02570nam a22003617a 4500003000600000005001700006008004100023020001800064020001600082040003400098050002000132082001000152100002100162245008200183264005100265300005100316336002600367337002800393338002700421501003000448504003100478520139600509650006301905650004201968650002502010650005802035650003102093650001502124650001702139650001402156651002002170651001802190pucpr20200122155930.0181002s2019    ctuaoe   b    001 0 eng    a9780300227475  a 0300227477  apucprbengcpucprdpucprerda  aNA680bA33 2019  a724.61 aAdams, Nicholas.10aGordon Bunshaft and SOM :bbuilding corporate modernismcNicholas Adams.htxt 1aNew Haven, CT :bYale University Press,c2019.  a288 p.bill.; col.; plans; photoc30 cm.fbook  2rdacontentatextbtxt  2rdamediaaunmediatedbn  2rdacarrieravolumebnc  aInclude index (280-288p.)  aInlcude bibliography 278p.  a 	
Gordon Bunshaft's (1909-1990) landmark 1952 design for Lever House reshaped the Manhattan skyline and elevated the reputation of Skidmore, Owings & Merrill (SOM), the firm where he would spend more than 40 years as a partner. Although this enigmatic architect left behind few records, his legacy endures in the corporate headquarters, museums, and libraries that were built in his distinctive modernist style. Bunshaft's career was marked by shifts in material. Glass and steel structures of the 1950s, such as New York's Chase Manhattan Bank, gave way to revolutionary designs in concrete, such as the Beinecke Rare Book and Manuscript Library at Yale University and the doughnut-shaped Hirshhorn Museum in Washington, DC. Bunshaft's collaborations with artists, including Isamu Noguchi, Jean Dubuffet, and Henry Moore, were of paramount importance throughout his career. Nicholas Adams explores the contested line between Bunshaft's ambition for acclaim as a singular artistic genius and the collaborative structure of SOM's architectural partnership. Bunshaft received the Pritzker Architecture Prize in 1988 and remains the only SOM partner to have achieved this distinction. Adams counters Bunshaft's maxim that "the building speaks for itself" with necessary critical context about this modernist moment at a time when the future of Bunshaft's iconic works is very much in question. 0aCriticism and interpretation.xBunshaft, Gordony1909-1990 0aEmployeesxSkidmore, Owings & Merrill 0aArchitectszNew York 0aArchitecture -- 20th century.xHistoryzUnited States 0aSkidmore, Owings & Merrill 0aArchitects 0aArchitecture 0aEmployees 0aNew York Region 0aUnited States