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2010 | Buch

Letter from the Editor Kapitel lesen Erstes Kapitel lesen

Recalling Eero Saarinen 1910–2010

herausgegeben von: Kim Williams, J. M. Rees

Verlag: Birkhäuser Basel

Buchreihe : Nexus Network Journal

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Inhaltsverzeichnis

Frontmatter

Letter from the Editor

Letter from the Editor
Kim Williams, J. M. Rees

Recalling Eero Saarinen 1910–2010

How the Gateway Arch Got its Shape
Abstract
Robert Osserman examines Eero Saarinen’s Gateway Arch in St. Louis in order to shed light on what its exact shape is, why it is that shape, and whether the various decisions made during its design were based on aesthetic or structural considerations. Research included discussions with engineers and architects who worked with Saarinen on the project. The paper concludes by noting some questions that are still unanswered.
Robert Osserman
Saarinen’s Shell Game: Tensions, Structures, and Sounds at MIT
Abstract
For all of the criticism of Eero Saarinen’s Kresge Auditorium and MIT Chapel, they exist as a highly focused moment of deliberate experimentation with geometric form in materials old and new which both contrasted the typical forms of rational modernism and resonated deeply with the modernist quest for the incorporation of novel structures. This paper explores the metaphorical and literal tensions through three dichotomies: geometrical ones with implications for acoustics, programmatic ones with implications for use, and structural ones between the appearances and actual structural actions of the architecture. I seek to illuminate how the geometric issues of both buildings relate to structural optimization. I also approach the Auditorium and Chapel from the roles of having been a performer and composer of instrumental and vocal music for both spaces while earning degrees at MIT in architecture. The simple act of listening defies one’s typical expectations in both spaces, and the dichotomies of geometry, use, and structure illuminate the relationship of sound to place in these architectural spaces.
David M Foxe
The Next Largest Thing: The Spatial Dimensions of Liturgy in Eliel and Eero Saarinen’s Christ Church Lutheran, Minneapolis
Abstract
Christ Church Lutheran in Minneapolis, Minnesota, was designed by Eliel Saarinen, then 75, and added to by his son Eero Saarinen 10 years later. Deeply loved by its community, it also serves as a touching example of the relationship between the father and the son. This present examination looks at the building on various scales, underscoring the finesse and material elegance of the building complex, the spatial genius and expertise of Eliel Saarinen, and the deferential addition by Eero.
Ozayr Saloojee
Morphocontinuity in the work of Eero Saarinen
Abstract
Continuity as the mathematical tool in the creation of architectural forms is known as morphocontinuity. In the present work, we explain how morphocontinuity appears on the work of Eero Saarinen and discuss its correspondence with its environmental (physical, social and cultural) contexts.
Luisa Consiglieri, Victor Consiglieri
Eero Saarinen, Eduardo Catalano and the Influence of Matthew Nowicki: A Challenge to Form and Function
Abstract
Matthew Nowicki befriended Eero Saarinen at the Cranbrook Academy and was succeeded as Chair of the School of Design at North Carolina College of Design by Eduardo Catalano. Nowicki’s influence is evident in subsequent work of these two architects. Themes of function, structure and humanism resonated differently in each. All three of these interconnected individuals were engaged in the same intellectual milieu, each manifesting his own architecture in a unique yet contextual way. Taken as a whole, their endeavors stand as evidence of the shifting understanding of what modern architecture was about.
Tyler Sprague
Eero Saarinen’s North Christian Church in Columbus, Indiana
Abstract
Eero Saarinen’s North Christian Church, an important contribution to post-war liturgical church architecture, serves a community of Disciples of Christ in Columbus, Indiana. Early design sketches illustrate elementary geometric shapes and symbols — triangle, square, cross, hexagon, and octagon — whose proportions appear in the plan and section of the completed structure.
Rachel Fletcher

Other Research

On the Modular Design of Mughal Riverfront Funerary Gardens
Abstract
The modular designs of two significant funerary gardens of the Mughal period, the Humayun’s tomb and Taj Mahal complexes, have been analyzed. The inherent symmetry in the designs is made evident through an analysis of the dimensions in terms of units mentioned in the Arthasastra, in particular the dhanus (D) measuring 108 angulams and vitasti (V) measuring 12 angulams, with each angulam taken as 1.763 cm. The low percentage of errors between predicted and actual dimensions has confirmed, for the first time, that the modular designs of these Mughal funerary gardens were based on Arthasastra units. A novel mathematical canon to analyze the dimensions of Mughal architecture has been set forth.
R. Balasubramaniam
Discontinuous Double-shell Domes through Islamic eras in the Middle East and Central Asia: History, Morphology, Typologies, Geometry, and Construction
Abstract
This paper presents a developed geometric approach for deriving the typologies and geometries of discontinuous double-shell domes in Islamic architecture. Common geometric attributes are created using a corpus of twenty one domes that were built in the Middle East and Central Asia, beginning from the early through to the late Islamic periods. An outline of the origin and development of the discontinuous double-shell domes and their morphological features are addressed. Using the al-Kashi geometrical essences, a four-centered profile as an initial shape is constructed based on new geometric parameters to deduce the geometric commonalities of the two aspects of formal language (typologies and geometries) of such domes. Common geometric prototypes for typical profiles shared by the study cases are generated and formulated according to a proposed system. The theoretical frame work for the formal language of discontinuous double-shell dome architecture is structured to indicate a moderate development of this sort of Islamic domes and highlight the specific geometric relationship between the Islamic domical configurations and practical mathematic rules for many decades. It can also be established a basic approach for considering the geometric compositional designs and the typological derivations of the other eastern domes.
Maryam Ashkan, Yahaya Ahmad
At the Other End of the Sun’s Path: A New Interpretation of Machu Picchu
Abstract
The Inca citadel of Machu Picchu is usually interpreted as a “royal estate” of the Inca ruler Pachacuti. This idea is challenged here by a critical reappraisal of existing sources and a re-analysis of existing evidence. It is shown that such evidence actually point at a quite different interpretation suggested, on one hand, by several clues coming from the urban layout (the interior arrangement of the town, the ancient access ways, the position with respect to the landscape and the cycles of the celestial bodies in Inca times), and, on the other hand, by a comparison with known information about the Inca pilgrimage center on the Island of the Sun of Lake Titicaca. Altogether, these clues lead us to propose that Machu Picchu was intentionally planned and built as a pilgrimage center connected with the Inca “cosmovision”.
Giulio Magli
The Body, the Temple and the Newtonian Man Conundrum
Abstract
From his early days at the University of Cambridge until his death, Isaac Newton had a long running interest in the Temple of Solomon, a topic which appeared in his works on prophecy, chronology and metrology. At the same time that Newton was working on the Principia, he reconstructed the Temple and commented on the reconstructions of others. An important part of his investigations concerned the measurements of the Temple, which were harmonic and were built “exactly as the proportion of architecture demands.” Newton considered these proportions to be in accordance with Book III and IV of De Architectura. However, while insisting on exact architectural proportions, Newton moved away from the traditional proportions of the Vitruvian man; he derived a Newtonian man. This poses an interesting conundrum: Newton accepted the Temple’s architectural proportions as outlined in Vitruvius’s Book III, yet he rejected the human model Vitruvius used as the foundation of these proportions. At the same time Newton accepted the human frame as the basis of all ancient measurements and attempted to estimate the length of the sacred cubit based on the lengths of the parts for the body and the measurements set out by the ancient writers such a Vitruvius.
Tessa Morrison

Book Review

The Symbol at Your Door: Number and Geometry in Religious Architecture of the Greek and Latin Middle Ages
Nigel Hiscock

Conference Report

Architecture and Mathematics. A seminar to celebrate Professor emeritus Staale Sinding-Larsen’s 80th birthday
Kim Williams, J. M. Rees

Erratum

Erratum to: The Sunlight Effect of the Kukulcán Pyramid or The History of a Line
Erratum to: Nexus Network Journal 12 (2010) 113–130
Tomás García-Salgado
Backmatter
Metadaten
Titel
Recalling Eero Saarinen 1910–2010
herausgegeben von
Kim Williams
J. M. Rees
Copyright-Jahr
2010
Verlag
Birkhäuser Basel
Electronic ISBN
978-3-0346-0520-5
Print ISBN
978-3-0346-0519-9
DOI
https://doi.org/10.1007/978-3-0346-0520-5

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