In 1961, Saarinen died unexpectedly at 51 of a malignant brain tumor. Yet in only a dozen years he built more—and more memorably—than any of his contemporaries. Despite failures such as CBS and less-than-successful projects such as Morse and Stiles, he created several masterpieces, including the Womb Chair, the Gateway Arch, Deere, TWA, and Dulles. Yet what it all adds up to remains slightly perplexing. Having rediscovered Saarinen, where to put him in the architectural batting order? Certainly higher than Johnson and Rudolph, perhaps not as high as Louis Kahn, although there is a generosity of spirit in Saarinen's best work that is absent in Kahn's more guarded designs. Saarinen's restless talent, technological optimism, and broad range as an industrial designer and a sculptor seem out of step with our world. We prefer our architectural stars in discrete categories: artist, technician, corporate practitioner. Saarinen, a chameleon, could be all three.