Minoru Yamasaki : : Humanist Architecture for a Modernist World

Locations
Call Number: 720.92 Ya, Adult Book / Nonfiction / Art / Architecture / Yamasaki, Minoru
On Shelf At: Downtown Library, Malletts Creek Branch, Westgate Branch

Location & Checkout Length	Call Number	Checkout Length	Item Status
Downtown 2nd Floor 4-week checkout	720.92 Ya	4-week checkout	On Shelf
Malletts Adult Books 4-week checkout	Adult Book / Nonfiction / Art / Architecture / Yamasaki, Minoru	4-week checkout	On Shelf
Westgate Adult Books 4-week checkout	Adult Book / Nonfiction / Art / Architecture / Yamasaki, Minoru	4-week checkout	On Shelf

Foundations -- Early work -- A new direction -- Staying the course -- Modern humanism -- Tall buildings -- The late works.
Born to Japanese immigrant parents in Seattle, Minoru Yamasaki (1912-1986) became one of the towering figures of midcentury architecture, even appearing on the cover of Time magazine in 1963. His self-proclaimed humanist designs merged the modern materials and functional considerations of postwar American architecture with traditional elements such as arches and colonnades. Yamasaki's celebrated and iconic projects of the 1950s and '60s, including the Lambert-St. Louis Airport and the U.S. Science Pavilion in Seattle, garnered popular acclaim. Despite this initial success, Yamasaki's reputation began to decline in the 1970s with the mixed critical reception of the World Trade Center in New York, one of the most publicized projects in the world at the time, and the spectacular failure of St. Louis's Pruitt-Igoe Apartments, which came to symbolize the flaws of midcentury urban renewal policy. And as architecture moved in a more critical direction influenced by postmodern theory, Yamasaki seemed increasingly old-fashioned. In the first book to examine Yamasaki's life and career, Dale Allen Gyure draws on a wealth of previously unpublished archival material, and nearly 200 images, to contextualize his work against the framework of midcentury modernism and explore his initial successes, his personal struggles--including with racism--and the tension his work ultimately found in the divide between popular and critical taste.

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