saarinen gets his due in a fascinating exhibit at the museum of the city of new york, “eero saarinen: shaping the future,” that explores his impact on the 1950s and ’60s. louis was a prelude to his future designs for corporate offices, embassies, and airports, veering away from his father’s sensibility and embodying instead the triumphal spirit and swaggering power of postwar america. His scheme for the epic steel arch in st. but the cable was a mistake: eero had submitted his own idea-he was the winner, not his father. Two years before eliel’s death in 1950, eero had rushed to pop a champagne cork and toast his papa after a telegram arrived congratulating saarinen on his winning design for a memorial to commemorate the louisiana purchase in st. but does anyone remember that he designed the beautifully soaring dulles airport? or cbs’s “black rock” headquarters? saarinen might find it oddly familiar that his chairs have eclipsed his architectural achievements: early in his career, he’d struggled against the long shadow cast by his father, eliel, the revered finnish architect who’d founded their bloomfield hills firm, just outside detroit. His “womb” chairs and pedestal tables (designed, he said, to “clear up the slum of legs” in the american home) are still big sellers for knoll. Today, except for a few projects like the moribund twa terminal at jfk, eero saarinen is better known for his furniture than his buildings. This post was originally written on 10 november 2009 / we’ve updated the photo gallery
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