New York City (2014)

 All images, copyright 2014 by Nick Rossi

Irving Harper (2013)

George Nelson Clock reproduction by Verichron, 2013

Every so often it is good to have the rug pulled out from under you. The experience sharpens your senses, wakes you up, and makes you question the firm ground that all too often is taken for granted.

Online ad, Modernica, 2013

My Mid-20th Century Design Road to Damascus was a flight to Spain with a long layover in JFK. It was 1998, Trans World Airlines was still operating, and the fates conspired to leave me with a few hours on my hands in Terminal 5. Almost needless to say, I was floored by the building. My appreciation of modernism as a design aesthetic became a primary interest and the name Eero Saarinen was elevated to hero status in my estimation. Move forward 5 years and I am now sharing the flat where I currently live in San Francisco with the now Missus. We purchase a pair of pendant lamps for our living room spaces from a local favorite, Inside. Our choice? Modernica's reproduction of the Howard Miller cigar bubble lamps designed by George Nelson. So here was my first legitimate design purchase. An iconic item by a name designer. So all things being equal, Nelson's stature is elevated in my little black Moleskine.

Print ads, Howard Miller Clock Company, 1956

And it grows. And it grows. My wife buys me a Vitra-produced Nelson reproduction clock as a gift. I find an oversize jack for my bookshelf. Our flatware is replaced with a set of vintage Hall Leisure designed by the Nelson and Associates. George Nelson becomes a touchstone in my mind's eye as I become more and more engrossed in this aspect of living.

Debut of the Herman Miller logo, 1947, logo by Irving Harper for George Nelson Design

Perhaps the only thing worse than being late to the party is being late to the party as well as being oblivious. The latter is how I felt when I first read about Irving Harper a few weeks ago. Who is Irving Harper? Only the most significant Mid-Century Modernist that you have (perhaps likely) never heard of! As it turns out Harper was THE man at George Nelson and Associates responsible for everything from the iconic Herman Miller logo to the now legendary Howard Miller "Nelson" clocks which hang on the wall of nearly every discerning modernist worth their salt. And, yes, even those lamps hanging in my living room are now attributed to Harper. Sure, I knew that George often took credit for the work of this firm. Of course he did, that is the way it had been done for decades if not centuries with the name on the masthead usually taking credit for the entire output. What is astonishing is just how many of these iconic works sprung from Irving Harper's obviously fertile, creative mind. The wonderful coda to this story is that Harper is still alive and finally getting the attention and notoriety he so clearly deserves.

For further reading, I highly recommend this article as well as this one. 

The MIT Chapel (1955)

The MIT Chapel, design by Eero Saarinen 1953-1956, photo by editor 2013

When one speaks of mid-century modern, I suppose one could not get any more mid than the year 1950. And it was in that year that the Massachusetts Institute of Technology (MIT), engaged Finnish-Amerian architect and industrial designer Eero Saarinen to design a chapel and auditorium on the grounds its campus located in Cambridge just across the Charles River from Boston. The Boston area is rarely thought of as a haven for modernism in the design sense: it is a North American city with deep and significant historical roots stretching back long before the American Revolution and much of the urban renewal that brought about New Boston occurred long-after the modernist ideal had been supplanted by later notions. But MIT was progressive in this sense, the legacy of which can still be seen  on its campus today.

Eero Saarinen, 1950

Saarinen at mid-century had a string of notable achievements and was a known quantity within the design community. His collaboration with Charles Eames resulted in recognition by the MOMA in New York City as well as their participation in the Case Study House program in California (Number 9 to be exact). Eero had spent a good portion of the 1940s working in his father's architecture firm but after the death of the elder Saarinen in July of 1950, the younger launched a shop of his own. At just 85 years old in that same year, MIT was something of a young university - particular compared to its many esteemed and much longer in the tooth neighbors. In some ways, it lacked the traditions that a school such as Harvard had by that time, which may account for it's more forward-thinking artistic engagements.

Interior, The MIT Chapel, photo by editor 2013

The Saarinen MIT commission spanned a period of approximately 6 years. After his selection by the university, Eero shifted his focus on a similar commission for Brandeis University in neighboring Waltham. The Saarinen chapel at Brandeis was eventually scrapped by the planning board as they could not come to an agreement on some of the basic details with the architect. Their loss was certainly MIT's gain, as Eero infused his next project with many of the more interesting and innovation design ideas that he had proposed for the larger structure at Brandeis. He also drew upon his travels in the mid-1930s through the ancient world, particularly Greece and specifically Sparta, which directly influenced his skylight design. Construction began in 1953 and was for the most part completed by 1955, although the roof sculpture was not added until the following year.

Podium sculpture, Harry Bertoia, The MIT Chapel, photo by editor 2013

The resulting building remains as stunning today as I expect it was on it's dedication day. Saarinen created a haven: a place of remarkable peace and tranquility. The brick, wood, and marble evokes the  pre-Christian world refashioned into something modern yet timeless. His use of light - both natural and artificial - is masterful.  The final touches are both contributions from other artists. Harry Bertoia, who like Eames had first met Eero at Cranbrook University, provided the metal sculpture which descends from the ceiling to the base of the podium/altar. Other writers have focused on the speculative literal meaning of the piece, but it is simply a beautiful accent that deflects the incoming light in a hundred different direction. Interpret it as you wish. Theodore Roszak designed the abstract bell tower or spire which was added to the building in 1956.

The MIT Chapel is a singular structure: devoid of any denomination, yet vibrantly spiritual and a shrine to solace. I would expect - if not hope - that its chairs have been full these past couple of weeks. 

Una sull'altra (1969)

Dig this clip from Lucio Fulvi's 1969 thriller.

Right, I know. Yes, that's foxy Marisa Mell pulling the change-r-oo in the ladies room. And, yes, that's Riz Ortolani providing a score that sounds like Zal Yanovsky jamming with Oliver Nelson's orchestra. But the real star of the clip is Eero Saarinen's TWA Flight Center at New York's JFK airport. There are a couple of great shots of terminal back when it was first a functioning building. Just beautiful.

I did have the opportunity to pass through the hollowed halls of this architectural masterpiece just once. It was 1998 and I was en route to Barcelona, Spain experiencing an unexpected lay-over in the terminal. It was remarkably well preserved and I, frankly, thought I was in a dream. When I think about the events of the past decade or so which really opened my eyes to great design, this was certainly one of the most important ones.

Of course the happy ending to this post is not only can you now fly out/in to Terminal 5 again thanks to JetBlue, but you can also get your shoes shined there by my favorite San Francisco-based shine company, A. Shine & Co. Book your flight now!