Word: eero
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Dates: during 1970-1979
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There are no fewer than 41 modern buildings, all designed by nationally and internationally famed architects. On Sundays, the citizens of Columbus worship in churches designed by Eero and Eliel Saarinen. They borrow books at a library built from the innovative plans of I.M. Pei and embellished with a bronze arch sculpted by Henry Moore. They shop in a glass-enclosed piazza designed by Cesar Pelli, and send their children to schools conceived by Architects Harry Weese, Eliot Noyes and John Warnecke. Along with the distinctive new structures, the spirit and pride of Columbus have risen as well. All over...
Miller had already set the example by hiring Eliel's architect son, Eero, a friend since they studied together at Yale in the 1930s, to build what would become one of the country's first banks with all-glass walls and an atrium-like interior. The town fathers soon followed Miller's cue, recruiting famous architects to design eleven stunning new schools, including an octagonal brick, glass and wood edifice by Chicago's Harry Weese. As the architectural contagion spread through Columbus, Saarinen fils wrought a hexagonal house of worship for the North Christian Church, which...
...trip was worth the effort. In this two-volume pictorial history readers will find old favorites (New England's shingled houses, the South's Greek Revival manors, the Southwest's adobe churches) as well as such modern masterpieces as Frank Lloyd Wright's Unity Temple, Eero Saarinen's Dulles Airport and Louis Kahn's Salk Institute...
...function. The architect, an almost unknown 38-year-old Dane named Jørn Utzon, had worked none of that out; he did not, as he later remarked, expect to win. Utzon's victory, it is believed, was largely due to one of the judges, the late Eero Saarinen, whose own fondness for shell construction had been embodied a year before in his design...
...does not hesitate to preach what he practices, irking conventional architects. "Handsome details and elegant proportions are meaningless," he says. "No one notices them; they fade into the canyon walls." He therefore deprecates Manhattan's architectural landmarks-Lud-wig Mies van der Rohe's Seagram building and Eero Saarinen's CBS building, for example-calling them "gigantic sculptures that do nothing for the city. Look at their plazas. Dead spaces!" Their tragic flaw, he insists, is that the architects designed the ground floor to relate to the building rather than to the street, where the activity...