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Ar. e3ro saarinen
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- 3. LIFE • Eero wasthe son of the noted architect Eliel Saarinen and Loja Gesellius, a sculptor. The Saarinen family of four, including a sister, Eva-Lisa, moved to the United States in 1923. • Eero attended public schools in Michigan. In 1929 he studied sculpture at the Académie de la Grande Chaumière in Paris but, as he recounted years later, “it never occurred to me to do anything but follow in my father's footsteps.
- 4. LIFE • .” Between1931 and 1934 he studied architecture at Yale University, where the curriculum was untouched by modern theories. • His father's architecture in Finland had focused on a free adaptation of medieval Scandinavian forms, and in the United States he designed various private school buildings from 1925 to 1941, including Cranbook Academy of Art in Bloomfield Hills, Mich., following this loose, romantic style.
- 5. PROFESSIONAL PHASE • EeroSaarinen's professional work in the United States began in 1936 with research on housing and city planning with the Flint Institute of Research and Planning in Flint, Mich. • He joined his father's practice in Bloomfield Hills in 1938, and one year later their collaborative design— tranquil yet monumental—for the mall in Washington, D.C., won first prize in the Smithsonian Institution Gallery of Art competition. Unfortunately the design was never executed.
- 6. PHILOSOPHIES • He wastaught that each object should be designed in its "next largest context - a chair in a room, a room in a house, a house in an environment, environment in a city plan." • For him, "The major concern ...was to create a monument which would have lasting significance and would be a landmark of our time... • His opinion was that, "...all parts of an architectural composition must be parts of the same form-world."
- 7. EERO’S WORKS • Inthe 11 years that he survived his father, Saarinen's own work included a series of dramatically different designs that displayed a richer and more diverse vocabulary. • He introduced sculptural forms that were rich in architectural character and visual drama unknown in earlier years. The exciting results were welcomed by many who were bored by the uniformity of the International Style of modern architecture
- 8. EERO’S WORKS TransWorld Airlines (TWA) terminal at John F. Kennedy International Airport, New York City Dulles International Airport
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- 10. DULLES INTERNATIONAL AIRPORT Thisairport was designed to provide a modern gateway to the capital of the nation and building it for the federal government. The site was a flat plain.
- 11. The mainterminus is a single , compact structure , not entirely free from formalist tendencies but one which is technically exciting. The final design concept arrived at was a suspended structure, high at the front ,lower in the middle ,slightly higher at the back , generated by a rectangular plan. The building is thus capable of lateral extension .
- 12. • The 16pairs of pylons curve upwards and support the hammock-like roof in tension. • Passengers are brought into the building at 3 levels and circulation is made to coincide with the system of mobile lounges which take people to air craft on the two-mile-long runway. DULLES INTERNATIONAL AIRPORT
- 13. • A cornerof the building with the reinforced concrete pylon carrying the cable on which the roof is supported. • The design included a landscaped man-made lake to collect rainwater, a low-rise hotel, and a row of office buildings along the north side of the main parking lot
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- 20. TRANS WORLD AIRLINES(TWA) TERMINAL AT JOHN F. KENNEDY INTERNATIONAL AIRPORT, NEW YORK CITY
- 21. T.W.A. TERMINAL ATNEW YORK Building type ----airport terminal Construction system ---concrete One of the most self-assured, self-confident— even self-conscious—buildings to emerge as a result of the interplay of the architectonic and engineer- inspired buildings was Saarinen's TWA Terminal Buildings at New York.
- 22. T.W.A. TERMINAL ATNEW YORK It alarmed the remaining purists of modern architecture. Its bird-like symbolism, exciting forms and cavernous interior were not simply a casual reminder of the changes that had taken place in architectural thinking in the 1950s, but a demonstration of the architect's role as an originator .
- 23. T.W.A. TERMINAL ATNEW YORK This is surely one of the world's most dramatic airline terminals. Few straight lines here: approached head on, its curving contours uncannily suggest a bird in flight. Inside, the main lobby's soaring, swooping walls, its carefully modeled staircases, seating areas, and many other features are a blend of graceful sculptural forms selected 'to suggest the excitement of the trip.'
- 27. Saarinen's terminalfor TWA is sculpted as a symbol of flight - abstract, and not intentionally as a landing eagle as it has often been described.
- 28. T.W.A. TERMINAL ATNEW YORK The expressive curves of the design create attractive, spacious halls and a rare degree of exhilaration for an airport terminal. The period bright orange carpets are gone, and the atmosphere is a more contemporary cool with the tone set by the purple-tinted glazing, but the romance of flight is very much alive.
- 29. View of exterioroverview approaching terminal View of exterior, base of flying roofs View of interior, sitting area at mezzanine roof meeting View of interior detail, ventilator by entry doors
- 30. Location Terminal 5,John F. Kennedy International Airport, Queens, New York 11430 United States Area 17.6 acres (7.1 ha) Architect Eero Saarinen and Associates Architectural style Neo-futuristic
- 31. • According tohim, it was '...a building in which the architecture itself would express the drama and specialness and excitement of travel... a place of movement and transition... The shapes were deliberately chosen in order to emphasize an upward- soaring quality of line. T.W.A. TERMINAL AT NEW YORK
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- 34. Opened: 1955 Architectural style: Modern architecture Owner: Massachusetts Institute of Technology Height: 15 m Kresge Auditorium is an auditorium building for the Massachusetts Institute of Technology, located at 48 Massachusetts Avenue, Cambridge, Massachusetts
- 37. Sitting ona circular red brick platform, the dome contains a concert hall (with seating for 1226 people), plus a lower level that houses a small theater(seating 204), two rehearsal rooms, dressing rooms, offices, bathrooms, and lounges. The main stage is paneled with warm- colored vertical wood elements that echo the vertical glass panels of the building's facade.
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- 40. The auditoriumis defined by an elegant thin-shell structure of reinforced concrete, one-eighth of a sphere rising to a height of 50 feet, and sliced away by sheer glass curtain walls so that it comes to earth on only three points. Thin- shelled concrete technology was innovative for the times. The dome weighs only 1200 tons and is currently clad with copper. It was originally covered with smooth, bright, orastone which was then replaced with lead sheeting attached with stainless steel wires. In 1980, cracks were found in the supporting structure and the auditorium was closed immediately for repairs. Copper replaced the lead at that time.
- 41. Every seatin the concert hall has an unobstructed view, since there are no interior supports for the overarching dome. Working with renowned acoustical architects Bolt, Beranek and Newman, architect Saarinen employed free-hanging acoustic "clouds" that absorb and direct sound, instead of a traditional plaster ceiling. These clouds also contain lights, loudspeakers, and ventilation. While standing on either side of the entry lobby, one can distinctly hear people on the other side speaking in as low a voice as a whisper. This so- called whispering gallery effect is produced by the geometrical shape and hard surfaces of the space.
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