![]() ![]() Įliel Saarinen became a professor in the University of Michigan's Architecture Department. In addition to Cranbrook, the Dallas Museum and the St Louis Museum, The British Museum in London and the Metropolitan Museum of Art also hold tea urn-related Eliel Saarinen designs. In 1951–52, the tea urn was featured in the Eliel Saarinen Memorial Exhibition which traveled to multiple venues across the United States. ![]() Louis Modern (2015–16) at the St Louis Art Museum, Cranbrook Goes to the Movies: Films and Their Objects, 1925–1975 at the Cranbrook Art Museum (2014–15)., and in 2005–07, in the touring exhibition Modernism in American Silver: 20th-Century Design, organized by the Dallas Museum of Art, which also traveled to the Smithsonian Institution in Washington, DC. Over the years, the tea urn has been widely exhibited, including in St. 1934) was first exhibited in 1934–35 at the Metropolitan Museum of Art in New York. International Silver Company in Meriden, Connecticut. ĭuring 1929–34, Saarinen contributed product designs for the Wilcox Silver Plate Co. Among his student-collaborators were Ray Eames (then Ray Kaiser) and Charles Eames Saarinen influenced their subsequent furniture design. Saarinen taught there and became president of the Cranbrook Academy of Art in 1932. In 1925 George Gough Booth asked him to design the campus of Cranbrook Educational Community, intended to be an American equivalent to the Bauhaus. In 1924 he became a visiting professor at the University of Michigan. Saarinen first settled in Evanston, Illinois, where he worked on his scheme for the development of the Chicago lake front. While it was not built, the streamlined design inspired the architecture of many other skyscrapers. Move to the United States Įliel Saarinen moved to the United States in 1923 after his competition entry for the Tribune Tower in Chicago, Illinois, won second place. They had a daughter Eva-Lisa (Pipsan) on March 31, 1905, and a son Eero on August 20, 1910. Īfter the divorce from his first wife, Mathilde (who then married Herman Gesellius), on March 6, 1904, Saarinen married his second wife, Louise (Loja) Gesellius, a sculptor in Helsinki, and the younger sister of Herman Gesellius. He also designed a series of postage stamps issued 1917 and the Finnish markka banknotes introduced in 1922. From 1917 to 1918 Saarinen worked on the city-plan for greater Helsinki. He was runner up behind Walter Burley Griffin in an international competition to design the new Australian capital city of Canberra in 1912, but the following year he received the first place award in an international competition for his plan of Reval. ![]() In 1912, a brochure written by Saarinen about the planning problems of Budapest was published. In January 1911 he became a consultant in city planning for Tallinn, Governorate of Estonia and was invited to Budapest to advise in city development. įrom 1910 to 1915 he worked on the extensive city-planning project of Munksnäs-Haga and later published a book on the subject. ![]() Saarinen's early manner was later christened the Finnish National Romanticism and culminated in the Helsinki Central railway station (designed 1904, constructed 1910–14). His first major work with the firm, the Finnish pavilion at the Paris 1900 World Fair, exhibited an extraordinary convergence of stylistic influences: Finnish wooden architecture, the British Gothic Revival, and the Jugendstil. From 1896 to 1905 he worked as a partner with Herman Gesellius and Armas Lindgren at the firm Gesellius, Lindgren, Saarinen. Saarinen was educated in Helsinki at the Helsinki University of Technology. Armas Lindgren, Eliel Saarinen, Albertina Östman, and Herman Gesellius in the late 1890s ![]()
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