“Design is so simple. That’s why it’s so complicated.” –Paul Rand

Finnish-American architect Eero Saarinen designed the Gateway Arch monument, completed in St. Louis in 1965 (it opened to the public in 1967). The world's largest arch, the iconic, 632-foot tall structure was built as a monument to westward expansion in the United States. Here, he's shown alongside models of the arch.

Credit: Yale University Library, Manuscripts and Archives; © St. Louis Post-Dispatch
Eero Saarinen 

The junior Saarinen’s debut as a furniture designer—at age 20—came with a commission for most of the furnishings at Cranbrook’s Kingswood Middle School for Girls in Michigan. (His father, Eliel, designed the campus.) His 1930 auditorium armchair, made of tubular chromed steel and wood with light-green woven upholstery, has a cantilevered seat, like Mies van der Rohe’s Brno chair from the same year.
The Tulip Chair consists of a reinforced plastic and aluminum stem with a curved fiberglass shell.
The office space doubles as a play area, so the parents can keep an eye on the kids while they work. The Saarinen Plastic Back side chair from Knoll was a gift from a friend.
The vast skylight features a weathering steel structure, currently undergoing restoration.
The 1957 building is in the process of admission to the National Register of Historic Places.
Bell Labs’ exterior was the first large-scale application of mirrored glass, a product developed specifically for the project. Now common, especially in sunny climates, the glass’s inner layer of aluminum film blocks 70 percent of the sun’s heat and admits 25 percent of its light.
An early ad for the Pedestal Collection highlights its curvilinear form.
Saarinen designed his famous Tulip armchair as part of the Pedestal collection for Knoll in 1956 (manufacturing began the following year). With its minimal base and narrow, simple stem, the clean-lined design aimed to provide a solution to clunkier designs of, in the designer's own words, "ugly, confusing, unrestful world."
Part of the Pedestal collection introduced by Eero Saarinen as an answer to "the ugly, confusing, unrestful world" that lay beneath the surfaces of chairs and tables, this 42" round dining table comes in both Arabescato marble (shiny or matte finish), and a white laminate.
Alexander Gorlin and his team restored the sunken lobby to its original yellow hues.
Though Saarinen completed the design in 1956, the patent drawing for the Tulip Chair was filed on June 7, 1960.
The arrival of the Pedestal collection was celebrated in this 1958 Knoll press release.
Saarinen at work on the Pedestal model. He started with hundreds of drawings, and moved on to ¼ scale models, which were then set up in a room the size of a dollhouse.
Calder Smith uses his elliptical table, designed in 1956 by Eero Saarinen for Knoll, as a place for both dining and working. “It’s not as heavy as you might think, so it’s easy to move around,” says the architect. “Plus the base allows room for lots of legs—we’ve had up to eight people sitting around it at one time.”
A custom table surrounded by NET’s Museo chairs and poplar stools provides a space for the Sarmiento Tovo boys, Manuel, 5, and Julián, 3, to play with the toys their mother makes.
Windows and terraces were designed to frame specific vistas ranging from rural pastures to vineyards, olive groves, and the Hanging Rock outcrop. “The views are very controlled,“ Titania says.
“The rules for the good house as an ideal do not change in principle and have only to be looked at afresh. How does one enter a garden? How does the seating area relate to the door and the window? There are many questions like this which need to be answered, and the house consists of these elements. This is modern architecture.” 

Excerpted from The House as Path and Place, 1931, by Josef Frank