![]() ![]() He designed everything from public buildings and universities to private residences, each project showcasing his unique approach to architecture. One of the earliest examples of his work, the Seventeenth Church of Christ, Scientist, showcased his ability to blend functionality with aesthetics, while respecting the religious context of the building.Īs the years passed, Weese gradually earned the respect of his peers and clients. His career began to gain momentum in the 1950s, as he designed several noteworthy buildings in Chicago. Despite this impressive educational background, Weese struggled to find his footing in the competitive world of architecture, but that didn’t stop him from garnering attention. His passion led him to study architecture at the Massachusetts Institute of Technology (MIT) and later at the Cranbrook Academy of Art, where he formed lifelong friendships with renowned architects Eero Saarinen, and Charles and Ray Eames. Even from a young age, he displayed a keen interest in architecture. Harry Weese was born in 1915 in Evanston, Illinois. But what about those talented visionaries who have been overshadowed, whose work is often overlooked in the annals of architectural history? Today we’ll take a look at one such figure, Harry Weese, a brilliant architect who made a significant impact on the world of design, yet never quite garnered the same level of recognition as his contemporaries. These masters of design have left an indelible mark on our cities and towns, and their legacies continue to inspire and influence generations of architects. ![]() Between 19 Dulles International Airport in Washington, DC, designed by Eero Saarinen before his death in 1961, was under construction.When we talk about the architectural giants of the Modern era, names like Frank Lloyd Wright and Ludwig Mies van der Rohe come to mind. In 1951 he designed the “Saarinen Collection” for Knoll, consisting of several office chairs, one of the first lines in designer office furniture.Įero Saarinen’s architectural masterpiece is the signature TWA-Terminal at J.F. The “Tulip chair” also belonged to this group, with which Eero Saarinen wanted to abolish the “miserable maze of legs”. The “Pedestal Group”, dating from 1955-56, is an Eero Saarinen collection of chairs and tables made of plastic and featuring only one central leg ending organically in a round disc on the floor. In 1947-48 Eero Saarinen designed the “Womb” collection, which was supposed, as the name suggests, to make those seated on it feel as secure and cozy as a fetus in the womb. For Knoll International, Eero Saarinen designed a great many pieces of furniutre, including the 1946-47 “Grasshopper” armchair with bent armrests of laminated wood. While Charles Eames continued to work on molded furniture in plywood, Eero Saarinen later chose other materials. ![]() In 1940 Saarinen and Eames took part in the “Organic design in Home Furnishings” competition mounted by the Museum of Modern Art in New York. Experimenting with Charles Eames, Eero Saarinen co-developed new furniture forms and the first designs for furniture of molded laminated wood. At Cranbrook Academy, Eero Saarinen met Charles Eames in the late 1930s. When his father died in 1950, Eero Saarinen took over his practice, running it as Saarinen & Associates in Birmingham until 196. Eero Saarinen also took up a teaching appointment at the Cranbrook Academy in Bloomfield Hills, Michigan, of which Eliel Saarinen had been head since the Academy was founded in 1932. ![]() A Yale scholarship enabled Eero Saarinen to travel to Europe again but he returned to the US in 1936 to work in his father’s architectural practice. In 1929-30 Eero Saarinen studied sculpture at the Académie de la Grande Chaumière before studying architecture at Yale in New Haven until 1934. The Finnish architect and designer Eero Saarinen, son of the architect Eliel Saarinen, was born in 1910. Moore Building, Architecture, Engineering & Construction, ©Regents of the University of Michigan ![]()
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