Eames House is an almost perfect example of the De Stijl movement that originated outside of Europe. The most obvious characteristics are the versatility and openness of the interior space. After the Eameses passed, the house also remained mostly unchanged and very well preserved throughout the years.

How Much Is the Eames House Worth?

During its time, Case Study House 8 was estimated at one dollar per square foot. In 2018, this number has sprung to over ten dollars per square foot.

How Much Does It Cost to Visit the Eames House?

Currently, it costs $10 to tour the exterior of the house and only peek through the windows to the interior views.

Kylie Deyzel is an interior designer and sustainability enthusiast from Cape Town, South Africa. She has a passion for writing and educating others on various interior design topics. Her favorite interior design topics include interior design theory, interior design history, and most of all: sustainable interior design.

She received her B-tech degree in interior design from the University of Johannesburg in 2018 and has worked at various interior design firms since and had a few of her own freelance interior design clients under her company name binnekant.

Learn more about the Art in Context Team .

Cite this Article

Kylie, Deyzel, “Eames House – The Modern Stylings of Case Study House 8.” Art in Context. July 8, 2022. URL: https://artincontext.org/eames-house/

Deyzel, K. (2022, 8 July). Eames House – The Modern Stylings of Case Study House 8. Art in Context. https://artincontext.org/eames-house/

Deyzel, Kylie. “Eames House – The Modern Stylings of Case Study House 8.” Art in Context , July 8, 2022. https://artincontext.org/eames-house/ .

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Chris Pratt and Katherine Schwarzenegger Are Building a Brand New House in Place of a Historic Midcentury Modern Pad

By Katie Schultz

Chris Pratt left posing with Katherine Schwarzenegger in front of black door white brick wall

Look away or face heartbreak, fans of midcentury modern architecture. Chris Pratt and Katherine Schwarzenegger have been at work overseeing the construction of a brand new 15,000-square-foot home in the Brentwood neighborhood of Los Angeles since late last year. In November, the Daily Mail reported that the couple were building the mansion on an empty lot, conveniently located right across the street from the estate of Schwarzenegger’s mother, Maria Shriver. However, a recent Robb Report article reveals that when the Guardians of the Galaxy star and the self-help author bought the property, it featured a historic home, which they had razed.

The abode in question was known as Zimmerman House, a 1950 build by acclaimed modernist architect Craig Ellwood , who participated in the famous Case Study Houses program . Spanning 2,770 square feet, the single-story dwelling had five bedrooms and three bathrooms. Original landscaping by designer Garrett Eckbo was also reportedly torn up.

Photos of the former dwelling on US Modernist show a living room with a brick fireplace, sliding glass doors that open to the backyard, and an eat-in kitchen with a light fixture shaped like a flying saucer.

In its place, Pratt and Schwarzenegger commissioned architect Ken Ungar to design a sprawling two-story home, with each level measuring in at roughly 5,000 square feet. The couple, who paid $12.5 million for the nearly one-acre property in an off-market January 2023 deal, also obtained permits for a three-car garage and a poolside ADU. The seller was the estate of Hilda Rolfe, the late widow of The Man from U.N.C.L.E. co-creator Sam Rolfe.

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Pratt and Schwarzenegger, who share two children, are still trying to sell a nearly 13,000-square-foot Mediterranean-style Pacific Palisades home that they listed last summer for $32 million .

AD Classics: Eames House / Charles and Ray Eames

Written by Adelyn Perez

Text description provided by the architects. Originally known as Case Study House No. 8, the Eames House was such a spatially pleasant modern residence that it became the home of the architects themselves. Charles and Ray Eames began designing the house in 1945 for the Case Study House Program in Los Angeles' Arts and Architecture Magazine published and built these case study homes that had to focus on the use of new materials and technologies developed during World War II. The intention was for the house to be made of prefabricated materials that would not interrupt the site, be easy to build, and exhibit a modern style.

The house is situated on a three-acre site on top of an 150-foot cliff that overlooks the Pacific Ocean. The site is a flat parcel on otherwise steep land that creates a retaining wall to the west. The response to this condition was a concrete retaining wall that ties together the two boxes separated by a courtyard that make up the parti of the residence.

The two boxes serve two different functions. One is for the residence itself and the other is a studio. Both provide double-height spaces at the corners and outer ends of both programs. This allows for a composition that breaks the space up rhythmetically, and is read on the exterior of the house with the exterior courtyard serving as a double-height space in between both boxes.

Along with the retaining concrete wall, a simple steel frame was used for the structure of the house. The steel frame used 4-inch H-columns for the walls and 12-inch deep web joists for the roof. The steel frame was filled in with different solid and transparent colored panels arranged to create a shifting light in the interior throughout the day.

AD Classics: Eames House / Charles and Ray Eames - Windows, Facade, Column

The importance given to light in the design, with the exterior arranged in this particular way, can be connected to Japanese influence. This attention to detail, however, did not hinder the aspect of displaying the idea prefabrication. The house was built largely of standard components, such as the windows which measure a standard width of 3-feet 4-inches.

Contrast to the cold steel framing that forms the structure, the interior of the house is warm and comforting with its wood-block floor and the soft light penetrating into each room through each day. Wooden staircases float effortlessly connecting the lower and upper levels. The use of natural materials on the interior bring the residence closer to nature, giving the appearance of the house resting softly on the earth. A row of eucalyptus trees was also planted at the front that provide shade and blend parts of the house with outdoors.

The Eames House is a beautiful continuation of space. The rooms are liberating, flowing into one another even between floors through the double-height spaces. Private and public spaces are not strictly divided. For example, the bedroom on the upper level overlooks the public living room with a short terrace that connects the rooms. There are no major divisions other than the separation of the two boxes, which still merge into one another with the courtyard. The house is an unrolling scroll of a Mondrian painting that exemplifies the use prefabricated materials to create beautiful endless space.

AD Classics: Eames House / Charles and Ray Eames - Chair

Architects: Charles and Ray Eames
Year Completion year of this architecture project Year: 1949
Photographs Photographs: Flickr - User: An Amateur , Flickr - User: rpa2101 , architectenwerk.nl , Stephen Canon

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AD Classics: Eames House / Charles and Ray Eames - Facade, Garden

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4 Indian homes that spotlight sustainable design practices

By AD Staff

A Kerala Home Inspired by Laurie Baker

A jackfruit tree and need for privacy formed the basis of architect Vinu Daniel’s design philosophy when he was approached by a client to build a family home for eight near Ernakulam in Kerala. “We decide to take up a project only when the client has the same vision for the house they want to live in as we do,” says Daniel, founder of The Wallmakers, whose work is deeply influenced by Laurie Baker, pioneer of sustainable, cost-effective, and context-driven architecture in India.

The tree in question held court over one corner of the site. “This gave form to the idea of a compound wall that revolves around the tree and twists upwards to join the ferro-cement shell roof of the house seamlessly,” he explains. “This in turn created a small intimate space, landscaped like a Japanese zen garden,” he adds. Though located near the entrance of the home, the courtyard has plenty of shade and privacy for family gatherings, and is also easily accessible from the kitchen.

The Kerala home is deliberately spartan to allow the material palette to be the star of the show. Photographs courtesy of Anand Jaju and Syam Sreesylam/The Wallmakers

The 2,750-square-feet home is spread across two storeys. The first floor accommodates an open living and dining area, three bedrooms, kitchen, and an outdoor barbecue. A fourth bedroom and reading area populate the second floor, alongside an adjoining balcony and terrace. Adhering to the firm’s sustainable design philosophy, the house has been constructed from compressed stabilised earth blocks (CSEB) and rammed earth walls. “These walls take the load of the ferro-cement roof which is made from 1.5-centimetre thick, precast steel-reinforced arched shells. They effectively reduce the overall cement consumption by 40 percent and steel consumption by 30 percent and are at par with reinforced concrete slabs in all other aspects, including strength,” says Daniel.

A spiral staircase, designed to appear like draped fabric, connects the two floors. Made from cement over a skeleton of discarded pipes, it mirrors the curve of the compound wall and roof. “The staircase was a tricky one. We found out that whatever we did in 3D, didn't come up exactly. We had to think on our feet,” says Daniel. Brick walls cast a warm glow in the bedrooms—also furnished in wood—making the space cozy, despite the use of a very basic material palette.

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By Alisha Lad

A staircase made from cement and discarded pipes connects the two floors of the house

At first glance, you might think this property (featured image) is a forest lodge tucked away in the hills. While that’s not too far from the truth, you’d be surprised to know that this house—a secondary home for a family of four, spread across 4,128 square feet—is located within the premises of a small food processing unit in Guwahati, Assam. While the location is bang in the middle of an industrial pocket with the sound of men and machines, the home, owing to its inward-looking design, still exudes peace and affords privacy.

This was also achieved by planning a separate entrance away from the other industrial buildings. The brief to the design team—Sustainable Architecture for Earth, represented by lead architect Krittika Agarwal—was simple: the owners wanted to coexist with nature while being allowed to comfortably travel between the indoors and the outdoors.

“The Aangan, as the home is known, is an attempt to acknowledge contemporary living needs while responding to our responsibility towards the environment. The project is a composition of spaces that intertwine the outdoors and indoors. It is a reflection of our Indian culture, where the central courtyard or aangan is the heart of the house,” says Agarwal about the philosophy behind the home.

Photographs courtesy of Lina Baishya/Sustainable Architecture for Earth

In keeping with this idea, the decor was planned to accommodate local materials and traditional crafts. The sustainable design employs local timbers sourced from within a 100 kilometre radius. Similarly, the art and artefacts that the home is dotted with have been carefully curated to showcase local arts and artisans. “The handmade carpets that embellish the interiors have been sourced from multiple stores in India. The ceiling of the prayer room is adorned with miniature hand paintings by the artisans of Mandawa in Rajasthan. This painted ceiling depicts stories of Lord Krishna and connects the family to their Marwari roots. The decor is further enriched by pieces collected by the family from flea markets during their travels, both in India and abroad. Additionally, the nooks and corners of the house are adorned with oil paintings made by the lady of the house,” says Agarwal.

The homeowners are welcomed with lush greenery around the main entrance, which leads to the staircase. As one ascends, the tropical greens and delicate hanging lamps in the stairwell create an interesting visual impact. The living room is the centre of the home, and this double-height space opens out into a courtyard, blurring the lines between the outdoors and indoors.

View from the living room

A Home in Trivandrum That Funnels in Air and Light

In the heart of Trivandrum, there is a small spot that breathes fresh air. "It was being suffocated by other residential projects from all four sides," says Vinu Daniel, whose firm, The Wallmakers inverted the home 's layout to funnel the interior air flow into a central courtyard.

Airy and luminous as it may be, those are, however, not the only hallmarks that distinguish this curious home from its cookie-cutter surroundings. Its Rat-Trap bond masonry, upcycled decor and grillwork are a nod to the foolproof tradition of sustainable architecture. "Sadly, today, less than 30 percent of the world's population lives in buildings made of earth, although it is a more sustainable and durable material. The blame lies solely on the advent of industrialization and a widespread demand for cement houses. At Wallmakers, we have devoted ourselves to the cause of using mud and waste as chief components to make structures that are both utilitarian and alluring," Daniel says.

A sustainable home inspired by Laurie Baker's design philosophy in Trivandrum. Photographs courtesy of Jino Sam/The Wallmakers

Pirouetting beehive forms, fire engine red bricks and an illusion of undulating, near-constant movement: this is the facade of the Pirouette House. The decision to employ the Rat-Trap bond masonry technique proved fruitful, as the site did not offer the opportunity for soil excavation to make mud blocks. Using the Rat-Trap bond technique, Daniel and his team layered bricks vertically, rather than horizontally, to create wall cavities pointed at increasing thermal efficiency, minimizing total brick volume, and concealing structural members and service ducts. “The idea was further developed to form a series of slanting walls that danced left and right, converging only to support the ferrocement shell roof. We also used MMT ferrocement shells. These wafer-like structures are steel-reinforced, arched shells with an effective thickness of 2.5 centimetres. By taking on loads akin to RCC slabs, they reduce the overall cement consumption by 40 percent and steel consumption by 30percent,” he explains.

Brickwork walls create a cocoon in the living room, proving consonant with the wooden scrap pieces that have been polished and panelled over the floor. The cane treatment is of particular note, as it finds expression in the furniture and grillwork, with the latter doubling as a partial screen for privacy.

These wafer-like structures are steel-reinforced

A circular screen—apparently salvaged from waste metal—adds character to the wall, as is echoed in equal spirit by the cement oxide ceiling. Says Daniel of the home's orientation, "The design is inward-facing, aligned in the east-west direction, with all spaces funnelling into the central courtyard. The openings facilitate maximum cross-ventilation."

The cane treatment is of particular note, as it finds expression in the furniture and grillwork, with the latter doubling as a partial screen for privacy.

A Home in Ghaziabad That Works With Nature

Whether you gaze at the Rajasthan 'baolis' that create a cooler microclimate around the monument, Kathiawadi jali lattice work that replaces window frames, or most famously, the Hawa Mahal in Jaipur—North India's long-established historic architecture is known for providing cool indoor climatic conditions to its occupants using passive and natural cooling methods. Architect Sachin Rastogi, the founding director at ZED Lab—a Delhi-based research-driven architecture and interior design studio specializing in net-zero energy buildings—has used said design principles to build the Cantilever House , a standalone home located in Raj Nagar, Ghaziabad.

The house responds to the hot and dry climate of the region through a host of design interventions and passive cooling techniques. By placing the living areas in the north and the east to allow sufficient daylight, and by allocating space for private areas in the west and the south, the house records minimal heat gain throughout the day. The windows on the south are shaded by a pergola to ensure that the south face remains comfortable throughout the year. So, even in peak summer, only the fans are switched on in this home.

The structure employs a series of mechanisms that minimize resource consumption. Photograph courtesy of André J Fanthome/ZED Lab

The residence employs a series of mechanisms that minimize resource consumption and reduce the building's environmental impact, while enhancing the residents' thermal comfort. For example, the double-height lobby is flanked by the summer court on the north and the winter court on the south to enable stack ventilation at all times. The night-time spaces are characterized by optimum thermal mass to protect the day-time spaces from the south and west sun. The north face of the house is glazed to admit diffused daylight and avoid heat gain and glare. The facade is fitted with double-glazed units with low e-coating for thermal resistance. Nearly all of the glass surfaces for the day-time spaces are designed to open into the water court, envisioned as a transitional area between the harsh outdoors and the ambient indoors.

4 Indian homes that spotlight sustainable design practices

Interstitial spaces in the property are reinterpreted by enabling seamless movement from the inside to the outside. For instance, as one walks into the house through the double-height lobby on the east-facing entrance porch, they are pleasantly surprised by the garden's view with a water body. Greenery in the interiors establishes a strong visual connection with the outdoor landscape, while the integration of landscape features with the built envelope ensures a cool microclimate for the residents. The water court on the north serves as a heat sink; the plants and vertical garden also contribute to thermal comfort while purifying the air, trapping dust and pollutants. The front and rear lawns along with the water court also serve as recharge pits for adequate rainwater harvesting. The residents' hot water requirements are met by evacuated tube solar hot water systems installed on the rooftop.

By Vaishnavi Nayel Talawadekar

Photography by Moriq

This Aamby Valley bungalow is both luxe and eco-conscious in design

By Nolan Lewis

Photography by Isha Shah

This eco-friendly Haryana home is ornamented with shadow and sunlight

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Photography by Studio Noughts and Crosses | Andre J. Fanthome

On World Architecture Day, we asked Indian architects to weigh in on sustainability

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How to write a case study — examples, templates, and tools

It’s a marketer’s job to communicate the effectiveness of a product or service to potential and current customers to convince them to buy and keep business moving. One of the best methods for doing this is to share success stories that are relatable to prospects and customers based on their pain points, experiences, and overall needs.

That’s where case studies come in. Case studies are an essential part of a content marketing plan. These in-depth stories of customer experiences are some of the most effective at demonstrating the value of a product or service. Yet many marketers don’t use them, whether because of their regimented formats or the process of customer involvement and approval.

A case study is a powerful tool for showcasing your hard work and the success your customer achieved. But writing a great case study can be difficult if you’ve never done it before or if it’s been a while. This guide will show you how to write an effective case study and provide real-world examples and templates that will keep readers engaged and support your business.

In this article, you’ll learn:

What is a case study?

How to write a case study, case study templates, case study examples, case study tools.

A case study is the detailed story of a customer’s experience with a product or service that demonstrates their success and often includes measurable outcomes. Case studies are used in a range of fields and for various reasons, from business to academic research. They’re especially impactful in marketing as brands work to convince and convert consumers with relatable, real-world stories of actual customer experiences.

The best case studies tell the story of a customer’s success, including the steps they took, the results they achieved, and the support they received from a brand along the way. To write a great case study, you need to:

Celebrate the customer and make them — not a product or service — the star of the story.
Craft the story with specific audiences or target segments in mind so that the story of one customer will be viewed as relatable and actionable for another customer.
Write copy that is easy to read and engaging so that readers will gain the insights and messages intended.
Follow a standardized format that includes all of the essentials a potential customer would find interesting and useful.
Support all of the claims for success made in the story with data in the forms of hard numbers and customer statements.

Case studies are a type of review but more in depth, aiming to show — rather than just tell — the positive experiences that customers have with a brand. Notably, 89% of consumers read reviews before deciding to buy, and 79% view case study content as part of their purchasing process. When it comes to B2B sales, 52% of buyers rank case studies as an important part of their evaluation process.

Telling a brand story through the experience of a tried-and-true customer matters. The story is relatable to potential new customers as they imagine themselves in the shoes of the company or individual featured in the case study. Showcasing previous customers can help new ones see themselves engaging with your brand in the ways that are most meaningful to them.

Besides sharing the perspective of another customer, case studies stand out from other content marketing forms because they are based on evidence. Whether pulling from client testimonials or data-driven results, case studies tend to have more impact on new business because the story contains information that is both objective (data) and subjective (customer experience) — and the brand doesn’t sound too self-promotional.

89% of consumers read reviews before buying, 79% view case studies, and 52% of B2B buyers prioritize case studies in the evaluation process.

Case studies are unique in that there’s a fairly standardized format for telling a customer’s story. But that doesn’t mean there isn’t room for creativity. It’s all about making sure that teams are clear on the goals for the case study — along with strategies for supporting content and channels — and understanding how the story fits within the framework of the company’s overall marketing goals.

Here are the basic steps to writing a good case study.

1. Identify your goal

Start by defining exactly who your case study will be designed to help. Case studies are about specific instances where a company works with a customer to achieve a goal. Identify which customers are likely to have these goals, as well as other needs the story should cover to appeal to them.

The answer is often found in one of the buyer personas that have been constructed as part of your larger marketing strategy. This can include anything from new leads generated by the marketing team to long-term customers that are being pressed for cross-sell opportunities. In all of these cases, demonstrating value through a relatable customer success story can be part of the solution to conversion.

2. Choose your client or subject

Who you highlight matters. Case studies tie brands together that might otherwise not cross paths. A writer will want to ensure that the highlighted customer aligns with their own company’s brand identity and offerings. Look for a customer with positive name recognition who has had great success with a product or service and is willing to be an advocate.

The client should also match up with the identified target audience. Whichever company or individual is selected should be a reflection of other potential customers who can see themselves in similar circumstances, having the same problems and possible solutions.

Some of the most compelling case studies feature customers who:

Switch from one product or service to another while naming competitors that missed the mark.
Experience measurable results that are relatable to others in a specific industry.
Represent well-known brands and recognizable names that are likely to compel action.
Advocate for a product or service as a champion and are well-versed in its advantages.

Whoever or whatever customer is selected, marketers must ensure they have the permission of the company involved before getting started. Some brands have strict review and approval procedures for any official marketing or promotional materials that include their name. Acquiring those approvals in advance will prevent any miscommunication or wasted effort if there is an issue with their legal or compliance teams.

3. Conduct research and compile data

Substantiating the claims made in a case study — either by the marketing team or customers themselves — adds validity to the story. To do this, include data and feedback from the client that defines what success looks like. This can be anything from demonstrating return on investment (ROI) to a specific metric the customer was striving to improve. Case studies should prove how an outcome was achieved and show tangible results that indicate to the customer that your solution is the right one.

This step could also include customer interviews. Make sure that the people being interviewed are key stakeholders in the purchase decision or deployment and use of the product or service that is being highlighted. Content writers should work off a set list of questions prepared in advance. It can be helpful to share these with the interviewees beforehand so they have time to consider and craft their responses. One of the best interview tactics to keep in mind is to ask questions where yes and no are not natural answers. This way, your subject will provide more open-ended responses that produce more meaningful content.

4. Choose the right format

There are a number of different ways to format a case study. Depending on what you hope to achieve, one style will be better than another. However, there are some common elements to include, such as:

An engaging headline
A subject and customer introduction
The unique challenge or challenges the customer faced
The solution the customer used to solve the problem
The results achieved
Data and statistics to back up claims of success
A strong call to action (CTA) to engage with the vendor

It’s also important to note that while case studies are traditionally written as stories, they don’t have to be in a written format. Some companies choose to get more creative with their case studies and produce multimedia content, depending on their audience and objectives. Case study formats can include traditional print stories, interactive web or social content, data-heavy infographics, professionally shot videos, podcasts, and more.

5. Write your case study

We’ll go into more detail later about how exactly to write a case study, including templates and examples. Generally speaking, though, there are a few things to keep in mind when writing your case study.

Be clear and concise. Readers want to get to the point of the story quickly and easily, and they’ll be looking to see themselves reflected in the story right from the start.
Provide a big picture. Always make sure to explain who the client is, their goals, and how they achieved success in a short introduction to engage the reader.
Construct a clear narrative. Stick to the story from the perspective of the customer and what they needed to solve instead of just listing product features or benefits.
Leverage graphics. Incorporating infographics, charts, and sidebars can be a more engaging and eye-catching way to share key statistics and data in readable ways.
Offer the right amount of detail. Most case studies are one or two pages with clear sections that a reader can skim to find the information most important to them.
Include data to support claims. Show real results — both facts and figures and customer quotes — to demonstrate credibility and prove the solution works.

6. Promote your story

Marketers have a number of options for distribution of a freshly minted case study. Many brands choose to publish case studies on their website and post them on social media. This can help support SEO and organic content strategies while also boosting company credibility and trust as visitors see that other businesses have used the product or service.

Marketers are always looking for quality content they can use for lead generation. Consider offering a case study as gated content behind a form on a landing page or as an offer in an email message. One great way to do this is to summarize the content and tease the full story available for download after the user takes an action.

Sales teams can also leverage case studies, so be sure they are aware that the assets exist once they’re published. Especially when it comes to larger B2B sales, companies often ask for examples of similar customer challenges that have been solved.

Now that you’ve learned a bit about case studies and what they should include, you may be wondering how to start creating great customer story content. Here are a couple of templates you can use to structure your case study.

Template 1 — Challenge-solution-result format

Start with an engaging title. This should be fewer than 70 characters long for SEO best practices. One of the best ways to approach the title is to include the customer’s name and a hint at the challenge they overcame in the end.
Create an introduction. Lead with an explanation as to who the customer is, the need they had, and the opportunity they found with a specific product or solution. Writers can also suggest the success the customer experienced with the solution they chose.
Present the challenge. This should be several paragraphs long and explain the problem the customer faced and the issues they were trying to solve. Details should tie into the company’s products and services naturally. This section needs to be the most relatable to the reader so they can picture themselves in a similar situation.
Share the solution. Explain which product or service offered was the ideal fit for the customer and why. Feel free to delve into their experience setting up, purchasing, and onboarding the solution.
Explain the results. Demonstrate the impact of the solution they chose by backing up their positive experience with data. Fill in with customer quotes and tangible, measurable results that show the effect of their choice.
Ask for action. Include a CTA at the end of the case study that invites readers to reach out for more information, try a demo, or learn more — to nurture them further in the marketing pipeline. What you ask of the reader should tie directly into the goals that were established for the case study in the first place.

Template 2 — Data-driven format

Start with an engaging title. Be sure to include a statistic or data point in the first 70 characters. Again, it’s best to include the customer’s name as part of the title.
Create an overview. Share the customer’s background and a short version of the challenge they faced. Present the reason a particular product or service was chosen, and feel free to include quotes from the customer about their selection process.
Present data point 1. Isolate the first metric that the customer used to define success and explain how the product or solution helped to achieve this goal. Provide data points and quotes to substantiate the claim that success was achieved.
Present data point 2. Isolate the second metric that the customer used to define success and explain what the product or solution did to achieve this goal. Provide data points and quotes to substantiate the claim that success was achieved.
Present data point 3. Isolate the final metric that the customer used to define success and explain what the product or solution did to achieve this goal. Provide data points and quotes to substantiate the claim that success was achieved.
Summarize the results. Reiterate the fact that the customer was able to achieve success thanks to a specific product or service. Include quotes and statements that reflect customer satisfaction and suggest they plan to continue using the solution.
Ask for action. Include a CTA at the end of the case study that asks readers to reach out for more information, try a demo, or learn more — to further nurture them in the marketing pipeline. Again, remember that this is where marketers can look to convert their content into action with the customer.

While templates are helpful, seeing a case study in action can also be a great way to learn. Here are some examples of how Adobe customers have experienced success.

Juniper Networks

One example is the Adobe and Juniper Networks case study , which puts the reader in the customer’s shoes. The beginning of the story quickly orients the reader so that they know exactly who the article is about and what they were trying to achieve. Solutions are outlined in a way that shows Adobe Experience Manager is the best choice and a natural fit for the customer. Along the way, quotes from the client are incorporated to help add validity to the statements. The results in the case study are conveyed with clear evidence of scale and volume using tangible data.

The story of Lenovo’s journey with Adobe is one that spans years of planning, implementation, and rollout. The Lenovo case study does a great job of consolidating all of this into a relatable journey that other enterprise organizations can see themselves taking, despite the project size. This case study also features descriptive headers and compelling visual elements that engage the reader and strengthen the content.

Tata Consulting

When it comes to using data to show customer results, this case study does an excellent job of conveying details and numbers in an easy-to-digest manner. Bullet points at the start break up the content while also helping the reader understand exactly what the case study will be about. Tata Consulting used Adobe to deliver elevated, engaging content experiences for a large telecommunications client of its own — an objective that’s relatable for a lot of companies.

Case studies are a vital tool for any marketing team as they enable you to demonstrate the value of your company’s products and services to others. They help marketers do their job and add credibility to a brand trying to promote its solutions by using the experiences and stories of real customers.

When you’re ready to get started with a case study:

Think about a few goals you’d like to accomplish with your content.
Make a list of successful clients that would be strong candidates for a case study.
Reach out to the client to get their approval and conduct an interview.
Gather the data to present an engaging and effective customer story.

Adobe can help

There are several Adobe products that can help you craft compelling case studies. Adobe Experience Platform helps you collect data and deliver great customer experiences across every channel. Once you’ve created your case studies, Experience Platform will help you deliver the right information to the right customer at the right time for maximum impact.

To learn more, watch the Adobe Experience Platform story .

Keep in mind that the best case studies are backed by data. That’s where Adobe Real-Time Customer Data Platform and Adobe Analytics come into play. With Real-Time CDP, you can gather the data you need to build a great case study and target specific customers to deliver the content to the right audience at the perfect moment.

Watch the Real-Time CDP overview video to learn more.

Finally, Adobe Analytics turns real-time data into real-time insights. It helps your business collect and synthesize data from multiple platforms to make more informed decisions and create the best case study possible.

Request a demo to learn more about Adobe Analytics.

https://business.adobe.com/blog/perspectives/b2b-ecommerce-10-case-studies-inspire-you

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How to write a case study — examples, templates, and tools card image

Case Study: Building a House

Building a house is a pretty big project, and you may not want to take on the risk and responsibility of getting it right. However, General Contractors do it all the time, and some of them learned relatively early in life. How do they do it? By following the basic steps for managing any project, and learning through study and practice . First, it’s important to understand the process by identifying categories. There are many ways to approach this, but we’ll start with a simple outline.

Identifying Project Stages

A construction project can be broken down into a series of tasks. Some can be done concurrently, and some follow a sequence. We know that a project like this has a statement of scope (WHAT you are going to do), a BUDGET (how much it will cost), and a SCHEDULE (how long it will take). There are also some tools available such as logic, research, templates from other projects, etc. You have to start somewhere, so let’s sketch out a statement of intent.

What is the Project?

For this exercise we will use the example of building a one-story single-family home on a finished residential lot in a medium-sized town. The house will be 2,000 sq. ft. and will be traditional wood-frame construction. We have plans for the lot that were prepared by an architect, and the lot is approved for a new home by the zoning regulations. Getting to this point is a project in itself, but we will assume these things are already completed.

There are still a lot of questions, but we have already eliminated many concerns. We know that water, sewer, and power are available to this jobsite. We don’t have to clear timber or get permission from the environmental agency to build next to a stream. We don’t need to go through a long public-approval process to get permission to build in this location. We know that materials are available from local lumber stores, and there are tradespeople available to do the work. These are assumptions for our case study—your project may need extra steps to get to this point.

What is the Budget?

We have already limited the scope to a 2,000 sq. ft. one-story home, and the plans specify the building materials—a mid-range home with standard amenities. Your architect may have given you a rough estimate for the cost of construction for a project like this, usually a “ price per square foot .”

There are a number of way to estimate this factor, but your architect has suggested a budget of $200/sq. ft. so we’ll start there: $200 x 2,000 = $400,000 to build the structure on the lot you already own. This is the number you will use to determine the amount of money you can borrow to finance your project, unless you have that much cash already available. It’s also the number we will use to determine whether the project winds up over or under budget when it is completed.

What is the Schedule?

If your plans are approved and a permit has been issued the schedule is now in your hands. What is the least amount of time this project might take? What is a more realistic guess? It depends on many factors, such as availability of workers and materials, weather, risks, changes, inspector availability, accidents, and financial constraints. No project of this type is free of variables, but let’s allow six months from the time the permit is issued (your legal permission to start building the project) and the COE (Certificate of Occupancy, or permission from your jurisdiction to actually move in).

Building a house in the winter has its own challenges (bad working conditions due to rain, snow, and freezing temperatures as well as fewer daylight hours) so we will assume that the project will start in April and finish before the end of October. That’s the goal, and it’s possible to finish ahead of this educated guess. However, it’s time to look at some other factors, starting with the Critical Path.

Identify the Tasks in your Critical Path

We haven’t created a detailed list of tasks yet, but we can look at categories and begin to organize our plan. It’s helpful to use a visual tool. We will use a spreadsheet such as Excel to plan our project, but since you are new to this kind of project we’ll start with note cards or sticky notes, and organize them into categories like “pre-construction,” “foundation,” “framing,” “roofing,” “everything before drywall,” and “finishes.”

Your “ pre-construction ” category is complete. The lot has been purchased, the plans were submitted to the building department and approved, the loan was finalized, and the permit was issued. All of these items are in the critical path of building your house—they MUST be done before you begin construction. There are almost no exceptions to this (unless you have plenty of cash and don’t need a loan)!

The Foundation

The critical path for the foundation is obvious, as you have to finish grading, trenching, and building the forms before you can pour the concrete. You also need to pass the inspection by the building inspector after the forms but before the concrete is placed. If you are the concrete contractor you will have to go into greater detail about how these tasks are accomplished, but for now we will move on to the next steps. When the foundation is done you have completed a milestone —you can probably get your first construction loan draw (depending on the bank’s policies) and start framing.

In order to create the basic structure for the home you will need to build the frame . The lumber needs to be on site and then the framers build the walls. That is in the critical path to get to the roof installation, which is a real milestone in the project. When the walls are framed and the roof is complete you can install windows and doors so you can lock up the project. Now you can begin all the other tasks that need to be protected from rain (and unauthorized visitors).

Everything Before Drywall

At this point your critical path becomes more complicated. What comes next? Does it matter if the plumber puts in the rough plumbing before the electrician puts in the rough wiring? The term “rough-in” means that the work will be covered by drywall or other finishes, and it will need to pass inspection before you can cover it up.

There are guidelines for these decisions, but you have more leeway. It is possible to have more than one tradesperson working at the same time, especially if there is a particular deadline, but that may not be optimal. Having two trades on the same jobsite depends on their personalities and professionalism. Some tasks are focused and tedious; some are noisy and chaotic. Some tasks have to be physically completed before other tasks can be done. This is where your PERT Chart starts looking a little more complicated. There’s a lot going on, and the timing of these tasks can be variable.

When the HVAC (heating, ventilating, and air conditioning), plumbing, and electrical rough-in is completed you can call for the inspection that will allow you to insulate and then drywall the interior. The inspection that allows you to cover your work is a major milestone —partly because you can’t drywall without it, and partly because it will be much harder to correct mistakes once the work is covered up.

In the meantime, you can be doing some of the work that is unrelated to the interior, such as finish grading the exterior, installing the siding, and creating the flatwork such as driveways and walkways. Or—you can do those things after the house is completed. They are not in the critical path .

The next step is the drywall, and everything else inside the house usually stops during this process. It’s dusty when the work starts and humid when the texture is drying near the end. When you are ready for finished you will have many choices to make about the sequence of the work.

Do you install the cabinets before or after the floor covering in the kitchen? It’s technically possible to do it either way. Do you paint the door casings at the same time you paint the walls, or paint the walls before you hang and trim the doors? How many tradespersons can be working inside at the same time? How many trips do they need to make in order to finish everything?

The Project Manager needs to anticipate potential conflicts and make scheduling decisions affecting multiple players. If your schedule is flexible you can accommodate different personality types and allow everyone the time they need.

If you are racing the clock you might need to deal with conflicts and errors. It’s always smart to distinguish what is “possible, but difficult” from what is simply not possible. If you are approaching a deadline that can’t be met it is better to strategize about how to disclose that fact and deal with it than stay in denial and create additional chaos. Stuff happens. How you deal with it is a matter of training, skill, and perspective.

The Budget, Part Two

You came up with an overall budget based on a “price per square foot” estimate. When you break down that number into specific line-items you need to determine how detailed your estimate should be. How can you do that? It depends on your role in building the house.

Subcontractors

If you are going to use subcontractors for each stage and you have good plans and specifications you can get estimates/bids from more than one for each trade and then make a selection. This will include excavation and foundation (concrete); framing, roofing, siding, windows, doors, electrical, plumbing, HVAC, insulation, drywall, painting, cabinets, and flooring.

Each bid may include materials—or just the labor. If the framer is only giving you a bid for labor they can provide a materials list so you can get a price from the lumber store for the materials. If the bid includes materials your plans and specifications should tell what the materials are so you get what you are expecting from the subcontractor. Sometimes it’s a little of both. For example, your electrician might provide all the wire, rough-in boxes, and receptacles but you will provide the light fixtures.

As you work your way through the process of estimating you will learn something from everyone you talk to . Sometimes sub-contractors will have different opinions, so it’s important to keep track of what each bid includes. As you add line-items to your estimate spreadsheet you can see how close you are getting to your total estimate.

An experienced builder might use in-house labor to save money (saving the profit that a subcontractor will include in their bid). If you are planning to do some of the work yourself (or hire employees to do it for you) you must remember that you are responsible for what they do and how they do it. They will need supervision, payroll, and other forms of support.

You are also responsible for providing the materials needed, which probably includes figuring out exactly what those items should be. Who picks up the materials that the estimator forgot to include on the list? What happens when your laborers don’t finish as quickly as you expected? Your costs increase and your schedule is extended.

A house can be built by a single Project Manager who coordinates subcontractors. There are always small things that need to be done, but the main trades will be done by professionals. If the total of your materials and subcontractor bids is within your original budget estimate you can save money if you are the Project Manager. Even if you decided to hire a General Contractor at the end of your budget, schedule, and planning process you will have gained a much better appreciation for what is involved.

Everyone starts somewhere. Every excellent Project Manager was once a toddler. Learn from the people you talk to, use good judgement, and collect reference materials such as schedule and budget templates in order to improve your skills. Start with smaller projects and work up to larger ones, learning as you go. Someday you may be able to plan and build your own house!

Patty Iverson

Analysis of house damage and prevention strategies for cut slope house-building landslides in tectonically weak and humid hilly areas: a case study of Jiangxi Province

Original Paper
Published: 06 April 2024

Cite this article

Yun Liu 1 , 2 ,
Chongjian Shao 1 , 3 ,
Yufu Wu 2 ,
Hengxing Lan 4 ,
Yilong Yang 5 ,
Zhaokun Yan 3 ,
Yilin Li 3 ,
Qiujuan Zhong 2 ,
Zhongping Wu 6 &
Lianwei Yang 7

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The increasing intensity of human activity is exposing more people and property in hill regions to geohazards (including rockfall, landslide, debris flow, et al.). In tectonically weak and humid (TWH) hilly areas, such as the Jiangxi Province, a large proportion of the losses in geohazards are caused by cut slope house-building (CSHB) landslides. The house is the “first line of defense” of a household against geohazards. However, previous studies mainly studied cut slope landslides themselves to reduce disaster losses, but few conducted analyses from the perspective of house damage. Considering the situation, this study makes an inventory of house damage information related to CSHB landslides in Jiangxi Province from 2019 to 2022 and analyzes the house damage characteristics, effects of influencing factors on house damage, and prevention suggestions in TWH hilly areas. Some main findings can be summarized as follows: (i) The main house with a brick-concrete structure will not collapse under the influence of 81.07% cut slope landslides; (ii) the first floor needs to be reinforced due to its high frequency of damage; (iii) the ancillary houses should be placed in front of the main house or on diagonal sides away from the cut slope and should not be set up as high-activity functional areas; (iv) the kitchen is the functional area with the most severe damage closely related to layout pattern and stability characteristics. Our study contributes to subsequent analysis of house damage or physical vulnerability, and disaster loss reduction in TWH hilly areas.

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Supplementary materials related to this article can be found in the attachment. Supplementary material presents the inventory of 1,622 geohazards that caused losses in Jiangxi Province from 2019 to 2022, and the inventory of 715 landslides related to cut slopes with rich information on house damage.

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Acknowledgements

We thank Dr. Ali Darvishi Boloorani (University of Tehran) for discussing and improving the English version. Many thanks will go to the editors and reviewers for their constructive comments.

This work was supported by Jiangxi Provincial Natural Science Foundation [grant number: 20232BAB213073], Open Fund from Engineering Research Center for Seismic Disaster Prevention and Engineering Geological Disaster Detection of Jiangxi Province [grant number: SDGD202204], Jiangxi Provincial Department of Education Science and Technology Research Project [grant number: GJJ2200759], Jiangxi Provincial Department of Natural Resources Project [grant number: 360000243188887011285]), and ECUT’s 2019 the Start-up Fund of Research for recent Ph. D. graduates [grant number: DHBK2019044].

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Engineering Research Center for Seismic Disaster Prevention and Engineering Geological Disaster Detection of Jiangxi Province, Nanchang, 330013, China

Yun Liu & Chongjian Shao

Mineral Resources Guarantee Center of Jiangxi Province, Nanchang, 330025, China

Yun Liu, Yufu Wu & Qiujuan Zhong

School of Earth Sciences, East China University of Technology, Nanchang, 330013, China

Chongjian Shao, Zhaokun Yan & Yilin Li

State Key Laboratory of Resources and Environmental Information System, Institute of Geographic Sciences and Natural Resources Research, Chinese Academy of Sciences, Beijing, 100101, China

Hengxing Lan

Zhejiang Zhonghaida Space Information Technology Co., Ltd., Huzhou, 313200, China

Yilong Yang

Ecological Geology Brigade of Jiangxi Geological Bureau, Nanchang, 330001, China

Zhongping Wu

Geological Environment Monitoring Institute of Jiangxi Geological Survey and Exploration Institute, Nanchang, 330025, China

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Liu, Y., Shao, C., Wu, Y. et al. Analysis of house damage and prevention strategies for cut slope house-building landslides in tectonically weak and humid hilly areas: a case study of Jiangxi Province. Landslides (2024). https://doi.org/10.1007/s10346-024-02245-5

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House to delay sending Mayorkas impeachment articles to Senate

FILE -Homeland Security Secretary Alejandro Mayorkas appears unconcerned. about impeachment...

WASHINGTON (AP) — Speaker Mike Johnson will delay sending the House’s articles of impeachment against Homeland Security Secretary Alejandro Mayorkas to the Senate this week as previously planned after Republican senators requested more time Tuesday to build support for holding a full trial.

The sudden change of plans cast fresh doubts on the proceedings, the historic first impeachment of a Cabinet secretary in roughly 150 years. Seeking to rebuke the Biden administration’s handling of the southern border, House Republicans impeached Mayorkas in February but delayed sending the articles while they finished work on government funding legislation.

Johnson had planned to send the impeachment charges to the Senate on Wednesday evening. But as it became clear that Democrats, who hold majority control of the chamber, had the votes to quickly dismiss them, Senate Republicans requested that Johnson delay until next week. They hoped the tactic would prolong the process.

While Republicans argued Tuesday that forgoing a full Senate trial would break precedent, most Senate Republicans voted to do just that when Donald Trump, the former president, was impeached a second time on charges he incited an insurrection in the Jan. 6, 2021 attack on the Capitol. Their effort to halt the proceedings failed. Trump was ultimately acquitted in the Senate trial.

“Our members want to have an opportunity not only to debate but also to have some votes on issues they want to raise,” said South Dakota Sen. John Thune, the second-ranking Republican Senate leader. Under procedural rules, senators are required to convene as jurors the day after the articles of impeachment are transmitted for a trial.

“There is no reason whatsoever for the Senate to abdicate its responsibility to hold an impeachment trial,” Johnson’s spokesman, Taylor Haulsee, said in a statement announcing the delay.

Senate Majority Leader Chuck Schumer. D-N.Y., who has decried the impeachment push as a “sham,” suggested Democrats still plan to deal with the charges quickly.

“We’re ready to go whenever they are. We are sticking with our plan. We’re going to move this as expeditiously as possible,” Schumer said.

“Impeachment should never be used to settle policy disagreements,” he told reporters earlier Tuesday.

House Republicans charged in two articles of impeachment that Mayorkas has not only refused to enforce existing law but also breached the public trust by lying to Congress and saying the border was secure.

Democrats — and a few Republicans — say the charges amount to a policy dispute, not the Constitution’s bar of high crimes and misdemeanors.

“Ultimately, I think it’s virtually certain that there will not be the conviction of someone when the constitutional test has not been met,” said Sen. Mitt Romney, R-Utah.

Romney said he was not sure how he would vote on the Senate’s process but wanted to at least express his view that “Mayorkas has done a terrible job, but he’s following the direction of the president and has not met the constitutional test of a high crime or misdemeanor.”

Still, with elections approaching, Republicans want to force Congress to grapple with the Biden administration’s handling of the southern border as long as possible.

“I think there are a lot of Democrats who really want to avoid the vote. I don’t blame them. I mean, this is the number one issue on the minds of Americans,” Thune said.

Sen. Sherrod Brown, a Democrat who is facing a tough reelection bid in Ohio, called the impeachment trial a “distraction” and pointed to Republican senators rejecting a bipartisan deal aimed at tamping down the number of illegal border crossings from Mexico.

“Instead of doing this impeachment — the first one in 100 years — why are we not doing a bipartisan border deal?” Brown said.

Prior to Mayorkas, only one U.S. cabinet official had ever been impeached. Secretary of War William Belknap in 1876. A House investigation found evidence that he had received kickback payments while administering government contracts.

Belknap resigned, but the Senate still held a trial. The votes on all five impeachment charges against Belknap fell short of the two-thirds majority needed for a conviction.

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RTL AdAlliance adds Wurl FAST Channels to CTV offering

April 10, 2024 11.19 Europe/London By Jörn Krieger

RTL AdAlliance enables advertisers to gain access to the over 1,300 FAST Channels, delivered to audiences in Germany, France, the UK, Italy, Austria, and Switzerland. Wurl connects content publishers to over 170 million connected TVs monthly across more than 45 streaming services worldwide, including Roku, Samsung TV Plus, and more.

This partnership allows publishers to maximise their revenues, grow their CTV viewership, and strengthen their brand value, according to RTL, adding that by tapping into the international sales teams and localised services of RTL AdAlliance, channels within Wurl’s AdPool network become easily accessible for national and international advertisers looking to connect with European audiences.

“By enabling established content and media brands to create and operate carefully curated FAST Channels and distribute them across all major FAST offerings, Wurl has significant reach in the CTV world. The diverse themes, genres, and moods these channels cater to are predestinated for highly effective contextual targeting. This gives us at RTL AdAlliance the ability to connect an exceptionally attentive audience with advertisers, looking to engage with consumers in highly brand-safe and measurable TV-like environments. We are excited to support Wurl with our sales expertise and deep market knowledge,” said Stephen Byrne, VP Partnership Development at RTL AdAlliance.

Ben Mison, Director, Business Development at Wurl, added: “At Wurl, we pride ourselves in connecting FAST Channels with audiences worldwide and empowering advertisers to engage with these attentive audiences on the world’s largest screen. With AdPool, we offer premium CTV advertising inventory through many of the most well-known publishers. Partnering with RTL AdAlliance allows us to open this inventory to bespoke advertising experiences that cater to local viewing behaviours, ultimately enabling us to create more value for our content partners and a better ad experience for FAST enthusiasts in Europe.”

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About Jörn Krieger

Jörn reports on the latest developments in Germany, Austria and Switzerland. Since 1992, he has been working as a freelance journalist, specialised in digital media, broadcast technology, convergence and new markets. He also takes up University lectureships, writes articles in specialist publications, and produces radio reports. Jörn is also a moderator of panel discussions at industry events such as ANGA COM, Medientage München and IFA Berlin.

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