Eero Saarinen

RIMT-COLLEGE OF ARCHITECTURE PRESENTATION ON AR. EERO SAARINEN

SUBMITTED TO: SUBMITTED BY: BHAVYA SAHNI AKANSHA(02) ANGADVEER(05) ARPIT MEHTA(08) DIKSHA CHUGH(15) ISHMINDER(37)

INTRODUCTIONEero Saarinen(August 20, 1910) was aFinnish American architectandindustrial designerof the 20th century famous for shaping.Eero Saarinen, the son of Finnish architectEliel Saarinen and his second wife, Louise, was born on his father's 37th birthday, August20, 1910.They immigrated to the United States of America in 1923, when Eero was thirteen.He grew up inBloomfield Hills, Michigan, where his father was a teacher at theCranbrook Academy of Artand he took courses in sculpture and furniture design there.

Bloomfield Hills, Cranbrook Academy Michigan of Art

Beginning in September 1929, he studied sculpture at theAcademi de la Grande Chaumierein Paris, France.He then went on to study at theYale School of Architecture, completing his studies in 1934.

He became anaturalized citizenof the United States in 1940. Saarinen was recruited byDonal McLaughlin, an architectural school friend from his Yale days, to join the military service in theOffice of Strategic Services(OSS). Saarinen was assigned to draw illustrations for bomb disassembly manuals and to provide designs for theSituation Room in the White House.Saarinen worked full-time for the OSS until 1944.After his father's death in 1950, Saarinen founded his own architect's office, "Eero Saarinen and Associates".

PERSONAL LIFE :

Saarinen had two children, Eric and Susan, from his marriage to sculptorLilian Swann Saarinen, whom he married in 1939. Following their divorce in 1953, he marriedAline Bernstein Louchheim(March 25, 1914 July 13, 1972), an art critic atThe New York Times, in 1954. They had a son, Eames.

REPUTATION:Eero Saarinen was elected aFellowof theAmerican Institute of Architectsin 1952. He is also a winner of theAIA Gold Medal in 1962.Saarinen is now considered one of the masters of American 20th-century architecture.There has been a surge of interest in Saarinen's work in recent years, including a major exhibition and several books because Saarinen's work can be said to fit in with present-day concerns. He was criticized in his own timefor having no identifiable style;Saarinen adapted hisneofuturisticvision to each individual client and project, which were never exactly the same.

DEATH:Saarinen died in Ann Arbor, MI while overseeing the completion of a new music building for theUniversity of Michigan School of Music, Theatre & Dance. He died while undergoing an operation for a brain tumor at the age of 51. His wife Aline, coincidentally, would die of the same ailment.His partners,Kevin Roche andJohn Dinkeloo, completed his 10 remaining projects, including the St. Louis Arch.

DESIGN PHILOSOPHY AND STYLESEero learned to appreciate the symbiotic relationship between individuals and communities and came to know that interests of both must be carefully considered in design process.He developed a remarkable range which depended on colour, form and material.He showed a marked dependence on innovative structures and sculptural forms but not at the cost of pragmatic considerations.He utilize a vocabulary of curves and cantilever forms.

INTERNATIONAL STYLES- Unornamented style that emphasized geometric shapes viewing it as architecture for the modern age, utilizing new construction techniques and materials. Flat roof, asymmetrical and with bands of window set into a rectangular form.

DESIGN PHILOSOPHY AND STYLESCLASSICAL ECLECTICISM- Classical eclecticism rejected irregularity and seeks to restore, unity and restraint to architecture and interiors.Its four main styles emulate past examples and display monumental planning while using contemporary materials: Beaux Arts: Symmetry, rustication, smooth upper storeys, Advancing and receding planes, columns, dramatic skylines.

(b)Neo renaissance: Large in scale, rectangular block forms, rusticated lower stories, arched openings, quoning, flat or low pitched roofs.(c)Chateauesque: Vertical and picturesque, asymmetry, smooth stone walls, Pointed arch openings, pinnacles.(d)Neoclassical revival: Rusticated basements, flat roof, symmetry, greek order, columns and pilasters, limited ornament.

Works of Ar.Eero Sarrienen

GATEWAY ARCH Building in St. Louis, Missouri

Location :100 Washington Avenue, St. Louis, Missouri, United StatesConstruction : February12, 1963; 52 years started ago Completed : October28, 1965; 49 years ago.Inaugurated : May25, 1968; 47 years agoHeight : 630 feet Architectural style:Structural expressionismAdded to NRHP : May 28, 1987 Added to NHL :May 28, 1987

INTRODUCTION:TheGateway Archis a 630-foot (192m)monumentinSt. Louisin the U.S. state ofMissouri. Clad in stainless steel and built in the form of an inverted, weighted catenaryarch,it is the world's tallestarch,the tallest monument in theWestern Hemisphere, andMissouri's tallest accessible building.It is the centerpiece of theJefferson National Expansion Memorialand has become an internationally famous symbol of St. Louis.The arch sits at the site of St. Louis' founding on the west bank of theMississippi River.The Gateway Arch was designed in $13 million(equivalent to $180million in 2013). The monument opened to the public on June 10, 1967.

BACKGROUND:Inception and early funding (19331935):Around late 1933, civic leaderLuther Ely Smith, returning to St. Louis from theGeorge Rogers Clark National Historical ParkinVincennes, Indiana, saw the St. Louis riverfront area and envisioned that building a memorial there would both revive the riverfront and stimulate the economy.He communicated his idea to mayorBernard Dickmann, who on December 15, 1933, raised it in a meeting with city leaders. They sanctioned the proposal, and the nonprofit Jefferson National Expansion Memorial Association (JNEMApronounced "Jenny May")was formed. Smith was appointed chairman and Dickmann vice chairman. The association's goal was to create:

A suitable and permanent public memorial to the men who made possible the western territorial expansion of the United States, and thereby to bring before the public of this and future generations the history of our development and induce familiarity with the patriotic accomplishments of these great builders of our country.The association expected that $30 million would be needed to undertake the construction of such a monument.The suggestion to renew the riverfront was not original, as previous projects were attempted but lacked popularity. The Jefferson memorial idea emerged amid the economic disarray of theGreat Depressionand promised new jobs.The project was expected to create 5,000 jobs for three to four years.Meanwhile, in December, the JNEMA discussed organizing an architectural competition to determine the design of the monument. Local architect Louis Le Beaume had drawn up competition guidelines by January 1935.On April 13, 1935, the commission certified JNEMA's project proposals, including memorial perimeters, the "historical significance" of the memorial, the competition, and the $30 million budget

Design competition (19451948)The steel monument one sees todaycarbon steel on the interior, stainless steel on the exterior, and concrete in-filling, with an equilateral-triangle-shaped section that tapers from 54 to 17 feet at the top, and the concept of a skin that is also structureis in essence [Saarinen's] competition design.Eero Saarinen: Shaping the Future, 2006In November 1944, Smith discussed withNewton Drury, theNational Park Service Director, the design of the memorial, "one central feature: a single shaft, a building, an arch, or something else that would symbolize American culture and civilization.They planned to award cash for the best design.Saarinen's team included himself as designer, J. Henderson Barr as associate designer, andDan Kileyas landscape architect, as well asLily Swann Saarinenas sculptor and Alexander Girardas painter. In the first stage of the competition,Carl Millesadvised Saarinen to change the bases of each leg to triangles instead of squares. Saarinen said that he "worked at first with mathematical shapes, but finally adjusted it according to the eye." At submission, Saarinen's plans laid out the arch at 509 feet (155m) tall and 592 feet (180m) wide from center to center of the triangle bases.

Saarinen changed the height of the arch from 580 feet to 630 feet (190m).He wanted the landscape surrounding the arch to "be so densely covered with trees that it will be a forest-like park, a green retreat from the tension of the downtown city.The placement of the five sets of railroad tracks into a shortened tunnel 100 feet west of the trestle, with the tracks being lowered sixteen feet. This did not mean that the memorial would be cut off from the river, however, for Saarinen provided a 960-foot-long (290m) tunnel to be placed over the railroad where a "grand staircase" rose from the levee to the Arch. At the north and south ends of the park, 150-foot tunnels spanned the tracks, and led to the overlook museum, restaurant, and stairways down to the levee. Saarinen designed a subterranean visitor center the length of the distance between the legs, to include two theaters and an entrance by inward-sloping ramps.On March 10, 1959, mayorRaymond Tucker proposed that they drop "the tunnel idea in favor of open cuts roofed with concrete slabs.

Zoning, start of railroad move, and appropriation (19591968)

In April 1959, real estate developer Lewis Kitchen decided to construct two 40-level edifices across from the arch. In July, after the plan was condemned for its potential obstruction of the arch, Kitchen discussed the issue with officials. A decision was delayed for several months because Saarinen had yet to designate the arch's height, projected between 590 and 630 feet (180 and 190m). By October, Mayor Tucker and Director Wirth resolved to restrict the height of buildings opposite the arch to 275 feet (84m) (about 27 levels), and the city stated that plans for buildings opposite the arch would require its endorsement. Kitchen then decreased the height of his buildings, while Saarinen increased that of the arch.Moving the railroad tracks was the first stage of the project. On May 6, 1959, after an official conference, the Public Service Commission called for ventilation to accompany the tunnel's construction, which entailed "placing 3,000 feet of dual tracks into a tunnel 105 feet west of the elevated railroad, along with filling, grading, and trestle work.

ConstructionThe bidding date, originally December 20, 1961, was postponed to January 22, 1962, to clarify the details of the arch construction.In 1959,ground was broken,and in 1961, the foundation of the structure was laid.Construction of the arch itself began on February 12, 1963, as the first steel triangle on the south leg was eased into place. These steel triangles, which narrowed as they spiraled to the top, were raised into place by a group of cranes andderricks. The arch was assembled of 142-foot-long (3.7m)prefabricated stainless steel sections. Once in place, each section had its double-walled skin filled with concrete,prestressedwith 252tension bars.In order to keep the partially completed legs steady, a scissorstrusswas placed between them at 530 feet (160m), later removed as the derricks were taken down.The whole endeavor was expected to be completed by fall 1964, in observance of St. Louis' bicentennial.Contractor MacDonald Construction Co. arranged a 30-foot (9.1m) tower for spectatorsand provided recorded accounts of the undertaking. In 1963, a million people went to observe the progress, and by 1964, local radio stations began to broadcast when large slabs of steel were to be raised into place.The project manager of MacDonald Construction Co., Stan Wolf, said that a 62-story building was easier to build than the arch: "In a building, everything is straight up, one thing on top of another. In this arch, everything is curved."

* PresidentLyndon B. Johnsonand MayorAlfonso J. Cervantesdecided on a date for the topping out ceremony , but the arch had not been completed by then. The ceremony date was reset to October 17, 1965, and workers strained to meet the deadline, taking double shifts, but by October 17, the arch was still not complete.

* On October 28, the arch was topped out.

*A Catholic priest and a rabbi prayed over the keystone,a 10-short-ton (9.1t), eight-foot-long (2.4m) triangular section.

* Thermal expansion had constricted the 8.5-foot (2.6m) gap at the topby 5 inches (13cm).To mitigate this, workers used fire hoses to spray water on the surface of the south leg to cool it downand make it contract.The keystone was inserted in 13minutes,only 6 inches (15cm) remained. For the next section, ahydraulic jack had to pry apart the legs six feet (1.8m). The last section was left only 2.5 feet (0.76m).By 12:00p.m., the keystone was secured. Some filmmakers, in hope that the two legs would not meet, had chronicled every phase of construction. The arch's visitor center opened on June 10, 1967, and the tram began operating on July 24.

LIGHTINGIn July 1998, funding for an arch lighting system at night was approved by St. Louis' Gateway Foundation.In January 1999,MSNBCarranged a temporary lighting system for the arch so the monument could be used as the background for a visit byPope John Paul II.Since November 2001, the arch has been bathed in white light between 10 p.m. and 1 a.m. via a system of floodlights.Designed by Randy Burkett, it comprises 44 lighting fixtures situated in four pits just below ground level.Visitor centerThe 70,000-square-foot (6,500m2) center is located directly below the arch,between its legs. Although construction on the visitor center began at the same time as construction for the arch itself. Access to the visitor center is provided through ramps adjacent to each leg of the arch.The center houses offices,mechanical rooms, and waiting areas for the arch trams, as well as its main attractions: theMuseum of Westward Expansionand two theaters displaying films about the arch.

Observation area

Near the top of the Arch, passengers exit the tram compartment and climb a slight grade to enter the observation area. This arched deck, 65 feet (20m) long and 7 feet (2.1m) wide,can hold about 160 people, four trams' worth.Sixteen windows per side, each measuring 7 by 27 inches (180mm 690mm), offer views up to 30 miles (48km).to the east across theMississippi Riverand southernIllinoiswith its prominentMississippian culturemounds atCahokia Mounds, and to the west over the city of St. LouisandSt. Louis Countybeyond.Modes of ascension:There are three modes of transportation up the arch: two sets of 1,076-step emergency stairs (one in each leg),a 12-passenger elevator to the 372-foot (113m) height,and a tram in each leg.Each tram is a chain of eight cylindrical, five-seat compartmentswith a small window on the doors.As each tram has a capacity of 40 passengers and there are two trams, 80 passengers can be transported at one time, with trams departing from the ground every 10 minutes.The cars swing likeFerris-wheelcars as they ascend and descend the arch.This fashion of movement gave rise to the idea of the tram as "half-Ferris wheel and half-elevator."The trip to the top takes four minutes,and the trip down takes three minutes.

Awards and recognitions

In 1966, the arch was given a Special Award for Excellence from theAmerican Institute of Steel Constructionfor being "an outstanding achievement in technology and aesthetics."On February 9, 1967, the arch received theOutstanding Civil Engineering Achievement Awardof 1967 from theAmerican Society of Civil Engineers. The arch was once amongTravel + Leisure's unofficial rankings for the most-visited attraction in the world, afterLenin's Tomb,Disney World,Disneyland, and theEiffel Tower.On February 22, 1990,the arch received theAmerican Institute of Architects' (AIA) Twenty-Five Year Awardfor its "enduring significance that has withstood the test of time." It was declared "a symbolic bridge between East and West, past and future, engineering and art" that "embodies the boundless optimism of a growing nation."In 2007, the arch was ranked fourteenth on the AIA's "America's Favorite Architecture" list. MaintenanceRepair damage from vandalism. The arch was first targeted bygraffiti artistson March 5, 1969.In 2010, signs of corrosion were reported at the upper regions of the stainless steel surface. Carbon steel in the north leg has been rusting, possibly a result of water accumulation, a side effect of leakywelds in an environment that often causes rain inside. Maintenance workers use mopsand a temporary setup of water containers to ease the problem.According to NPS documents, the corrosion and rust pose no safety concerns.

NORTH CHRISTIAN CHURCH COLUMBUS,INDIANA

Location : 850 Tipton LN, Columbus, IndianaArchitectural Style: Modern Modernism in architecture Landscape architectureAdded to NRHP :16 May 2000Added to NHL :16 May 2000

INTRODUCTIONTheNorth Christian Churchis a church inColumbus,Indiana. Founded in 1955, The church building of 1964 was designed by Finnish-American architectEero Saarinen(19101961) and completed in 1964. Saarinen's fatherEliel Saarinenhad designed theFirst Christian Churchin Columbus.The building ishexagonalin shape, with a central metalspirewhich is 192 feet (59m) high.Below the spire, there is anoculusthat 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.HistoryIn 1955, 43 members of theFirst Christian Church, designed byEliel Saarinen, decided to found a new church affiliated with theDisciples of Christ. After some time of worshiping in each others homes, in 1956 they purchased 5 acres of land with the help ofIrwin Miller. Although Miller wanted to hire Eero Saarinen to design the new church,

Symbolism in design

PRELIMINARY SKETCH FINAL SKETCH

Saarinen believed that modern churches had lost the monumentality of traditional cathedrals because expansions with Sunday schools, gymnasiums, and kitchens took away from the significance of the church itself. He desired to design a building that returned to the model of a traditional church, while still using Modern architecture that served the needs of the congregation.His compromise was to move the school, meeting rooms, auditorium, and kitchen to a hidden basement, so that the only visible part of the church above ground was the sanctuary. Space for the basement was literally carved out of the earth in a hexagonal shape, reflecting the sanctuary above it. This emphasized the importance of the church itself and isolated the sanctuary as the most important part of the building.He wanted to interact the visitor with the architecture and work to reach the sanctuary. He thought that building an entire church on one level made religion too easy, and took away from the spiritual experience of going to church. Therefore, he chose to elevate the sanctuary of the church to people had to climb up a set of stair to reach it. This way the church also stood out from its residential neighborhood

CONSTRUCTION

Sanctuary

The act of entering a church was important to Saarinen so the environment changes to reflect the change of attitude one has when entering a sacred space. The grey slate floors, dark mahoganypews, and eerie natural lighting instill a sense of awe in the visitor. The primary light source into the sanctuary is theoculusat the base of the spire, directly above theCommuniontable. This focus of light draws attention to the center of the room, where the Communion takes place.The room was designed as a space where people can gather in unity and harmony in an enclosed spiritual world. The Communion table, consisting of twelve pedestals symbolic of the twelve disciples, is placed on a tiered platform. The highest pedestal at the end of the table represents Christ, and hold a silver chalice and loaf of bread for the service. It is the central focus of the sanctuary.

The pulpit, choir loft, and aHoltkamporgan is situated opposite the main entrance into the sanctuary. The organ is the last of its kind designed by Walter Holtkamp Sr.

Spire

Saarinen designed the long, angular, symmetrical sanctuary and the 192-foot tallspirein one single stroke:On this site, with this kind of central plan, I think I would like to make the church really all one form: all the tower. There would be the gradual building up of the sheltering, hovering planes becoming the spire. The spire would not be put on a box or come up from the sides of the roof. The whole thing, all the planes, would grow up organically into the spire.

From the outside of the building, the spire symbolized reaching upwards to God; on the inside, it created an enclosed soaring space for the congregation. The church was intended to remove man from the earthly world, so instead of being anchored to the ground with solid rectangles, Saarinen used pointed angular forms that hover and point to the heavens. At the top of the spire is a 5' 30" gold leaf cross, symbolizing Christs sacrifice.

Baptistery

The baptistery is a small space, decorated with asunburst design, symbolizing theHoly Trinity.It is separate from the main sanctuary, designed to give the ceremony more dignity. The separation between the baptistery and sanctuary also recalls the tradition of the Early Christian church, when only those who were baptized could attend Communion.

InfluenceThe North Christian Church was one of the most copied buildings from the mid-twentieth century. Although it did not generate much interest during Saarinens life, the decades that followed produced copies of the building all across the America.It was the last building Saarinen designed before his death, and he thought it was one of his greatest achievements:When I face St. Peter I am able to say that out of the buildings I did during my lifetime, one of the best was this little church, because it has in it a real spirit that speaks forth to all Christians as a witness to their faith.

North

Christian Church

EERO SAARINENS HOUSE AND GARDENWelcome to Saarinen House, the restored home of Finnish-American designers Eliel and Loja Saarinen. Saarinen House exemplies Eliel Saarinens belief that every aspect of design should work in harmony from the plan of a city to the architecture of a house and its smallest detailseven the silverware pattern. By combining ideas from the Arts and Crafts Movement with more modern Art Deco elements, and through careful use of related colors and repeated geometric shapes, the Saarinens designed their house to be a total work of art.

Saarinen House and its Restoration

Saarinen began designing his house at Cranbrook in 1928, and he and Loja moved into their completed home in fall 1930. It was built concurrently with the adjoining house where sculptor Carl Milles lived, and the cost to build both was $140,000considerably more than the typical cost of $6,250 for a Detroit-area four-bedroom house of brick and stone. The Saarinens son Eero, however, had a designated bedroom where he stayed when on break from studying at Yale University (1931- 1934; B.F.A., 1934). Eeros bedroom became a guest room when he married in 1939. After Eliel died in 1950 and Loja moved out in 1951, subsequent presidents of Cranbrook Academy of Art lived in the house and made many changes. Finally, in 1977, Roy Slade became President of the Academy and initiated a process of restoration. The full restoration took place between 1988 and 1994, under the direction of Art Museum Curator and current Director Gregory Wittkopp, and returned the house to its appearance in the mid-1930s after the Saarinens had added the nishing touches.

Saarinen House Exterior Architecture and Landscaping [ 1 ] Each building on Academy Way, including Saarinen House, has different, unique patterns in its brick- work, doors and windows. [ 2 ] On the south side of the house, a covered walkway connecting Eliel Saarinens architecture studio to those of the Academy physically embodies his idea that Academy students and faculty should live and work in close proximity with each other. [ 3 ] The paved courtyard served as an outdoor room where the Saarinens entertained guests. French doors leading to the studio and dining room minimize the distinction between indoor and outdoor spaces. [ 4 ] The statue in the center of the courtyard is Kivis Muse, by Finnish sculptor Wino Aaltonen (1894-1966). Aleksis Kivi (1834-1872) was Finlands most prominent poet, with a status equivalent to Shakespeare. [ 5 ] Ivy softens the walls and gives them texture and color, much as the wall hangings do inside the house.

The Living Room and Book Room The living room and book room combine elements of Art Deco design with ideas drawn from the Arts and Crafts Movement and ultimately from the Saarinens Finnish heritage. Despite these varied sources, the Saarinens use of related colors and geometric motifs unies the design. The spacious proportions and formal layout of the living room are well suited to its use as a reception hall where the Saarinens hosted parties. [ 6 ] The book room is a smaller, cozier space where the Saarinens and perhaps a guest or two could enjoy the late afternoon sun during their daily coffee break. [ 7 ] All of the wooden furniture in these two spaces was handcrafted at Cranbrook by Swedish cabinetmaker Tor Berglund using Eliels designs, except for the globe stand (designed by the Saarinens son-in-law J. Robert F. Swanson). Such ne craftsmanship was an ideal of the Arts and Crafts Movement, but the exotic woods are characteristic of Art Deco and include greenheart, African walnut, rosewood and ebony.

[ 8 ] The rugs pattern and colors echo the exterior brickwork, the chair upholstery, and the rows of books in the book room. It forms an axis leading the eye toward the replace and wall hanging, but intentionally is slightly off center, making it seem less static. Like most of the other textiles in the room, it was designed by Loja Saarinen and woven at Studio Loja Saarinen. [ 9 ] The sofa is based on a Finnish tradition in which rugs were draped onto the oor so they could be folded up over the sitters feet and lap for warmth. Here, however, the rug is decorative rather than functional.

The Dining Room Eliel Saarinen took into account every aspect of the dining room design, choosing rich, warm colors and repeating squares, octagons and circles to unify the design. The dining room was the perfect space for the elegant luncheons, teas and dinner parties the Saarinens frequently hosted. [ 10 ] The room is actually square, but is made octagonal by the four corner niches. These complement the room with dramatic bursts of a color that the Saarinens called Chinese red. [ 11 ] The rug is square with a pattern of concentric octagons that resembles snowdrifts on the octagonal courtyard pavement. [ 12 ] The table has an octagonal base but a circular top to lead the eye upward to the circular light and nally to the gold-leaf-covered dome . Because the tables shape was important to the design of the room, Eliel designed four arch-shaped extension leaves for the perimeter that allow the table to remain circular when expanded, unlike most round tables.

[ 13 ] The wall hanging, designed and woven by Finnish artist Greta Skogster (1900- 1994), depicts birds in a tree, as if to mirror the view through the French doors opposite to the trees beyond the courtyard. [ 14 ] French doors make for a seamless transition between indoor and outdoor spaces for entertaining. The dining room is aligned on an axis with the courtyard, but also with the living room. [ 15 ] Beyond the swinging door is the butlers pantry containing some of the Saarinens china and their Frigidaire, proudly made visible to guests when the door swung open. Modern materials were used in the pantry, including Monel metal for the countertops and battleship linoleum for the oors.

The StudioThe studio has three parts: the alcove off the living room, which Loja Saarinen dubbed the Cozy Corner; the main area where the Saarinens worked and entertained; and Eliels ofce at the back. Both Loja and Eliel spent much of their time in the studio; all of its spaces thus evoke their professional lives. [ 16 ] The Cozy Corner offered a comfortable space where the Saarinens entertained guests ranging from their grandchildren to Cranbrook Academy of Art students and faculty to architects such as Frank Lloyd Wright, Le Corbusier, and Alvar Aalto. [ 17 ] Originally a piano was located where there is now the small portable bar buffet, designed by son-in-law J. Robert F. Swanson, from which the Saarinens often served martinis late in the day. [ 18 ] The studio is restored in the way that the Saarinens had it photographed; however, for daily use, the rug was stored away and there were three drafting tables at which Eliel could design architecture and Loja, textiles. When the Saarinens hosted parties, the drafting tables were removed, creating an impressive reception space that included tubular metal chairs designed by Eero Saarinen for the auditorium of the Kingswood School for girls. [ 19 ] This rug, made in Finland in the eighteenth century, is called a ryijy (RYE-a) for the way it is hand-knotted and woven. It is one of several historical ryijy rugs the Saarinens collected. Most of the rugs that Loja designed, including the ones in the studio, were made using the same ancient technique. [ 20 ] Originally the walls displayed Eliels presentation drawings of buildings he had designed in Finland. The restoration instead includes reproductions of his Cranbrook designs.

The Upperstairways HallThe second oor of the house includes the master bedroom and bathroom along with four additional rooms and a guest bathroom at the end of the hallway. Next to the master bedroom is the room that Eero stayed in when on break from college and before he married in 1939. The other rooms that are not included in the current restoration were used as a guest bedroom, a sewing room, and the housekeepers bedroom, which was accessed by stairs from the kitchen rather than from the hallway. [ 21 ] In this alcove Eliel and Loja ate breakfast, brought to them every morning at 7:30 a.m. by the housekeeper. [ 22 ] All of the doors originally displayed designs by Pipsan Saarinen Swanson. Restorers were unable to determine the exact motifs, so they used ones that Pipsan designed for the Kingswood School for girls, which her father Eliel designed around the same time as this house

The Master Bedroom and Master Bathroom For their bedroom, the Saarinens gave their twenty-year- old son, Eero, one of his rst commissions, allowing him to design the beds, nightstand and table, and the dressing table bench, lamps and mirror. In these pieces, his talent and distinctive style are already evident and foreshadow his success as an architect and furniture designer. [ 23 ] With these lamps and mirror, Eero transforms his mother Lojas dressing table into an altar to glamour and elegance. They reveal Eeros under- standing of the use of indirect lighting, which Eliel skillfully employed elsewhere in Saarinen House. Scaled for the tabletop, the torchres reect light onto the ceiling, subtly illuminating the sitters face.The master bathroom, designed by Eliel Saarinen, is a stunning example of the 1930s-era belief that modernity equaled clean, in two senses of the word: hygienic and sanitary as well as visually sleek and free of clutter. [ 24 ] The bathrooms layout is perfectly symmetrical and detailed with squares and rectangles. [ 25 ] Surfaces are lined with smooth, easy-to-clean tiles in neutral shades of off-white and gun- metal gray. [ 26 ] The sinks are faucetless, which gives them a streamlined appearance. Water comes from an opening near the top of each basin. The counter- tops are Vitrolite, an opaque glass used as cladding for buildings.

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