The same applies to their interests. Some, like their fascination with folklore, appeared eccentric at the time but seem less so now, as does the eclecticism of a couple as intrigued by physics and prefabrication as by Mexican craftsmanship. All of this is visible in the house, which is filled with thoughtful arrangements of the pebbles, buttons, pencils, toys, masks, kites and other knickknacks they collected over the years, as well as furniture and artworks made by them and their friends.

Equally prescient was the Eameses’ love of nature. When they started work on the house in the mid-1940s as part of the Case Study House Program to build model modern homes in California, they envisaged it as two separate buildings: a house with ocean views across the meadow and a studio set into the hillside. The longer they spent at the site, the more they loved it. Abandoning the original design, the couple devised a plan to preserve the area’s natural beauty by excavating a lot for both buildings between the trees and hill.

Image An alcove inside the Eames residence. Credit... Eames Office LLC

They were even early recyclers, and rarely threw anything away. One of their cars, a Ford, lasted them 18 years, and in the four decades they lived in their house, they replaced only one appliance, a refrigerator.

The Eameses’ way of working was influential, too. “Their practice of operating in multiple arenas — architecture, design, film and exhibitions — has become the template for today’s avant-garde designers, who are intentionally blurring the boundaries between the disciplines,” observed Joseph Rosa, chair of architecture and design at the Art Institute of Chicago.

Similarly Ray blazed a trail as one of the few prominent women designers of the day, although her contribution was often underestimated. A British design organization once presented a medal to Charles and a rose to her, but he always insisted on crediting her equally. When they appeared on NBC’s “Today” show in 1956, Ray was welcomed on set with: “This is Mrs. Eames and she is going to tell us how she helps Charles design his chairs.” He cringed, while she smiled gamely. (See it for yourself on YouTube.)

“Their house has become a beacon for the American way of poetic pragmatism,” said Ms. Antonelli. “Chez Eames, art is not intimidating, great design really is for everybody, and high taste means being able to enjoy the occasional tchotchke in a modernist masterpiece.” That’s why we love it.