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Saarinen House Dining room and living room with fireplace.
In recent years, much has been written on Cranbrook; mention has been made of these articles and publications. Eliel Saarinen had written “The City” published 1943 and “Search for Form” 1948. The first book on Eliel Saarinen, that I read, was by Albert Christ-Janer; reprinted by University of Chicago Press in 1979. At that time, the only book available; writings are based on 1946 interviews with Eliel in Saarinen House. The illustrations of his architecture are informative as is the text. As usual, I spent more time looking at the photographs and drawings than studying the text. Nothing seemed relevant or revealing in regard to asymmetrical decorative detail. In regard to Kingswood, the author writes, “In the realization of his mature years Eliel Saarinen achieved that individuality which is in harmony with what he called ‘fundamental forces’. The structure of Kingswood invites a comparison with the form of plants. Like a plant, this building pushes upwards from the soil, reaching for air and light…..Perhaps, in Kingswood, Eliel Saarinen realized the benefit of all his observation of nature, translated into terms of architectural design…..‘The plant grows from its seed. The characteristics of its form lie concealed in the potential power of the seed. The soil gives it strength to grow, and the outer influences decide its shape in the environment,’ he said.”
In my writing on the grounds and buildings, of nature and architecture, these words of Saarinen seem appropriate. Christ-Janer confirms that the architect spent many hours supervising the construction of buildings at Cranbrook; directing the bricklayers. The author writes also of decorative designs that catch light and cast shadows; and of discreet placement of ornamental ornaments. Later in the book, Eliel Saarinen is quoted as saying, “Frequently, I am asked the meaning of these supposed symbols. Perhaps I am expected to answer that they are Finnish script; however, they are pure abstractions.”
Albert Christ-Janer mentions how the architect studied painting; Eliel Saarinen did paint, evident in his remarkable portrait of wife Loja. His sense of color, line, texture, shape and composition served Eliel well in his career as an architect. In the book on Saarinen House, I write of him as a colorist with a rich and subtle palette; evident throughout his home.
Saarinen House courtyard
“Saarinen House and Garden: A Total Work of Art”, edited by Gregory Wittkopp, includes an essay by Diana Balmori on the garden. Her writing and illustrations are most informative; giving insights into the history and development of the community’s landscape. Her writings are most pertinent and relevant to the grounds; the connection between interior and exterior is a focus of her essay. From her, I looked anew at the house; the relationship of dining room to outside courtyard. The design of the carpet echoed the flagstones outside; a wall hanging behind the dining table is “Landscape with Trees and Birds”. The weaving reflects the landscape outside; repetitions of nature, making an interplay of outside and inside. The author details plantings and flowers that were integral to the creative concept of house and garden. In the book, I write of living there before Saarinen House became a museum. The following is the last paragraph. I started these present writings on ‘The Grounds’ by describing the seasons, this seems a fitting conclusion:
“To live in Saarinen House for almost fourteen years was a rare joy, revealing Eliel’s ability to subtly manipulate space, details and color. Experiencing the harmonious spaces and proportions on a daily basis and witnessing the range of light in the house, which transformed the interiors from dawn to twilight, were ongoing pleasures; ever changing with the seasons of the year. The dappled greens of spring and summer, the white snows of winter, the golden glow of fall, affected the coloration and mood of the interiors. To open this masterful house, a total work of art, to the public as part of the architectural legacy of our nation has been an honor. Saarinen House will remain as testimony to the architect and his family: the home of genius.”
Saarinen House studio.
On 11/14/08, I received the following response from David Joe; his original email was the reason that I wrote on the grounds of Cranbrook.
Dear Roy
All I can say is ‘WOW’! Once again you have breathed fresh new life into and blown the dust from memories. You have taken me on a very personal walk with you down hidden paths and to oft times, rarely seen vistas that I am sure few (aside from me….many times!) in my year had or have explored.
My favourite was going to the waterfall and round to path beneath the trees along the bank…there were little hidden treasures there…a small bits of statuary (some partly buried and some overgrown) and even a very small hidden fountain. I spent many hours alone drawing out by the Turtle fountain by Cranbrook House or drawing the vista across the lake from the boathouse or drawing details of the decaying mosaics in the boathouse or drawing small plants in the sunken gardens by the greenhouses or trying to capture the beauty of the lush purple wisteria draped on the walls along the back walls of the buildings lining Academy Way.
Once after talking with Mr. Booth walking on the grounds, I understood what a privilege it was to be temporarily allowed to share this space…these grounds. To be living in a bit of beautiful art history while trying to make a primary art experience of my own. It gave one a feeling of temporarily owning a piece of Cranbrook ….much like owning a living animal (literally feeling its heartbeat and warmth…both of the animal and of Cranbrook) but knowing that eventually you would have to let it go free. Cranbrook is truly a living being that we own for a time but release it to the care of itself and to others.
Thank you!
D
Eliel Saarinen: Cranbrook School cupola 1929-30.