Modernist Eero Saarinen – Part 3.

Bell Telephone Laboratories Lobby Interior | Holmdel, New Jersey
Photographer: © Cervin Robinson

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Constructed between 1959 and 1962. Over its active life-span, the facility and its layout have been studied in universities as a model of modernist architecture. Internally, the building is divided into four pavilions of labs and offices, each around an atrium. The internal pavilions are linked via sky-bridges and perimeter walkways.

Also of note is the water tower on the complex, which was designed to look like the then-new transistor and is still in usable condition more than 40 years after its construction.

MIT (Massachusetts Institute of Technology) Kresge Auditorium & Chapel
Photographer: © Joseph W. Molitor, 1950/1959

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Ground-breaking in 1953 and dedication in 1955. It was designed together with the MIT Chapel, the two buildings separated by a “green”, referred to by students as the “Kresge Oval”. The ensemble is recognized as one of the best examples of mid-century modern architecture in the U.S. Though unassuming by today’s standards, the buildings were part of an attempt to define MIT’s social cohesion. The auditorium was where MIT students and faculty could gather for formal events, the chapel was intended for marriages and memorials; the green that stretches between the two buildings, in the tradition of early-American urban planning, was to serve as the setting for civic events. Though the campus has grown around the buildings, the essential features of this idea are still easily legible.

Dulles International Airport Model | Washington, D.C.

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

The main terminal was designed in 1958 and dedicated by John F. Kennedy in 1962. It is highly regarded for its graceful beauty, suggestive of flight.

Dulles International Airport Interior | Washington, D.C.
Photographer: © Evelyn Hofer

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

North Christian Church Sanctuary Model | Columbus, Indiana | 1963

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Completed in 1964, the church was the last building designed by Saarinen before his death. It is hexagonal in shape, with a central spire which is 192 feet (59 m) high. Below the spire, there is an oculus that admits light into the main level. The sanctuary is located at the center of the building, with the altar located in the center of the sanctuary. Rows of pews surround the altar in a hexagon, reflecting the idea that worship should be a central aspect of the life of the congregation. The lower level contains classrooms, an auditorium, a kitchen and an activities area.

North Christian Church Sanctuary |  Columbus, Indiana
Photographer: © Hedrich Blessing

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

United States Embassy | Oslo, Norway

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Completed in 1959. The base of the building, forms a horizontal triangle.

United States Embassy | Oslo, Norway
Photographer: © K. Teigen

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

United States Embassy | Oslo, Norway
Photographer: © K. Teigen

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Jefferson National Expansion Memorial (Gateway Arch) | St. Louis, Missouri
Photographer: unknown

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

The Gateway Arch is known as the “Gateway to the West”. It was designed by Saarinen and structural engineer Hannskarl Bandel in 1947 and built between 1963 and 1965. It stands 630 feet (192 m) tall and 630 feet (192 m) wide at its base. The legs are 54 feet (16.5 m) wide at the base, narrowing to 17 feet (5.2 m) at the arch. There is a unique tram system to carry passengers to the observation room at the top of the arch. The arch is located near the starting point of the Lewis and Clark Expedition.

Jefferson National Expansion Memorial (Gateway Arch) | Northern Base
St. Louis, Missouri | Photographer: unknown

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

United States Embassy Chancellery | London, England | Facade & Skylight Detail
Photographer: © Baltazar Korab, 1963

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Constructed in the late 1950s, opening in 1960. The building has nine stories, three of which are below ground. A large gilded aluminum Bald Eagle by Theodore Roszak, with a wingspan of over 11 metres (35 feet) is situated on the roof of the Chancery Building, making it a recognizable London landmark.

Eagle atop the United States Embassy Chancellery | London, England
Photographer: © Baltazar Korab, 1963

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Auditorium at the United States Embassy Chancellery | London, England
Photographer: © Henk Snoek, 1963

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

David S. Ingalls Hockey Rink | Yale University | New Haven, Connecticut
Photographer: © Charles R. Schulze, 1958/1969

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Built between 1953 and 1958 for Yale University. It is commonly referred to as “The Whale” due to its appearance.  It seats 3,486 people and has a maximum ceiling height of 23 meters. The building was included on the America’s Favorite Architecture list, created in 2007 by the American Institute of Architects.

Interior of David S. Ingalls Hockey Rink | Yale University | New Haven, Connecticut

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Chapel Interior at Drake University | Des Moines, Iowa
Photographer: © Warren Reynolds

Courtesy Eero Saarinen Collection. Manuscripts and Archives, Yale University

Oreon E. Scott Memorial Chapel was dedicated in 1955. [...] Saarinen’s attention both to detail and to the flow of space is very evident in this religious commission. The brick exterior of the chapel is contrasted with the wood-slatted interior. The only brick visible on the inside resides above the door. This gives a reminder of what exists on the outside while the visitor makes an adjustment to the interior.

[...]

Spiritual symbols can be found throughout the space of the chapel. For example, the number of high back chairs, twenty, is a reoccurring number in both Christianity and Hinduism. The number three, which traditionally represents ideas like past, present and future, is repeated in a variety of materials. Along with numbers, shapes like triangles and circles create complex meanings as well as physical depth in the chapel. Traditional spiritual symbols contribute to Scott Chapel’s role as a sacred space.

–Building a Modern Campus – Eliel & Eero Saarinen at Drake University | Photo Gallery

Chapel Interior at Drake University | Des Moines, Iowa
Photographer: © Warren Reynolds

All images and titling text via the Eero Saarinen Collection Manuscripts & Archives – Yale University. Block quote text excerpts are via Wikipedia unless otherwise indicated.
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Finnish-American Eero Saarinen (1910–1961) remains my top favorite mid-century modernist—not only for his ultra visionary works but additionally for the unorthodox, against the grain chutzpah these works represent in the face of his critics.

This third post in my multi-part series highlights the breadth of Mr. Saarinen’s extraordinary international architectural achievements. My first installment focused on his iconoclastic jet age TWA Flight Center; my second installment featured his iconic furniture designs and sketches.

Posthumously, Saarinen is recipient of the highest American architecture award, the AIA gold medal. However ironically, this “most famous young architect in America, perhaps in the world” by Architectural Forum in 1962, has been ignored and even ostracized by critics and architectural historians. For example, he was looked down upon by modern purists in his time as he did not stay “within the box” which is rather well evidenced above. Critic Vincent Scully blasted Saarinen for having “no identifiable style”. Saarinen’s works ran the gamut between pure boxy modernism to organic/abstract expressionism (ex: TWA Flight Center) to classicising eclecticism (ex: U.S. embassy in London). Instead, it is explained that he adapted his modernist vision to each individual client/project accordingly to their needs and mission so no two works look alike. Apparently this tenet was considered revolutionary at the time and in the vein of being wishy washy—quite unfortunate. Even into the 1990s it was viewed as career suicide for an architect to extend a debt to Saarinen.

Many of Saarinen’s iconic architecture designs were completed after his premature death. Tragically, he died during an operation to remove a brain tumor at the age of only 51; and doubly tragic his wife Aline later died of the same.

Only recently has Saarinen begun receiving well deserved recognition for his pioneering contributions to 20th century architecture and design. The first retrospective exhibit of this master’s work took place just last year.

For those unfamiliar, Mr. Saarinen’s father Eliel was also a well known architect who directed the Cranbrook Academy of Art in Michigan. Eero launched his career at his father’s firm and only struck out on his own at the time of the senior Saarinen’s death in 1950.

Lastly, on a side note, Eero Saarinen served on the jury for the Sydney Opera House commission and was crucial in the selection of the internationally known design by Jørn Utzon.

For further reading:
>> Wikipedia
>> Saarinen rising: A much-maligned modernist finally gets his due
>> Eero Saarinen: Shaping the Future – Museum of Finnish Architecture
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