The MIT Chapel is part of a pair of structures (the other being the Kresge Auditorium) clustered together on the university's campus that Saarinen designed along with all of the landscaping. Saarinen would employ similar design strategies for his subsequent corporate commissions, thus reinforcing this aesthetic of American postwar modernism.ġ950-55 Massachusetts Institute of Technology Chapel, Cambridge, USA On the exterior, this precision is mirrored by the crisp glass-and-steel boxes that use the same kinds of industrial materials needed for manufacturing cars. Saarinen took inspiration from the sleek precision of GM's vehicles, placing them literally at the center of the concept for the buildings' interiors, which include large foyers characterized by a minimalist geometric rigor that double as showroom for top-of-the-line new vehicles, whose acute angular and curvilinear forms of their fins, body shapes, and rooflines would have been accented in such spaces. The large expanses of water serve several purposes: not only do they beautify the landscape and provide breaks between the buildings, roadways, and open land, but they also practically serve as reservoirs to assist in the event of fire - something that GM was acutely aware of since the largest industrial fire in history occurred inone of its Michigan plants in 1953. The aerial view here shows how the Technical Center's various buildings are neatly arranged on a grid-like layout, in harmony with the employee parking lots, which indicate the triumph of American car culture in the economic boom of the postwar era. (This sense of order is reflected in the repetitive bays and modular layout of the interiors of individual buildings on the campus.) It likewise signals the vast resources and strength of American corporations as the USA emerged as one of the world's two superpowers during this decade. Quite astutely, Architectural Forum proclaimed it an 'Industrial Versailles' upon its completion in 1956, as the campus exudes the same sense of man's ability to order and partition the landscape to his will with modern technology, just as Versailles exuded the new mastery of landscape and natural space during the era of the Scientific Revolution in the late 1600s.

Unlike those two skyscrapers, the GM Technical Center consists of a sprawling horizontally-oriented 710-acre campus. Saarinen's keen grasp of history and culture helped him understand the context in which his buildings would be inserted, and the strong connections that they make with their surroundings points to why nearly all of his major buildings have survived nearly unchanged to the present day.ġ948-56 General Motors Technical Center, Warren, Michigan, USAĪlong with structures such as the Lever House and Seagram Building in New York, the General Motors Technical Center is one of the projects that best exemplifies the new identity of American corporate modernism in the 1950s.

Saarinen's buildings, including the Ingalls Ice Rink and CBS Building, tend to resonate with familiar themes within human experience, evoking relationships with structures and environments that may at first be unexpected, but harmonize well with their purposes upon further exploration.

Occasionally, as with his GM Technical Center, he could employ the International Style perfectly, but Saarinen is often called a 'second-generation' modernist for the way he moved beyond the rigid glass-box aesthetic pioneered by Ludwig Mies van der Rohe and Walter Gropius. Though ostensibly an architect of the International Style, whose mature period coincides with the heyday of the movement, Saarinen's genius lies in his focus on finding unique solutions for each individual commission.They also exploit the possibilities of modern materials - particularly concrete - and engineering know-how to the fullest extent. Louis Gateway Arch and TWA Terminal, often are very sculptural - a quality likely derived from both his mother's influence and his own brief training in sculpture - and structurally adventurous, defying our expectations of how they must stand up.

Eero saarinen designs