Eliel Saarinen wasn’t much for philosophizing about his work. Cranbrook’s principal architect demonstrated his beliefs about architecture through the bricks and stones of his buildings, rather than through academic lectures or theoretical treatise.

When I give tours of campus, I often highlight the fact that in Saarinen’s buildings, a brick wall is a structural brick wall, and a stone column is a structural stone column. If that sounds obvious, well, it’s because architects are excellent at deception.

In the 1920s and 1930s (and straight through to today), it was much cheaper to build a wall of concrete block or wood and then cover it in a façade of brick, or to design a reinforced concrete column and then wrap it in thin stone veneer. Solid brick walls and true stone columns are more expensive and more limiting to the designer (you can build taller, wider, and cheaper in steel and concrete). Regardless of a building’s style, by the early 20^th century most of our country’s institutional buildings were constructed of modern materials and wrapped in traditional ones.

This habit of facadism (a focus on the material appearance without regard to the structural reality) was abhorrent to devotees of modernism. In International Style modern architecture, then, architects simply did away with brick walls and stone columns—materials used in construction for millennia—in favor of concrete, glass, and steel. The structure and the appearance of the architecture were one in the same.

But at Cranbrook, with its deep roots in the Arts and Crafts Movement, Saarinen went the other direction. True stone and brick construction was integral to our founding ethos, and to Saarinen’s designs.

While many of Saarinen’s contemporaries were dealing with so-called ‘dishonest’ forms of architecture (steel and concrete frames clad in traditional styles rooted in masonry construction), Saarinen avoided the problem of ‘dishonesty’ by building modern buildings traditionally. Saarinen did use concrete vaults and floor slabs, as well as steel trusses, but he connected these to brick load bearing walls and stone columns.

Adding to the unusual fact that Cranbrook’s brick walls and brick vaults are structural, the beauty of Saarinen’s brickwork stands out. He achieved a special blend of true engineering and true artistry. This combination of beauty and utility was key to the Arts and Crafts Movement, and to the form-following-function ethos of Saarinen’s modernism.

More simply, the brickwork of Cranbrook is a visual delight.

In Edward Ford’s The Details of Modern Architecture (1996), the architecture historian and professor writes that:

“Few Modernists were less interested in industrialization and standardization than Eliel Saarinen, and it is more than ironic that fate was eventually to place him at its heart, Detroit, and that he was to spend the second half of his career…at Cranbrook, fifteen miles from Highland Park and twenty miles from River Rouge, designing schools for the children of auto executives.”

There is much more to say about Saarinen’s brickwork, and bricks at Cranbrook more broadly. On October 25, 2021, I invite you to join me for the Center’s next Uncovering Cranbrook virtual lecture: The Bricks of Cranbrook: Humble Material, Monumental Design. I’ll discuss the history of bricks, where our bricks came from and what makes them unique, and, most importantly, revel in the beauty of the billions of bricks on this campus. And, after the lecture, join me on campus for a special behind-the-scenes brick themed tour!

—Kevin Adkisson, Curator, Cranbrook Center for Collections and Research