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Over the past few years, however, there's been a Saarinen reappraisal. Set free by computer-aided design, contemporary architects like Santiago Calatrava, Frank Gehry and Zaha Hadid have moved quite a distance from Modernist orthodoxy. And a great deal of Saarinen's work, especially his adventures in fluid geometry, today looks as if it's the predecessor of theirs. It's easier now to regard his expressive buildings as a principled attempt to reconcile the Modernist drive to purify and clarify with the abiding human desire for something that strikes other, warmer and no less essential chords. (See pictures...
Yale, where Saarinen earned his degree in the 1930s, has been restoring the buildings he designed in the 1950s for its campus. Work on the David S. Ingalls Hockey Rink, designed in 1956, has just been completed. An obvious precursor to the arabesques of the TWA terminal, Ingalls represents Saarinen at his most voluptuous, with a roofline forming a gentle curve that swells in the middle, then dips and rises at both ends like the prow of a ship, or two prows. Yalies call it the Whale. Meanwhile, at Yale's Morse College, an undergraduate residential complex by Saarinen that...
...Museum of the City of New York before moving to Yale, its final stop, on Feb. 19. It tells you something about Saarinen's tricky place in the architectural canon that nearly half a century after his death, this is the first full career retrospective devoted entirely to his work...
...Saarinen they found a man who operated in their sweet spot. His work had the richness and lyricism that so many Modernist buildings lacked. At the same time, he had taste and intelligence. He wasn't about to give them the kind of thing suited to Vegas casinos and Miami Beach hotels. For the most part, the wow factor in his buildings was a matter of structure, not sparkle. Saarinen was enchanted by the drama of powerful forms. His mother was a sculptor, and he had studied sculpture before switching to architecture. The massive curve of the Gateway Arch...
...most memorable photo story was on actor James Dean, with whom he traveled across the country--at one point, Dean decided to pose in an open coffin at a funeral parlor--just months before Dean died in a car accident. Stock's greatest work was his 1960 book Jazz Street. When Dennis died, I found a long-forgotten dedication in my copy: "For John: There is so much in the future to be explored by us. So much to be contributed to our tired field." Amen, Dennis...