MARC Record from marc_columbia

LEADER: 03248cam a2200481Ii 4500
001 14401530
005 20191125100512.0
008 190318t20192019ctua b 001 0 eng d
024 $a40029514317
035 $a(OCoLC)on1089965502
040 $aYDX$beng$erda$cYDX$dYUS$dOCLCO$dOCLCF$dMZA$dCDX
020 $a0300227477
020 $a9780300227475
035 $a(OCoLC)1089965502
043 $an-us-ny$an-us---
050 4 $aNA737.B84$bA835 2019
082 04 $a724.6$223
100 1 $aAdams, Nicholas,$eauthor.
245 10 $aGordon Bunshaft and Som :$bbuilding corporate modernism /$cNicholas Adams.
264 1 $aNew Haven :$bYale University Press,$c2019.
264 4 $c©2019
300 $avii, 288 pages :$billustrations (some color) ;$c31 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references and index.
520 8 $aGordon 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.
600 10 $aBunshaft, Gordon,$d1909-1990$xCriticism and interpretation.
610 20 $aSkidmore, Owings & Merrill$xEmployees.
600 17 $aBunshaft, Gordon,$d1909-1990.$2fast$0(OCoLC)fst01718441
610 27 $aSkidmore, Owings & Merrill.$2fast$0(OCoLC)fst00511249
650 0 $aArchitects$zNew York (State)$zNew York.
650 0 $aArchitecture$zUnited States$xHistory$y20th century.
650 7 $aArchitects.$2fast$0(OCoLC)fst00813114
650 7 $aArchitecture.$2fast$0(OCoLC)fst00813346
650 7 $aEmployees.$2fast$0(OCoLC)fst00909111
651 7 $aNew York (State)$zNew York.$2fast$0(OCoLC)fst01204333
651 7 $aUnited States.$2fast$0(OCoLC)fst01204155
648 7 $a1900-1999$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
852 00 $bavelc$hNA737.B84$iA835 2019