TWA Flight Center - Post Modernism and Pluralism

Emilia Kightley-Sutter

The TWA Flight Center in John F. Kennedy Airport in Jamaica Queens, New York was designed by Eero Saarinen was opened in May 1962 just a year after Saarinen died of a brain tumor. The flight center is an example of what post-second world war two tools we had to accomplish mid-twentieth century modern architecture.The client wanted this building to show the spirit of flight and for people who are running to catch a flight to have a strict path of beautiful views within the promenade architectural.  The organic shapes of the flight center were in magnificent scale and the hints of modernism influenced the social atmosphere of the users. Throughout the plan some stylistic features are marble steps, mosaic tiling and thought out furniture design and layout for the travelers. Although the building seemed to be a great win for architecture it was critiqued for its style, size, and function. However the interior and exterior were names a New York City landmark as of 1994.

The exterior design reinforces a symmetrical design, the curves and lack of angles are supposed to resemble the concept of flight and airplanes having symmetrical proportions and curved lines for aerodynamics.  The form displays the romance of early air travel and the interest people had in flying- despite airplanes being in existence since the early 1900s. There were two hotels next to the terminal with simple arches which blend well with the original terminals design. There were prominent wing shaped thin shell roofs over the main terminal, and inside there were red carpeted departure and arrival corridors that symbolize the class and prosperity of people who were able to fly. In waiting rooms there were tall windows framing the breathtaking views of planes landing and taking off. The bird like shape coordinated interior and the corporate identity- this was intentional to try and convey the corporations image. Saarinen wanted passengers to experience everything from the ceiling to the floor in a calculated manner, meaning that every element of the building including furniture is laid out specifically for the users to utilize. The terminal had closed circuit television, public access system, baggage carousels, satellite clustering of gates, enclosed passenger jetways, and electronic schedule boards. The food choices include Constellation Club, Lisbon Lounge, and Paris Cafe all for an international feel. Security checkpoints were difficult because the terminal gates were close to the street and the increased size of jets was hard to accommodate for since the design was hard to update and change since the concrete curves literally flowed into one another and seemed to be seamless. Walls turned into floors and floors turned into ceilings on the interior of this design.

"All the curves, all the spaces and elements right down to the shape of the signs, display boards, railings and check-in desks were to be of a matching nature. We wanted passengers passing through the building to experience a fully-designed environment, in which each part arises from another and everything belongs to the same formal world,"

-Eero Saarinen during construction in 1959

To make this structure possible they used reinforced concrete with four segments that extended outwards to form the concrete wings which unfold on either side of the exterior. Large panels of glass also were supported with steel and had a modern purple tint. The glass was tilted to seem as though the user was looking out an airplane while inside the building. They also showcased the purpose of the steel structure which was to portray the views of departing and landing planes.