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Eero Saarinen (/ ˈ eɪ r oʊ ˈ s ɑːr ɪ n ə n, ˈ ɛər oʊ-/, Finnish: [ˈeːro ˈsɑːrinen]; August 20, 1910 – September 1, 1961) was a Finnish-American architect and industrial designer who created a wide array of innovative designs for buildings and monuments, including the General Motors Technical Center in Warren, Michigan; the passenger terminal at Dulles International Airport ...
With Eliel Saarinen and J. Robert F. Swanson. Des Moines Art Center: Des Moines: Iowa: 1944: 1948: With Eliel Saarinen and J. Robert F. Swanson. Listed on the National Register of Historic Places in 2004: Case Study House #9: Pacific Palisades: California: 1945: 1949: With Charles Eames. Saarinen also provided an original plan for House #8, but ...
This page was last edited on 9 November 2023, at 22:00 (UTC).; Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply.
The Tulip chair was designed by Eero Saarinen in 1955 and 1956 [1] for the Knoll company of New York City. [2] The designs were initially entitled the 'Pedestal Group' before Saarinen and Knoll settled on the more organic sounding 'Tulip chair' to mirror its inspiration from nature. [3]
The Miller House and Garden, also known as Miller House, is a mid-century modern home designed by Eero Saarinen and located in Columbus, Indiana, United States. [3] The residence, commissioned by American industrialist, philanthropist, and architecture patron J. Irwin Miller and his wife Xenia Simons Miller in 1953, is now owned by Newfields. [4]
An aluminum spire tops a simple textured brick cylinder, surrounded by a reflective moat Sunlight cascades from a skylight onto a white marble altar. The MIT Chapel (dedicated 1955, completed in 1956 [1]) is a non-denominational chapel designed by noted architect Eero Saarinen.
Lilian Louisa Swann Saarinen (April 17, 1912 – May 22, 1995) was an American sculptor, artist, and writer. She was the first wife of Finnish-American architect and industrial designer Eero Saarinen, with whom she sometimes collaborated.
Eero Saarinen's wife Aline recalled that her husband saw most other air terminals as being ugly, shoddy, and inconvenient. [6] [64] Saarinen wanted the new terminal to have a practical purpose and not only "interpret the sensation of flying", [65] [66] but also "express the drama and specialness and excitement of travel". [67]