Eero Saarinen by Genny Konicke

Eero Saanrinen: A Design Genius

By: Genny Konicke

 

Eero Saanrinen was born in Kirkkonummi, Finland on August 20, 1910, oddly enough sharing the same birthday as his father.  He emigrated to the United States in 1923 when he was only thirteen and blissfully began studying under his father at the Cranbook Academy of Art in Michigan.    He concluded his studies at the Yale School of Architecture in 1934.  In the 1940’s his friend recruited him to join the Office of Strategic Services where he designed certain functions of bombs.  His father passed away in 1950 and Eero took over his father’s practice, Saarinen & Associates in Birmingham.  He also embarked on a mission to design for Knoll International where he then promulgated his permanent role as one of the masters of American 20^th Century architecture.     

It was unambiguous there was a passion for design in Saarinen’s heart.  He thought of architecture design as, “…a much more fundamental role to play for man, almost a religious one” (Saarinen 30). Unlike today where many look at architecture as merely a business, Saarinen perceives architecture as an art, which most likely led to his reputation with many critics as superseding form with function.  He elusively described architecture as something that had to work with society, which established his belief that design greatly defined our societies since, “Each civilization and culture has produced a total surrounding with an architecture which has come down to our day as its contribution to culture” (30).

The futuristic era in architecture emanated in the early 20^th century.  This upheaval in the world of architects was distinguished by flagrantly prominent shapes, highly contrasting colors, unelaborate designs, and vibrant lines.  Eero Saarinen superseded many designers once the futuristic age was promulgated.  Many of Saarinen’s significant designs were birthed during this era, which indicated him as a major contributor of futurism.  His designs from this age resume to serve as popular furniture, landmarks, and debates to this day.  

            Eero Saarinen’s most popular piece of designed furniture was the infamous tulip chair, still customary today after its construction in 1956.  After the tulip chair was released to the public, Time Magazine dedicated an article to the new invigorating chair.  They describe the chair as a, “…revolutionary design for on-legged, pedestal-based chairs, dining tables, and coffee tables that have all the weightless elegance of a stemmed wineglass” (1).  Saarinen claimed that his inspiration came from the “…idea for a form to replace ‘the ugly clutter of cages and legs going in different direction’”.  He precisely calculated the base of fascinating piece to decrease the amount of four legs to one.  Time explains that, “The plastic seats are of tulip-shaped organic design, [that] have richly colored cushions to temper modern simplicity with elegance”.  His stunning design was incredibly promoted when used on the set of Star Trek television series from 1966-69. 

 

            Another larger and flagrant piece Saarinen designed is the Trans World Airlines terminal at the John F. Kennedy International Airport in New York.  Even though some classify it as a pariah that looks, “…like a bird that has lost its flock”, it was unequivocally a substantial beauty that defined the futuristic era (Muschamp 1).  To encapsulate the Flight Center, it was considered anything but trite when finished in 1962. USA Today explains how the exhilarating structure’s,  “…soaring, birdlike roof and curvy interior shapes evoke[d] the excitement of the Jet Age, when travelers dressed up rather than [strip] down to get on an airplane”.  Robert A. M. Stern describes the invigorating sight as the, “Grand Central of the Jet Age” and New York Times agrees, “…it had a good reason for doing so” (Muschamp 1).  New York Times claims the interior, “…is the most dynamically modeled space of its era” with dynamic lines being a fundamental part of futuristic design (2).  Although this was an extraordinary structure, many critics have a belligerent attitude toward it.  As Saarinen was well known to perform, critics presented their brackishness by blaming Saarinen for, …”placing image before function and structural integrity”, a major case of superseding function with form (3).           

 

Saarinen’s design of the Tulip Chair, T.W.A. Flight Center, and many other invigorating designs such as the St. Louis Gateway Arch, unequivocally emphasized his power during the age of futurism.    

Numerous works of Saarinen continue to generate a fervent attitude from society today while others beseech to maintain their importance.  One of these futile structures includes the T.W.A. Flight Center.  While its inconsequentiality is being debated, the terminal continues to sit empty since Trans World Airlines went out of business in 2001.  William DeCota, director of the agency that runs the airport, describes the deteriorating condition of the structure, “As a piece of architecture, it’s exciting, but as a functioning airport terminal, it just absolutely can’t meet the needs of today”.   The most popular answers for the quandary seem to be to either renovate the Flight Center or find a new use for it.  But, there is the minority, such as Frank Sanchis, vice president of the Municipal Art Society of New York, who believe, “Some buildings are simply better like in their original use, and we think this is one”.  The decision on what to transform the terminal into is still being debated. 

One of the works by Saarinen that is acknowledged as a U.S. Historical Landmark today is the St. Louis Gateway Arch.  Designed by Saarinen in the 1960’s, the arch is also known as the Gateway to the West and is especially valuable to the Jefferson National Expansion Memorial.  Construction on the arch finished in 1965 and was declared a National Historic Landmark in 1987.  During the mid-1900’s, St. Louis was considered the “Gateway to the West” and thought it appropriate to build a gate to indicate the spot.  Saarinen’s winning designed was promulgated while Time illustrated the design as a, “…stainless steel, streamlined, 590-ft-high arch to rise beside the Mississippi” with, “…a funicular elevator and observation corridor” (1).

 

 

   Even though critics often pointed out mistakes in Saarinen’s works and some of his works may have to disappear forever, he has left behind numerous colossal changes in the world of design that will never be forgotten.  He wasn’t afraid to accept the critic’s comments and shine though his own individualistic approach which eventually lead to his extraordinary designs.  These designs are what allowed him to really allow the futuristic age to soar not to mention helping the Jet Age take flight.

Eero Saarinen eventuall was married and had two children.  He then divorced and remarried having another child.  He died on September 1, 1961 at the age of 51 in Michigan.