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Description: American Glamour and the Evolution of Modern Architecture
Index
PublisherYale University Press
https://doi.org/10.37862/aaeportal.00012.011
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Index
A
Aalto, Aino, 34, 48
Aalto, Alvar: Scandinavian regionalism of, 12, 33, 48
and materials, 31, 48
and New York World’s Fair, 31, 35, 161
designs at MoMA, 34
and Eero Saarinen, 111
Aarons, Slim, Poolside Gossip, 103, 104–5
Abramovitz, Max, Avery Fisher Hall, 43
Abramovitz, Max (with Harrison): Empire State Plaza, South Mall, Albany, New York, 10–11, 10
Beth Zion Synagogue, Buffalo, 249n63
Abstraction: and American glamour, 7, 65, 161
and monumentality, 30, 67
melding with Art Deco, 35
of avant-garde architecture, 36, 43
of International Style, 43, 46, 47, 67
and historical references, 46, 56, 59, 65, 67, 111, 146, 210, 218
Johnson’s command of, 66
and New York World’s Fair, 161, 162
and religious architecture, 191, 202, 209, 210, 215, 216, 220
and Beth Sholom Synagogue, 202
retreat from modernist commitment to, 227, 228
in contemporary architecture, 230
Langer on, 243n62
Adjaye, David, 230
Advertising: and architectural photography, 2–3, 93
and modern architecture, 2, 3, 5, 6
and glamour, 6, 7, 14
and Mid-Century Modern architecture, 8
and Gerald Murphy, 19, 234n48
and Americanness, 25
and Edgar Kaufmann, Sr., 86
and Neutra, 94
and progressive critics of, 116, 118
and General Motors Technical Center, 128
and Eero Saarinen, 132, 140
and emotional expression, 143
and Lapidus, 157, 175
and consumer culture, 159, 183
African-Americans, 17, 190
AIA Journal, 184–85
Americana Hotel, Bal Harbour (Lapidus): as culmination of series, 150, 178
double-height terrarium of, 174, 182
exterior of, 182
interior of, 182
Medallion Dining Room, 182, 183
American dream: and architectural photography, 2
and Fitzgerald, 19–20
and New York World’s Fair, 36
American expatriates, 17
American frontier, 24, 25, 26, 27
American glamour: and modernity, 2, 19, 36
and image-making, 5–7, 10–11, 13–14, 16–17, 19–22, 27, 42, 93, 174
and Mid-Century Modern architecture, 5, 7–8, 10
and abstraction, 7, 65, 161
meanings of, 12, 16–17, 22
and Eero Saarinen, 12, 111, 118, 119, 134, 146
and Fitzgerald, 19–20
and American modernism, 22, 119, 147
and modern architecture, 43, 182, 230
and Johnson, 46, 63, 64, 66
and Kaufmann Desert House, 76, 87, 93, 96, 98, 99, 100, 103
and Lapidus, 149, 150, 151, 154, 171, 174, 175, 180, 184
cultural code for, 154
and women, 157
and consumer culture, 159
and New York World’s Fair, 161
and Miami Beach resort hotels, 168
and religious architecture, 187, 189, 214
and Air Force Academy Cadet Chapel, 220, 223
American “moderne” style, 111, 119
American modernism: distinctive character of, 8, 19, 23, 84
and corporate clients, 9, 22, 233n29
and gadgets, 19, 84, 106
and American glamour, 22, 119, 147
and American pictorialism, 35
narrative power of, 36
and Johnson, 39, 42, 43, 46, 56, 64, 67
as middle-class, 76
and Edgar Kaufmann, Sr., 77, 78, 86
shifting meanings of, 77
and Eero Saarinen, 111, 119, 144, 146, 147. See also Postwar period
American National Exhibition in Moscow, “Glimpses of America” exhibition, 27
Americanness: and spaciousness, 2, 24, 25–26
and mobility, 20, 24, 25, 26–27
meaning of, 23–26
and New York World’s Fair, 36
of Kaufmann Desert House, 76
and Wright, 109, 191, 196–97
and religious architecture, 187
American pictorialism, 35, 45, 123
Anis, Albert (with Lapidus): Biltmore Terrace Hotel, 149, 167, 169, 170, 171, 172, 246n42
Nautilus Hotel, 149, 167
Anti-Semitism, 167, 245n34
Architectural Forum, 48, 97, 118, 133, 182
Architectural photography: advertising linked to, 2–3, 93
and image-making, 2, 87, 96, 98
and Mid-Century Modern architecture, 6
Neutra on, 87, 93. See also Shulman, Julius
Architectural Review, 51
L’Architecture d’aujourd’hui, 178
L’Archittetura magazine, 208
Around the World in Eighty Days (film), 23
Art Deco: arguments against, 3, 4
and Harrison, 35
and Americanness, 36
International Style as alternative to, 45
and Kaufmann’s Department Store, 81
Lapidus’s adaptation of, 151, 156–57
and consumer culture, 159
and ocean liners, 164
and Miami Beach resort hotels, 167
Art News, 49
Arts and Architecture magazine, Case Study House Program sponsored by, 2, 123
A. S. Beck shoe store chain, 166
Asphalt Jungle (film), 182
Asplund, Gunnar, 33
Austin, Warren R., 239n81
Authenticity: and International Style, 3
and modern architecture, 4
and American glamour, 17, 20, 21, 22
and European glamour, 17, 22
Automobile industry: and design, 86, 118, 129–30, 130
and progressive critics, 116, 118
Automobiles: and Americanness, 24, 25, 26
framing of windshield, 27
Avant-garde architecture: Jordy on, 3
and clients, 9
new image of American glamour replacing, 10
Greenberg on, 22
aesthetic concern of, 23
abstract shapes of, 36, 43
and International Style, 43, 44, 45, 76, 111
B
Baker, Josephine, 16–17
Banham, Reyner: on Eero Saarinen, 71, 118, 146, 147
on Aline Saarinen, 131
Barnes Foundation, 190
Barr, Alfred H., Jr.: on International Style, 33–34, 45
and Johnson, 43–44
Bauer, Catherine, 83, 240n20
Bauhaus, 9, 114, 164, 227
Beaux-Arts: and Chicago World’s Fair of 1893, 45
and structuring parti, 46, 63
and Eero Saarinen, 111, 122, 142
and Lapidus, 154
and Firestone estate, 174
Becket, Welton: Capitol Records Building, Hollywood, California, 67, 68
Beverly Hilton, 150, 244n5
as advisor to Air Force, 220
Behrens, Peter, 46
Bel Geddes, Norman: “Futurama” exhibit, 35, 111, 161
and “Art in Industry” essay contest, 240n20
Belluschi, Pietro: First Presbyterian Church, Cottage Grove, Oregon, 213
as advisor to Air Force, 220
Adath Israel synagogue, Merion Station, Pennsylvania, 249n63
B’rith Kodesh, Rochester, New York, 249n63
Benjamin, Walter, 21
Berkeley, Busby, 162
Berman, Marshall, 36
Bernini, Gianlorenzo, 189
Bertoia, Henry: screen for Eero Saarinen’s Employees Restaurant in General Motors Technical Center, 123, 124
sculpture for Eero Saarinen’s Kresge Chapel, 214, 215
The Best of Everything (film), 238n72
Beth Sholom Synagogue, Elkins Park, Pennsylvania (Wright): Kaufmann Desert House compared to, 5
materials of, 6, 196, 197, 200, 201–3, 204, 248n36
Rododendron Chapel as miniature version of, 103
night view, 186, 196, 201, 202
and American glamour, 187, 202
daytime view, 188, 196
and architectural patronage, 190, 201
and changing worship practice, 190
congregation of, 190–91, 198–99, 200, 201, 202, 204, 209, 210
construction of, 190, 196, 201, 247n17, 248n39
choice of Wright as architect, 191, 192–93, 200, 248n20
and clients’ request and suggestions, 192–94
basic outlines of program for, 193
building committee of, 194, 200, 201, 247n10
and Mount Sinai, 194, 196, 197, 199, 201, 210, 223
plans of ground and upper floors, 194, 195
section drawings, 194, 195
sketch, 194, 194
presentation drawings with rays of light, 196, 197
site of, 196, 248n18
Wright’s intentions for, 196–99, 204, 209–10
groundbreaking ceremony, 198–99
dedication of, 200
financial concerns, 200–201, 204, 210, 248nn36, 38
contractor for, 201
Sisterhood Chapel, 201
carpet of, 203–4
chandelier of, 203, 204, 248n43, 249n47
exterior, 203
floor of, 203
interior of the sanctuary, 203, 204, 205
critical response to, 204–5, 208
view of bimah, chandelier, and glass roof, 206–7
National Historic Landmark for, 208
symbolism of forms in, 208, 249n69
Christian churches compared to, 213–16, 218
as influence on synagogue design, 213
research on, 247n7
and bimah placement, 249n49
Blai, Boris, 192, 193
Blake, Peter, 33
Boorstin, Daniel J.: Image, 22, 232n10
“From Traveler to Tourist,” 142, 143
Bornstein, Benjamin: Beth Sholom Center, 192, 248n19
Beth Sholom Synagogue, 192
Bornstein, Herman, Beth Sholom Center, 248n19
Bornstein, Shirley, 247n10
Borromini, Francesco, 189
Boyd, Robin, 144
Breakfast at Tiffany’s (film), 20–21
Breuer, Marcel: Jordy on, 3
criticism of, 4
and Bauhaus, 9
House, Wellfleet, Massachusetts, through car window, 27, 28–29
and MoMA symposium on modern architecture, 33
House in the Museum Garden, 56
Neutra compared to, 106
and Eero Saarinen, 111
Bricker, Laura, 247n10
Bricker, Melvin, 201, 248n43
The Bride Wore Red (film), 234n55
Bronfman, Samuel, 60
Brown, Denise Scott (and Venturi), Learning from Las Vegas, 250n13
Brown, John Nicholas, 94
Brown, Phil, 245n30
Bunshaft, Gordon, 67
Burgee, John (and Johnson): AT&T Building, New York, 42, 42
New York State Theater, Lincoln Center, New York, 43, 69, 70, 71
C
Cadillac Records (film), 1
Calder, Alexander, 119
Candela, Félix, 144
Capitalism: and modern architecture, 8, 21, 227
and consumer culture, 21
and Eero Saarinen, 147
and postwar American architecture, 225
Capote, Truman, 20
Case Study House Program, 2–3, 56, 123
Catskill Mountains, 166, 167–68
Celebrities, and glamour, 7, 11, 14
Chevy Impala, “gull wing” fins, 133, 134
Chicago Tribune Tower Competition, 111
Chicago World’s Fair of 1893, 45
Choisy, Auguste, 51–52
Chrysler Building, 34
Church, Thomas, 119
CIAM (Congrès Internationaux d’Architecture Moderne), 32, 48
City Beautiful movement, 45
Civic architecture, and monumentality, 49, 50, 67, 69, 154, 239n81
Civil rights movement, 226
Class: middle-class, 3, 9, 23, 76, 78, 87
and postwar period, 4
and consumer culture, 8, 19, 22
and values of cultural elites, 8, 34–35, 36, 45, 111, 132, 149, 161, 174, 184, 227, 228
and image-making, 9
and glamour, 13
social mobility, 21, 23
divisions of, 23
and Johnson’s elitism, 42, 47, 71
and avant-garde architecture, 76
and artistic fashion and material wealth, 114
and democracy, 126
and tourism, 142
visual codes of wealth and status, 154
and ostentatious display of wealth, 182
and popular culture, 184, 227, 228
and faith in social hierarchies, 226
Clients: middle-class clients, 9, 76, 78
preferences and viewing habits of, 27, 34–35
opinions on modern architecture, 34, 45
of Johnson, 42–43
and functionalism, 45
physical and psychological needs of, 76
motivations of, 77–78
and Neutra, 84, 86, 94, 96, 97, 103, 106
and Wright, 94, 99, 100, 190, 191–94, 196–200, 201, 204
and Eero Saarinen, 111, 112, 114, 131, 142
and Le Corbusier, 114
and Mannerism, 118
and Lapidus, 151, 174, 178, 180
and religious architecture, 189
and Louis Kahn, 210
Air Force as, 218, 220. See also Corporate clients
Government clients
Cohen, Lizabeth, 23
Cohen, Mortimer J.: and building of Beth Sholom Synagogue, 190, 247n17
and choice of Wright as architect, 191, 192–93
photograph of, with Wright, 192
sketch of Beth Sholom Synagogue, 193
suggestions for Wright, 193–94, 193, 197, 200, 201, 208, 249n47
and Wright’s design, 194, 196–98, 204, 205, 208, 209, 210
and financial concerns, 200, 204
death of, 208
and Zevi, 208
Pathways Through the Bible, 247n17
Cold War, 12, 20, 118, 119, 151, 228
Colin, Paul, Joséphine Baker, 16
Colquhoun, Alan, 142
Commager, Henry Steele, America in Perspective, 24
Commentary, 22, 32
Commerce: and modern architecture, 3, 4
European ambivalence toward, 21, 226
Johnson on, 45
and Mies van der Rohe, 60
and Neutra, 76–77
and Kaufmann family, 77, 78, 80, 81, 82–83, 84
and Eero Saarinen, 111, 118, 142, 144, 145–46
and Lapidus, 149, 155, 156, 157, 164, 169, 180, 184, 185
and theatricality, 158–59
and New York World’s Fair, 160
and Las Vegas strip, 227. See also Advertising
Consumer culture
Concord Hotel, 168
Coney Island, 158
Congrès Internationaux d’Architecture Moderne (CIAM), 32, 48
Consumer culture: and architectural photography, 2, 3
of postwar period, 2–3, 10, 78, 183
Jordy on, 3
and Mid-Century Modern architecture, 4, 5–6, 9, 10, 76–77, 78
styles of, 7
and glamour, 14, 17
and Americans’ bond with material possessions, 19–20, 21
public enthusiasm for, 21
European ambivalence toward, 22
spread of, 23, 157
and Americanness, 26
dominance of, 32, 34
changing dynamics of, 77
and Kaufmann family, 83, 107
and industrialism, 84
and modern architecture, 84, 114
and Kaufmann Desert House, 86, 94, 98, 100
and Neutra, 96, 107, 114
progressive critics of, 116, 118
and Eero Saarinen, 119
and automobile industry, 129–30
and tourism, 142
and Lapidus, 149, 151, 161
and theatricality, 158–59
and advertising, 159, 183
and Miami Beach hotels, 168
concerns about effects of, 182–83
and women, 183–84
and Wright, 200
debates on, 229
Corbett, Harvey Wiley, 35
Corporate clients: architectural tastes of, 8–9, 22, 164
adaptations of modern architecture for, 9, 233n29
Lambert on responsibility of, 60, 62
and Eero Saarinen, 109, 114, 116, 118, 119, 122, 128, 129, 132, 142, 143, 242n20
and Lapidus, 157, 162, 164
Costa, Lucio: and New York World’s Fair, 161
and Lapidus, 169
Costa, Lucio (and Niemeyer), Brazil Pavilion at New York World’s Fair, 127, 127
Craft elements: and postwar period, 9, 77
Mumford on, 33
Mock on, 48
and Eero Saarinen, 111, 112, 123
and Eliel Saarinen, 111, 112
and resort hotels, 150
Cranbrook Academy, 111, 112, 123, 131, 249n72
Cubism, 33
Culwell, Haskell, 201, 248nn38, 39
D
De Blois, Natalie, 67
Demchick, Israel, Beth Sholom Center, 248n19
Democracy: and American modernism, 8
and consumer culture, 14
and Americanness, 24, 26
and monumentality, 31, 47, 48
Edgar Kaufmann, Sr.’s dedication to, 78, 83
and class, 126
false democracy, 142
and religious architecture, 187, 190, 214
and Beth Sholom Synagogue, 193, 194, 196, 197
and Wright, 200
Depression, 10, 23, 34, 81, 84, 159, 226
Deskey, Donald, “Amusements,” Graphic from New York World’s Fair Guide, 161
De Wolfe, Elsie, 154
Di Angelis, Michael J. (with France), Carib Theater, Miami Beach, 245n31
Disney, Walt, 150
Dissent, 22, 32
Dixon, L. Murray, Grossinger Beach Hotel, 167, 245n34
Doesburg, Theo van, 51
Draper, Dorothy, 154
Dream Girls (film), 1
Dreyfuss, Henry, “Democracity” exhibit, 35
Duhamel, Georges, Scènes de la vie future, 21
E
Eames, Charles: “Glimpses of America” exhibition, 27
and Eero Saarinen, 112, 242n9, 243n51, 250n74
California modernism of, 123
photographs of Eero Saarinen’s TWA Terminal, 134, 135
Eames, Charles (and Ray Eames), Eames House, Pacific Palisades, California, 56, 124
Eames, Ray, “Glimpses of America” exhibition, 27
Earl, Harley, n6, n8, 129–30, 130, 242n20
Economic prosperity: Trilling on, 20
anxieties concerning in postwar period, 23, 142–43, 229
and Lapidus, 151
and New York World’s Fair, 161
and resort hotels, 167
and American culture of abundance, 226
Eden Roc Hotel, Miami Beach (Lapidus): exterior with balusters and light fixtures, 148, 181, 181
as culmination of series, 149–50, 178
ocean liners compared to, 151
pool deck, 152–53
and historical references, 180
lobby of, 180, 181
Bacchus Cocktail Lounge, 181
staircase of, 181
Americana Hotel compared to, 182
Education, Kaufmann family’s dedication to, 78, 81, 82–83
Edwards, Blake, 20
Eiffel Tower, 35
Eldem, Sedad H. (with Skidmore, Owings and Merrill), Istanbul Hilton, 244n5
Emotional expression: and American glamour, 7, 10, 13, 14, 36
and postwar period, 9, 182
Giedion on, 32
and Johnson, 42, 46, 47, 48, 50, 51
and historical references, 45
and Kaufmanns, 78
and Neutra, 87
and Eero Saarinen, 112, 140, 143–44, 214, 243n62
and automobile design, 130
and advertising, 143
and Lapidus, 184–85
and religious architecture, 187, 188, 189
and Beth Sholom Synagogue, 194, 196, 204, 209
and Wallace K. Harrison, 216
and Skidmore, Owings, & Merrill, 220
Empire State Building, 34
Empire State Plaza, South Mall, Albany, New York (Harrison and Abramovitz), 10–11, 10
Engineering: and International Style, 44, 45
and functionalism, 45
and Mies van der Rohe, 63
and Edgar Kaufmann, Sr., 83, 86
and Wright, 86, 99
and Eero Saarinen, 132, 133, 144
and Nowicki, 144, 250n74. See also Technology
Entenza, John, 123
Environmental sustainability, 230
Ethnicity, divisions of, 23
European modernism: and functionalism, 19
and American culture, 21, 226
early history of, 27
as gadgetless, 84
and Eero Saarinen, 123
American modernism as alternative to, 160
and postwar period, 225–26, 227
European sanitariums and spas, 87, 96
Experts, 5, 22, 23, 94, 142, 226
F
Falik, Estelle, 247n10
Fallingwater (Wright): Museum of Modern Art show, 48
and Edgar Kaufman, Sr.’s relationship with Wright, 75, 94, 100
and Edgar Kaufmann, Sr.’s contributions to modern architecture, 77, 83
view of, 79
Edgar Kaufmann, Jr.’s donation to Western Pennsylvania Conservancy, 83
Neutra’s view of modernism contrasted with, 84
structural engineering of, 86, 99
Edgar Kaufmann, Sr.’s presence on construction site, 97
Kaufmann Desert House contrasted with, 97–99
masonry at, 97
and modernity, 98–99
Edgar Kaufmann, Jr.’s ownership of, 103
as innovative, 191
Fascism: and Johnson, 42, 44, 47, 212, 236n3
Giedion on, 49
Fashion: and Mid-Century Modern architecture, 2
styles of, 7
and lighting, 9
and American glamour, 10, 13, 99
and architectural photography, 93
and Kaufmann Desert House, 103
and functionalism, 114
modern architecture’s relationship to, 114
and automobile industry, 129
and Eero Saarinen, 134
and film, 158
and religious architecture, 187, 190, 192
Fashion models: modern buildings compared to, 6
and General Motors Technical Center, 129
Fein, Gilbert (and Lapidus), Menorah Synagogue, Miami, 249n69
Feminism, 226
Ferriss, Hugh: renderings of General Motors Technical Center, 119, 122
renderings of U.N. complex at Flushing Meadows, New York, 122, 123
Film: role in shaping tastes, 1, 2, 3, 5, 21, 158–59
and Mid-Century Modern architecture, 2, 8
and women, 3, 157, 158
and glamour, 6, 7, 13, 14
and lighting, 9
and American glamour, 20–21, 157, 158–59, 234n55
and Americanness, 23
and architectural photography, 93
and Eero Saarinen, 129, 134
and tourism, 142
and consumer culture, 182
and religious architecture, 187, 214
and Beth Sholom Synagogue, 196
and Skidmore, Owings, & Merrill, 220
Seagram Building in, 238n72. See also specific films
Film noir, 182
Finnish National Romanticism, 123
Firestone Estate, 174
Fitzgerald, F. Scott: and Gerald Murphy, 17
The Great Gatsby, 19–20, 21
Fontainebleau Hotel, Miami Beach (Lapidus): as culmination of series, 149
and Firestone Estate, 174, 175
landscaped grounds of, 174
lobby of, 174, 178, 178–79
general view, 175
postcard, 175
“staircase to nowhere,” 176–77, 178
Boom Boom Room, 178
Café Bon Bon, 178
Fleur de Lys, 178
La Ronde, 178
Eden Roc Hotel compared to, 180, 181
Americana Hotel compared to, 182
critical response to, 182
Lapidus as architect of record for, 244n3
Fortune magazine: and American values, 9
on American modernism, 19, 106
on true modern design, 45
photography used in, 77
and Kaufmann, 81, 83, 86
“Art in Industry” essay contest, 83
“Modernism: The House That Works,” 84
and architectural photography, 93
and Lovell “Health” House, 93
and Neutra, 94
Framing: and Mid-Century Modern architecture, 2, 5
trope of framing window, 27
and Johnson, 63
and Eero Saarinen, 111
and Lapidus, 151
Frampton, Kenneth, 43
France, Roy F.: Saxony Hotel, Miami Beach, 166, 168, 245n31
National Hotel, Miami Beach, 167, 245n31
Casablanca Hotel, Miami Beach, 245n31
Gateway Theater, Fort Lauderdale, 245n31
Sands Hotel, Miami Beach, 245n31
Sea Isle Hotel, Miami Beach, 245n31
St. Mortiz Hotel, Miami Beach, 245n31
France, Roy F. (with Di Angelis) Carib Theater, Miami Beach, 245n31
France, Roy F. (with Lapidus), Sans Souci Hotel, Miami Beach, 149, 166, 166, 168–69, 169, 174, 180
Franck, Josef, 78
Frank, Robert, “The Americans” exhibition, 23
Frankl, Paul T., 78
Fraser, James Earle, George Washington, 161
French glamour, 7
French modernism, 164
Frey, Albert, 93–94
Friedlander, Leo, The Four Freedoms, 161–62, 162
Functionalism: and International Style, 12, 45, 46–47, 189
and European modernism, 19
and CIAM, 32
and Neutra, 78, 84
American acceptance of, 84
and Eero Saarinen, 114, 118, 123, 142
and ocean liners, 164
and Skidmore, Owings, & Merrill, 220
Furnishings: and International Style, 45
and Alvar and Aino Aalto, 48
Organic Design in Home Furnishings competition, 112
and Eero Saarinen, 131, 131
G
Gabor, Laszlo, 78
Gadgets, 19, 25, 84, 86, 130
Galbraith, John Kenneth, Affluent Society, 22
Die Gebrauchsgrafik, 157
Gehry, Frank, 230
Gender: and postwar American architecture, 4, 229
divisions of, 23. See also Women
General Motors Technical Center (Eero Saarinen): materials of, 6
Styling Building stairs, 108, 128–29, 128
commission for, 109
and historical references, 110, 123, 127
and International Style, 112
and American synthesis, 114, 116
cover of brochure, Where Today Meets Tomorrow, 114–15
and image-making, 118, 123
and American modernism, 119
circulation routes, 119
night view detail, water tower, and pool, 119, 120–21
renderings of, 119, 122
water tower of, 119, 122
Styling Dome of, 122, 129
Styling Building, 123
view of Bertoia screen in the Employees Restaurant, 123, 124
Powerhouse, 125
focus on future, 126–27, 242n30
as “Versailles of Industry,” 126, 130
view of Dynamometer Building, 126, 12627
interior spaces of, 127
Research and Development stairs with models and 1958 Buick, 127–28, 127
and theatricality, 127–28
main display area of Styling Dome, 129
and Earl’s office, 130
as campus-like, 242n28
project history, 242n22
German Modernism, 157
Giedion, Sigfried: on monumentality, 32, 33, 34, 36, 48–49, 237n28
“The Need for a New Monumentality,” 48
Space, Time and Architecture, 225
“Nine Points on Monumentality,” 237n28
Gigi (film), 23
Gilbert, Milstein, 244n3
Gillet, Guillaume, Notre Dame de Royan, 144
Gilly, Friedrich David, 210
Gimbel’s department store, retrospective of Wright’s work, 192
Glamour: specialized language of, 5
familiarity of idea of, 6–7
cultural specificity of, 7
meanings of, 12, 13–14
visual imagery of, 13
stereotypes of, 17
European glamour, 22. See also American glamour
Glamour magazine, 14, 15, 17, 23
Glass House, New Canaan, Connecticut (Johnson): and framing window, 27
and Guest House, 40, 50, 51, 56
minimalism of, 40
continuity with later design, 43
and Mies van der Rohe’s Farnsworth House, 50, 52–53, 56
entrance sequences of, 51, 53
and lighting, 51, 238n64
sources of inspiration for, 51–52
view of, 52
and Wright, 53
interior of, 54–55
theatricality of, 57
elevations for Syrian Arch scheme for, 59, 59
and Pavilion in the Lake, 71
GM Folks, cover of, 117
Goodman, George M., 248n36
Goodman, Percival: on Wright’s Beth Sholom Synagogue, 208, 212
Beth El Synagogue, Providence, 212, 212, 248n36
Beth El Synagogue, Springfield, Massachusetts, 212
B’nai Israel Synagogue, Milburn, New Jersey, 212
Beth Sholom Synagogue, Miami Beach, 213
Mishkan Tefila Synagogue, Newton, Massachusetts, 213
Sha’arey Zedek Synagogue, Southfield, Michigan, 213, 213
Goodwin, Philip (with Stone), Museum of Modern Art, 218
Googie coffee shops, 1, 4, 144
Gottscho, Samuel H., 155–56
Government clients: and Eero Saarinen, 109
Air Force as, 218, 220
adaptations of modern architecture for embassies, 233n29
Greenberg, Clement, “Avant-Garde and Kitsch,” 22, n6
Gropius, Walter: and Bauhaus, 9
and MoMA symposium on modern architecture, 33, 34
Bauhaus buildings at Dessau, 44
and Eero Saarinen, 111
and industrial materials, 114
and utopianism, 227
Oheb Shalom Synagogue, Baltimore, 249n69
Grossinger family, 166
Grossinger’s Hotel, 168
Grossman, Melvin (with Lapidus), DiLido Hotel, 149
Grossman, Melvin (with Lapidus, Hohauser as architect of record), Algiers Hotel, 149, 167, 171, 173–74, 173, 174
Grotell, Maija, 123
Guest House, New Canaan, Connecticut (Johnson): and Glass House, 40, 50, 51, 56
simplicity of, 40
and Mies van der Rohe, 52, 56
interior with Andy Warhol, 57, 58
view of, 57
interior architecture of, 69
and lighting, 238n64
Guthrie, William Norman, 199
Guthrie, Woody, 23
H
Hadid, Zaha, Rosenthal Center for Contemporary Art, Cincinnati, 229, 230
Hadley, Nancy, 244n3
Harmon, Hubert R., 218
Harper’s magazine, 22, 134, 144
Harris, Beth, 103
Harris, Brent, 103
Harrison, Peter, Touro Synagogue, Newport, Rhode Island, 204
Harrison, Wallace K.: and United Nations complex designs, 34
and Rockefeller Center, New York, 35
Trylon and Perisphere at New York World’s Fair, 35, 35, 36, 160, 161, 223
Metropolitan Opera House, Lincoln Center, New York, 43, 145, 146, 147
and Eero Saarinen, 111
Proposal for U.N. Headquarters at Flushing Meadows, New York, 122, 123
First Presbyterian Church, Stamford, Connecticut, 144, 215–16, 217
religious architecture of, 144, 189, 215–16
Harrison, Wallace K. et al., U.N. Assembly Building, New York, 67, 67, 122
Harrison, Wallace K. (with Abramovitz): Empire State Plaza, South Mall, Albany, New York, 10–11, 10
Beth Zion Synagogue, Buffalo, 249n63
Haskell, Douglas, 182
Hearst, William Randolph, 81
Hellmuth, Yamasaki and Leinweber, Lambert St. Louis Airport Building, 133–34
Hemingway, Ernest, 17
Hepburn, Audrey, 21
Here Comes Mr. Jordan (film), 134
Historical references: and Johnson, 42, 43, 46, 49, 50, 52, 56, 59, 69, 71, 146, 210
and International Style, 45, 46
and abstraction, 46, 56, 59, 65, 67, 111, 146, 210, 218
and modern architecture, 48, 114, 227, 230
and Mid-Century Modern architecture, 77
and Eero Saarinen, 110, 112, 114, 123, 127, 140, 214, 215
and Eliel Saarinen, 111
and Le Corbusier, 112
and Lapidus, 150, 154, 157, 164, 171, 174–75, 178, 180
and resort hotels, 150
and Beaux-Arts style, 154
and Beth Sholom Synagogue, 191
and Wright, 191, 192
and religious architecture, 208
and Stone, 218
and Skidmore, Owings, and Merrill, 220
and postmodernism, 228
Hitchcock, Alfred, 27
Hitchcock, Henry-Russell: The International Style, 9, 39, 44, 45–46, 63
Mumford on, 33
on Wright, 34
MoMa exhibition on modern architecture, 39, 44
defining International Style, 44–46, 63, 114, 188, 230
Modern Architecture, 44
“The International Style Twenty Years After,” 237n19
Hohauser, Henry (with Lapidus and Grossman), Algiers Hotel, 149, 167, 171, 173–74, 173, 174
Holabird and Roche, Palmer House Hotel, Chicago, 154
Holiday magazine, 112
Holocaust, 167
Hood, Raymond, 35, 111
Hood and Fouilloux, McGraw-Hill Building, 44
Horst, Horst P., 14
House Beautiful magazine, “Small Homes” competition, 93
Housing magazine, 241n46
Howard, John Galen, 33
Howe and Lescaze, Philadelphia Savings Society, 44
Hoyningen-Huene, George, 14
Humanism, Jordy on, 3, 233n29
Hurrell, George, 14
Huston, John, 182
Huxtable, Ada Louise, 144
I
Image-making: and Johnson, 1, 42, 43, 50, 63–64, 69, 188, 210
and architectural photography, 2, 87, 96, 98
and postwar period, 4–9, 25–27, 76–77, 183, 227, 228, 230
and American glamour, 5–7, 10–11, 13–14, 16–17, 19–22, 27, 42, 93, 174
and monumentality, 32, 49, 122, 188
and New York World’s Fair, 35–36, 161
and American modernism, 36
and emotional expression, 48
and Neutra, 76, 78, 87
and Wright, 99, 109, 189, 191–92, 194, 201
and Eero Saarinen, 111, 112, 114, 116, 118, 119, 122–23, 126, 142–45, 146, 147
and Paul Williams, 145
and Lapidus, 149, 150, 157, 164, 171, 174
and religious architecture, 187, 188, 189, 191–92, 194, 201, 208, 210, 215, 220, 223
and Stone, 218
Immigrants: and Americanness, 23–24
and Kaufmanns as second-generation Americans, 78
and Miami Beach hotels, 167
Individual identity, 23, 158–59
Industrialism: and monumentality, 30
and International Style, 34
and design of objects, 45
and consumer culture, 84
and Kaufmann Desert House, 97, 98
and Fallingwater, 98
in postwar period, 226
Interior decorators, 45, 154
Interior design: and International Style, 45
and Johnson’s Four Seasons Restaurant, 62
and Lapidus, 164, 185
and religious architecture, 189
and Air Force Academy Cadet Chapel, 220
Interiors, 130, 178
International Style: authentic modernism of, 3
deviations from, 9, 226
functionalism of, 12, 45, 46–47, 189
simplified forms of, 30–31
Barron, 33–34, 45
Mumford on, 33
abstraction of, 43, 46, 47, 67
avant-garde orientation of, 43, 44, 45, 76, 111
Hitchcock and Johnson defining, 44–46, 63, 114, 188, 230
formal idealism of, 64
and monumentality, 69
Mid-Century Modern architecture compared to, 76
clean lines of, 109
and Eero Saarinen, 112, 114, 144
and religious architecture, 188, 189
challenges to, 216
Isenstadt, Sandy, 96
J
Janssen, Benno, 81, 84
Jewish Exponent, 196–98, 208
Jewish Museum, New York, 212
Jews: of Eastern European descent, 149, 190
and Miami Beach hotels, 167, 245n34
postwar generation of, 190, 194
preservation of traditions, 191, 192–93, 194, 198–99, 208–9
tercentenary anniversary of Jewish settlement in U.S., 197
Johnson, Philip: studies of, 1, 42
critical writings of, 3, 39, 40
and evolution of modern architecture, 4–5, 9–10, 39, 114
The International Style, 9, 39, 44, 45–46, 63
and MoMA symposium on modern architecture, 33
and MoMA exhibition on modern architecture, 39, 44
Ash Street house of, 40
Da Monsta, 40, 41
Pavilion in the Lake, 40, 47, 43, 71, 73
Sculpture Gallery, 40
clients of, 42–43
and emotional expression, 42, 46, 47, 48, 50, 51
and fascism, 42, 44, 47, 212, 236n3
and gay sexuality, 42, 43, 56–57
and historical references, 42, 43, 46, 49, 50, 52, 56, 59, 69, 71, 146, 210
reputation of, 42, 47
as traitor to International Style, 42
Amon Carter Museum, Fort Worth, Texas, 43, 69, 69
and Barr, 43–44
Pre-Columbian Gallery at Dumbarton Oaks, Washington, D.C., 43, 71
defining International Style, 44–46, 63, 114, 188, 230
New York apartment, 44
and monumentality, 47–50, 63, 64, 71–72, 210
and Kahn, 49
“War Memorials,” 49, 59
and processional element, 51, 53, 64, 69, 71
“The Frontiersman,” 53
moving away from International Style, 53, 64, 210
as functional eclectic, 56
Leonhardt House, 56
Wiley House, 56
and symbolic language of form, 59
Boissonnas House in Cap Bénat, France, 71
Colonnade at the University of St. Thomas, Houston, 71
Thomas J. Watson Memorial Computer Laboratory at Brown, 71
on Eero Saarinen, 112
Kneses Tifereth Israel Synagogue, Port Chester, New York, 210, 211, 212
on Wallace K. Harrison, 216
on Stone, 220
broad interpretation of International Style, 237n19
on modern architecture, 237n49
as influence on Eero Saarinen, 250n74. See also Glass House, New Canaan, Connecticut (Johnson)
Guest House, New Canaan, Connecticut (Johnson)
Seagram Building, New York (Mies van der Rohe and Johnson)
Johnson, Philip (and Burgee): AT&T Building, New York, 42, 42
New York State Theater, Lincoln Center, New York, 43, 69, 70, 71
Johnson, Philip (with Harrison and Abramovitz), Lincoln Center complex, 43
Johnson, Philip (with William Pahlmann Associates), Four Seasons Restaurant, Seagram Building, 43, 62, 64–66, 65, 66, 238n76
Jordan, Robert Furneaux, 146
Jordy, William H.: on modern design, 3, 232n9
on softening edges of International Style, 56
on Seagram Building, 63
on Johnson, 71
“The Miesless Johnson,” 71
Joseph E. Seagram and Sons, 60
K
Kahlo, Frida, 82
Kahn, Albert, Ford and General Motors buildings, New York World’s Fair, 160–61
Kahn, Louis I.: on architecture, 7, 233n22
and monumentality, 48–49, 209
Adath Jeshurun synagogue, Elkins Park, Pennsylvania, 209–10, 210
and Wright, 209
as influence on Eero Saarinen, 250n74
Kaiser, Henry, 96
Kaufmann, Edgar J., Jr.: and ideals of mid-century modernism, 77
patronage of, 78, 82, 83
and “Good Design” exhibitions, 82–83
and Kaufmann Desert House, 97
and Wright, 100, 103
What Is Modern Design? 106–7
on Eero Saarinen’s TWA Terminal, 134
Kaufmann, Edgar J., Sr.: and MoMA symposium on modern architecture, 33
commission for house, 75, 86, 87, 96
and Wright, 75–76, 82, 83, 86, 94, 96, 100
architectural patronage of, 76–77, 78, 83, 86, 94, 97, 100
department store of, 77, 78, 80–82
and ideals of mid-century modernism, 77
motivations as client, 77–78
photograph of, 77
marriage of, 82, 100, 103
and “Art in Industry” essay contest, 83, 240n20
and modern housing, 83, 86, 240n20
ideas about architecture, 84
and Neutra, 84, 86, 94, 97, 100
health of, 87
and Shulman’s photography, 93
as consumer of modern architecture, 94
Kaufmann, Liliane: and commission for house, 75
and ideals of mid-century modernism, 77
photograph of, 77
patronage of, 78, 82, 83
charitable work of, 82
marriage of, 82, 100, 103
in Shulman’s photograph of Kaufmann Desert House, 93, 100
on Fallingwater, 99
and Wright, 100–101, 103
Kaufmann Desert House (Neutra): Beth Sholom Synagogue compared to, 5
Shulman’s photographs of, 6, 74, 76, 87, 88–89, 90, 91, 93, 96, 97, 98, 98, 99, 100, 103
commission for, 75–76, 86, 87, 96
Americanness of, 76
regionalism of, 78
and consumer culture, 86, 94, 98, 100
floor plan, 87, 91
interiors of, 87, 93
Life magazine article on, 87, 91
patio, 87, 90
rooftop terrace (“gloriette”), 87, 88–89, 97
entrance with boulders, 97, 98
Fallingwater contrasted with, 97–99
glass bedroom wall and pool terrace, 97, 99
goal of project, 97
and Edgar Kaufmann as unofficial contractor, 97
Aarons’s photograph of, 103, 104–5
alterations to, 103
disposition of, in estate, 103
restoration of, 103, 106–7, 240n33
Kaufmann’s Department Store, 77, 78, 80–82, 80, 81
Kavanaugh, Gere, 123
Kelly, Richard, 62, 65, 238n64
Kennedy, John F., 8, 226
Kennedy, Robert, 226
Kerouac, Jack, 25
Kettering, Charles F., 242n30
Kiesler, Frederick, Endless House, 144
King, Martin Luther, Jr., 226
Klepser, Carolyn, 244n3
Knoll, Florence Schust, 131
Knoll Furniture Company, 131
Koenig, Pierre: and Case Study House Program, 2
Stahl House, x, 2
Neutra compared to, 106
Koolhaas, Rem: Delirious New York, 6
Seattle Public Library, 228, 230
Kratina, George, 249n63
L
Lambert, Phyllis, 59–60, 62, 64, 238n76
Langer, Susanne, Feeling and Form, 243n62
Lapidus, Alan, 244n3
Lapidus, Morris: and evolution of modern architecture, 4–5, 9–10, 225
and fashion, 134
and consumer culture, 149, 151, 161
as retail designer, 149, 154, 155–56, 161, 162, 164, 166, 169, 175, 185
critical response to, 150, 178, 182
and fantasy experiences, 150–51, 162, 182
resort hotels of, 150, 164, 166–69, 171, 173–74, 178, 180–82
education of, 151, 154
and entrance sequences, 151, 175
and Ross-Frankel, 151, 154, 155
and amenities and services of resort hotels, 154–55
An Architecture of Joy, 154
Mangel’s, 154, 157, 157
Parisian Bootery, 156
Seagram’s Distillers Corp., Chrysler Building, bar, New York, 156–57, 156
Swank Jewelry, 156
Theresa Pharmacy, 156
Barton’s Candy, Times Square, 157
Doubleday, 157
Postman’s, 157
range of sources, 157
New York World’s Fair as influence on, 160–62
Ansonia Shoe Store, New York, 162, 163, 169
and leisure ocean travel, 162, 164
and ocean liners, 162, 164, 169, 172
and woggles, 162, 245n25
interiors of resort hotels, 168–69, 173–74, 178, 181, 182
and renovations to resort hotels in Catskill Mountains, 168
and “bean poles,” 171, 245n25
and “cheese holes,” 171, 245n25
reputation of, 174
Americana Hotel, New York, 180, 182
Sheraton Hotel, New York, 180
Summit Hotel, New York, 180, 182, 184, 185
and “architecture of emotion,” 184–85
success of, 184
Architectural League exhibition, 185, 246n41
suspension for American Institute of Architects, 244n3. See also Americana Hotel, Bal Harbour (Lapidus)
Eden Roc Hotel, Miami Beach (Lapidus)
Fontainebleau Hotel, Miami Beach (Lapidus)
Lapidus, Morris (and Fein), Menorah Synagogue, Miami, 249n69
Lapidus, Morris (with Anis): Biltmore Terrace Hotel, 149, 167, 169, 170, 171, 172, 246n42
Nautilus Hotel, 149, 167
Lapidus, Morris (with France), Sans Souci Hotel, Miami Beach, 149, 166, 166, 168–69, 169, 174, 180
Lapidus, Morris (with Grossman), DiLido Hotel, 149
Lapidus, Morris (with Grossman, Hohauser as architect of record), Algiers Hotel, 149, 167, 171, 173–74, 173, 174
Lapidus, Morris (with Sanders), Distilled Spirits Institutes in the Food Building, New York World’s Fair, 160
Larsen, Roy, 220
Lartigue, Jacques Henri: Dancers on the Riviera, 77
Cadillac Cap d’Antibes, 26
Lassaw, Ibram: Clouds of Magellan, 57
“Creation,” 212
Las Vegas, Nevada, commercial strip of, 227
Latin American modernism, 169, 173
Laura (film), 182–83, 234n55
Laurels Hotel and Country Club, Sackett Lake, Monticello, New York, 166, 168, 168
Lautner, John: Bob Hope Estate, 101, 102
Elrod House, 101, 102
Le Corbusier: and Mid-Century Modern architecture, 12
and Perriand, 16
and Gerald Murphy, 17, 19, 234n47
ambivalence toward American modernity, 21–22
Quand les cathédrales étainent blanches, 21
and popular culture, 22
De Mandrot House, 30
Swiss Dormitory of the Cité Universitaire, Paris, 30
on modern house, 33, 84
regionalism of, 33
and United Nations complex designs, 34, 67
Weekend House, 34
Villa Savoye, 44
Farm Village Plan of 1933, 51
and Wallace K. Harrison, 67
and Eero Saarinen, 111
Notre Dame du Haut, Ronchamp, 112, 188, 188, 213, 220
modern palaces of, 114
and engineering, 144
Philips Pavilion at Brussels World’s Fair, 144, 220
and organic expressionism, 189
on American culture, 226
and utopianism, 227
and Nowicki, 243n51
Ledoux, Claude Nicolas: Romantic fantasies of, 50
Guard House at Maupertuis, 52
Léger, Fernand, 17, 19, 234n47, 237n28
Leisure: and architectural photography, 2, 93
and postwar period, 4, 93
and Neutra, 78
and Kaufmann Desert House, 93, 98
and Lapidus, 154, 162, 164
urban leisure, 157–58
and consumer culture, 161
Lescaze, William, 84
Levinson, David, 171
Life magazine: coining of “glamourized,” 6
and American values, 9, 23
and Lynes, 22
and Luce, 24
photography used in, 77
“Glamourized Houses,” 87, 97
and architectural photography, 93
and General Motors Technical Center, 125, 126
housing contest of, 240n20
Wright’s work represented in, 248n20
Lighting: and Mid-Century Modern architecture, 2, 5, 9
spectacles of lights on buildings, 32
and Johnson’s Glass House, 51, 238n64
and Johnson’s New Canaan estate, 60, 65
and Johnson’s work on Seagram Building, 62, 63, 65
and Kelly, 62, 65, 238n64
and Shulman’s photographs of Kaufmann Desert House, 93
and Neutra, 96
and Kaufmann Desert House, 99, 103
and Eero Saarinen’s General Motors Technical Center, 129
and Eero Saarinen’s TWA Terminal, 134
and Lapidus, 151, 157, 162, 169, 171
and Mendelsohn, 157
and religious architecture, 189
and Wright’s Beth Sholom Synagogue, 196, 201, 202, 203, 204
and Eero Saarinen’s Kresge Chapel, 214
and Wallace K. Harrison, 216
and Netsch, 220
and Lippold, 250n76
Lincoln Center for the Performing Arts, 10, 43
Lippold, Richard: sculpture in Johnson’s Four Seasons Restaurant, 65
Portsmouth Priory School, Portsmouth, Rhode Island, 250n76
Look magazine, 23
Loos, Adolf, 17, 24 Los Angeles Times, 86
Lovell, Philip, 86
Luce, Henry R., “The American Century,” 24, 119
Luckman and Pereira, 60
Luckman and Pereira (with Paul Williams), Los Angeles International Airport, Theme Building, 144–45, 145
Lux, Gwen Creighton, 123
Lynes, Russell: “Highbrow, Lowbrow, Middlebrow,” 22
on Lapidus, 182
M
Macdonald, Dwight, 22
Mad Men (television series), 1
Malcolm X, 226
Malevich, Kasimir, Suprematist Element: Circle of 1913, 52
Mannerism, 118
Mark Cross Company, 234nn47, 48
Markelius, Sven: and materials, 31, 48
Swedish pavilion at New York World’s Fair, 31, 34, 35, 48
and United Nations complex designs, 67
and Eero Saarinen, 111
Marmol, Leo, 103, 240n33
Mass media, 11, 154, See also Consumer culture
Popular culture
Television
Materials: and Beth Sholom Synagogue, 6, 196, 197, 200, 201–3, 204, 248n36
and Mid-Century Modern architecture, 6, 8, 9, 27, 230
natural and expressive materials, 31
and Johnson, 43
and Mies van der Rohe, 62, 63–64, 114
and Rudolph, 69
and Kaufmann Desert House, 76, 96, 97
and Edgar Kaufmann, Sr., 83
and Neutra, 84, 86
and Eero Saarinen, 111, 114, 132, 144, 214, 215, 216
and Eliel Saarinen, 111
and Lapidus, 182
and postwar period, 182
and religious architecture, 189, 192
and Wallace K. Harrison, 215, 216
and postmodernism, 228
Maybeck, Bernard, 33
McAllister, Wayne, 144
McCall’s magazine, 134
McCandless, Stanley, 65, 238nn64, 77
McCarthyism, 27
McKim, Mead and White, Racquet Club, 63
McQuade, Walter, 242n20
Medici family, 66
Mendelsohn, Erich: expressionism of, 12
Einstein Tower, 34
and Lapidus, 157
B’nai Amoona synagogue, St. Louis, 209, 209
Park Synagogue, Cleveland, 209, 209
Mensendieck, Grace, 93
Merchandise Mart, Chicago, 82, 83
Miami Beach, Florida: resort hotels of, 149–50, 151, 166–67, 171, 245nn31, 34
Catskill Mountains compared to, 167–68
population of, 167
segregation in, 167, 246n38
Michelangelo, 118, 134, 191
Mid-Century Modern architecture: diversity of, 1, 5, 12
appeal of, 2, 4, 10, 76–77
Scully on, 3
and consumer culture, 4, 5–6, 9, 10, 76–77, 78
historical discourse on, 4, 5
and American glamour, 5, 7–8, 10
and viewing habits, 5, 8, 27
and risk of rapid obsolescence, 10
and Johnson, 42
International Style compared to, 76
and antimodernist backlash, 185
and religious architecture, 188–89
and Air Force Academy complex, Colorado Springs, 216, 218, 223. See also Modern architecture
Postwar period
Middle-class: women and film, 3
architectural taste of clients, 9, 76, 78
and suburbs, 23
informal style of houses, 87
Mies van der Rohe, Ludwig: studies of, 1
glass towers of, 5
and Bauhaus, 9
Farnsworth House, Plano, Illinois, 27, 50, 52–53, 53, 56
and Johnson, 43, 63, 64, 66
German pavilion at Barcelona Exposition, 44, 64
and MoMA exhibition on modern architecture, 44
Tugendhat House, 44, 64
Illinois Institute of Technology, 51, 122
and materials, 62, 63–64, 114
reputation of, 62
and Eero Saarinen, 111, 122, 123, 243n51, 250n74
Lapidus on, 185
Carr Chapel of St. Savior, Illinois Institute of Technology, Chicago, 188, 188
religious architecture of, 188, 189. See also Seagram Building, New York (Mies van der Rohe and Johnson)
Milles, Carl, 119
Misogyny, 183
Mobility: and Americanness, 20, 24, 25, 26–27
social mobility, 21, 23
Mock, Elizabeth: on International Style, 30–31
on Markelius, 34
on modern architecture, 47–48, 53
Modern architecture: and humanism, 3, 9
Jordy on, 3, 232n9
and morality, 4
postwar period shifts in, 4–5, 9–10, 30, 39, 109–10, 114, 146, 225
resistance to, 8
and monumentality, 30
and democracy, 31
and regionalism, 31, 33–34, 48, 77
and American pictorialism, 35
and American glamour, 43, 182, 230
litmus test for, 44–45
and historical references, 48, 114, 227, 230
consumer demand for, 84
and Eero Saarinen, 114, 118
Giedion on, 225–26
and changes in the sixties, 226–28
idealism of, 227, 228
Venturi on, 227–28. See also American modernism
Mid-Century Modern architecture
Modern house, as art object, 2
Modernity: and American glamour, 2, 19, 36
values of, 9, 10, 228
meanings of, 12
and film, 21
and Le Corbusier, 21–22
and Kaufmann Desert House, 97
and Fallingwater, 98–99
and technology, 226
postmodernism replacing, 227
Moholy-Nagy, Sibyl, 242n17
MoMA. See Museum of Modern Art (MoMA)
Monroe, Marilyn, 7, 13, 22, 226
Montefiore Hospital, Pittsburgh, 82
Monumentality: and humanized modern architecture, 30, 31, 33, 47–49, 53
and social ideals and aspirations, 30, 48
debates on, 31–32, 188
Giedion on, 32, 33, 34, 36, 48–49, 237n28
pseudomonumentality, 34, 49
and Wallace K. Harrison, 35, 122
and Johnson, 47–50, 63, 64, 71–72, 210
and Louis Kahn, 48–49, 209
and civic architecture, 49, 50, 67, 69, 154, 239n81
and religious architecture, 49, 188, 191, 208, 209, 210, 213, 216
and Eero Saarinen, 114, 123, 142
and Mendelsohn, 157
and New York World’s Fair, 160
and Lapidus, 168, 169, 173
and commemorative monuments, 187
and Wright, 191, 200
and Beth Sholom Synagogue, 192, 196, 201, 202, 208, 213
Moon, George, 242n22
Moore, Deborah Dash, 167
Morality, 4, 20, 42
Mosher, Bob, 97
Mufson, Harry, 166, 180
Mullen, Buell, 123
Mumford, Lewis: The Brown Decades, 32
“Skyline” column, 32–33, 34, 63
Technics and Civilization, 32
on International Style, 33, 34
on U.N. Assembly Building, 67
Murphy, Gerald: and glamour, 17, 19, 234n47
Razor, 18
and advertising, 19, 234n48
Murphy, Sara, 17, 19
Museum of Modern Art (MoMA): and arguments against Art Deco, 3
“Modern Architecture: International Exhibition” of 1932, 9, 30, 39, 42, 44, 86
and American glamour, 22
“Family of Man” exhibition, 23
and Johnson, 33, 39, 44, 47
“What Is Happening to Modern Architecture?” symposium, 33
evaluation of modern architecture, 34
and Barr, 44
“Machine Art” exhibition, 45
“Built in USA: 1932–1944” exhibition, 47, 53
and Mies van der Rohe exhibition, 49
Wright’s retrospective exhibition, 75
and Edgar Kaufmann, Jr., 77, 82, 106–7
and “Good Design” exhibitions, 82, 83
“Modern Houses in America” exhibition, 93
and Neutra’s exhibitions, 93
and Breuer, 106
Organic Design in Home Furnishings competition, 112
“Four New Buildings” exhibition, 144
N
Nadelman, Elie, 52
Narratives: and image-making, 2, 4
and American glamour, 7, 8, 13, 17, 27, 77, 230
and Americanness, 25
and postwar American architecture, 27
intervention of, 30, 31
of avant-garde architecture, 36
and Johnson, 43, 46, 48, 53
of clients, 77
and Kaufmann Desert House, 98
and Eero Saarinen, 134
and Beaux-Arts style, 154
and religious architecture, 187, 189
and Wright, 191
and Netsch, 223
National Geographic, 220
Nature: and Kaufmann Desert House, 76, 97, 98, 98
and Fallingwater, 98, 99, 100
Nazi Germany: architecture of, 31, 32
and Johnson, 42, 47, 236n3
Nelson, George, 48, 49
Nervi, Pier Luigi: Palazzetto dello Sport, Rome, 133
Turin Exhibition Building, 133
Netsch, Walter, religious architecture of, 189
Netsch, Walter (for Skidmore, Owings, & Merrill), Air Force Academy Cadet Chapel, Colorado Springs, 216, 218, 218, 219, 220, 223
Neutra, Richard: and Case Study House Program, 2–3
criticism of, 4
and evolution of modern architecture, 4–5, 9–10, 114, 225
Lovell “Health” House, Los Angeles, 44, 84, 85, 86, 93
California modernism of, 78, 86
VDL Research House, 84
and regionalism, 86
on architectural photography, 87, 93
and middle-class houses, 87
and Shulman, 87
Miller House, Palm Springs, 93, 95, 241n46
resort architecture of, 93
Brown summer home on Fishers Island, 94
and “Index of Livability,” 94, 96, 97
Survival Through Design, 94
Windshield, 94
popularity of, 103, 106
and Wright, 103, 241n48
and fantasy of modern living, 107
photogenic houses of, 134. See also Kaufmann Desert House (Neutra)
New Architecture and City Planning, 48
New Deal ideals, 23
New York City views: Times Square to south at night, 1933, 155
New Yorker magazine, 17, 32, 63
New York Times, 131, 144, 212, 243n42
New York Times Magazine, 244n3
New York World’s Fair of 1939: architectural design feature at, 31
Markelius’s Swedish pavilion, 31, 34, 35
nighttime spectacles of, 32, 36, 49
Trylon and Perisphere, 35, 35, 36, 160, 161, 162, 223
Staehle’s poster for, 36, 37
General Electric Tower, night views, 160
as influence on Lapidus, 160–62
Amusement Zone, 161, 161
Constitution Mall, 161, 162
Nichols, Marie, 65
Niedenthal, Richard, 87
Niemeyer, Oscar: and materials, 31, 48
and New York World’s Fair, 31, 35, 48, 161
and United Nations complex designs, 34, 67
and Lapidus, 169, 171
Caso do Baile, Pampulha Lagoon, Belo Horizonte, Brazil, 171, 177
Niemeyer, Oscar (and Costa), Brazil Pavilion at New York World’s Fair, 127, 127
Nishizama, Ryue, 230
Normandie (ocean liner), 164
Northern California architecture, 32, 33
Nouvel, Jean, Guthrie Theater, Minneapolis, 230, 237
Novack, Ben, 166, 174
Nowicki, Matthew: and United Nations complex designs, 67
Livestock Judging Pavilion, North Carolina, 133, 250n74
and engineering, 144, 250n74
as influence on Eero Saarinen, 243n51, 250n74
Nowicki, Matthew (and Eero Saarinen), Brandeis Chapel, 214, 216
Noyes, Eliot, 56
O
Objects: magical power of, 8
and Gerald Murphy, 19
singular objects in framed views, 27
design of, 45
“Useful Objects” exhibitions, 82
Ocean liners: resort hotels compared to, 151, 171, 178
and Lapidus, 162, 164, 169, 172
interiors of, 164, 164, 165
Ogilvy, David, 118
Oldsmobile Rocket advertisement, 143
Organic Design in Home Furnishings competition, 112
Oud, J. J. P.: housing estates at Hook of Holland and Rotterdam, 44
and Johnson, 49
P
Packard, Vance: Hidden Persuaders, 22, 116
Status Seekers, 22
Pahlmann, William, 154
Paris Exhibition of 1937, 32
Paris Exposition des Arts Décoratifs, 156
Parti: and Beaux-Arts, 46, 63
and Seagram Building, 63
Partisan Review, 22
Perkins, Constance, 94
Perriand, Charlotte, 14, 16–17
Peters, Wesley, 248n39
Pevsner, Antoine, Bird in Flight, 123
Photography: and Mid-Century Modern architecture, 2, 8, 77
role in shaping tastes, 5
and glamour, 6, 14
and American glamour, 25
of Lapidus’s retail work, 155–56. See also Architectural photography
Picasso, Pablo: and Edward Murphy, 17
Le Tricorne, 65
Pietro da Cortona, 189
Pittsburgh Plate Glass, 93
Playboy magazine: and American values, 23
and Johnson, 57
Polevitzky and Russell, Shelborne Hotel, 167
Pop Art, 11, 69, 227
Popular culture: critics of, 2, 183–84
and clients, 9
and Le Corbusier, 22
and Neutra, 77
and Kaufmann Desert House, 98
and Eero Saarinen, 116
and historical references, 154, 164
and shopping habits, 159
and New York World’s Fair, 161
and class, 184, 227, 228
and Lapidus, 184, 185
Populism: and postwar period, 4, 12, 225
and American “moderne” style, 111
and Lapidus, 185
Populuxe suburban houses, 1
Postmodernism: and clichés of American glamour, 11
theory of, 12, 227
and Johnson, 46, 71
and Lapidus, 182, 185
advent of, 228
and cultural diversity, 228, 230
Postwar period: diversity of perspectives within, 1, 5, 12
consumer culture of, 2–3, 10, 78, 183
“good life modern” buildings of, 4
and image-making, 4–9, 25–27, 76–77, 183, 227, 228, 230
lack of architectural manifesto for, 6, 189
American glamour of, 7, 8, 10
and defining Americanism, 23
architectural culture of, 27, 144, 227
and viewing habits, 27
and Kaufmanns’ architectural patronage, 77
and Eero Saarinen, 112
and resort hotels, 150, 166, 167, 168, 173, 174
and Lapidus’s adaptation of Art Deco, 151, 156–57
as period of introspection, 167
and extended palette of forms and materials, 182
and popular culture, 184
religious architecture of, 187, 188–89, 190, 208–10, 212–16, 218, 220, 223
and modernity, 226
the sixties compared to, 226–28
and power of institutions, 229
contemporary architecture compared to, 230. See also Mid-Century Modern architecture
Potter, David, People of Plenty, 25
Preminger, Otto, 182
Printers Ink, 96
R
Race, divisions of, 23
Radio City Music Hall, 159
Radziner, Ron, 103, 240n33
Rationalism, and CIAM, 32
Rear Window (film), 27
Regionalism: of Alvar Aalto, 12, 33, 48
and modern architecture, 31, 33–34, 48, 77
of Kaufmann Desert House, 78
and Neutra, 86
and Wright, 191
Reich, Lilly, 64
Reidy, Affonso, 171
Relativism, 228
Religious architecture: and monumentality, 49, 188, 191, 208, 209, 210, 213, 216
and American glamour, 187, 189, 214
of postwar period, 187, 188–89, 190, 208–10, 212–16, 218, 220, 223
and design quality, 188–89
and ceremony, 189
and changes in worship practice, 189–90, 214
redefinition of, 190
and synagogue designers, 208–10, 212–13, 249nn63, 69. See also specific buildings
Resort hotels: of Miami Beach, 149–50, 151, 166–67, 171, 245nn31, 34
and Lapidus, 150, 164, 166–69, 171, 173–74, 178, 180–82
and Stone, 150, 244n5
amenities and services of, 154–55, 167, 171, 174, 244n4
Riesman, David, Lonely Crowd, 22
Rivera, Diego, 82
Robinson, Boardman, Evolution of American Commerce, 81, 240n1
Robinson, Randall C., 244n3
Rockefeller Center, New York, 35, 82
Rosa, Joseph, 233n33
Rose, Billy, Aquacade, New York World’s Fair, 161
Ross-Frankel, Inc., 151, 154, 155
Roszak, Theodore, 215
Rothko, Mark, 238n76
Rowe, Colin, 71
Rudolph, Paul: Neogothic monuments of, 5
on U.N. Assembly Building, 67
Jewett Arts Center, Wellesley College, 69
and Lapidus, 182
early Florida houses of, 233n22
S
Saarinen, Aline Bernstein: and Lambert, 62
on critics of Eero Saarinen, 112
and art journalism, 131–32, 243nn42, 51
“Now Saarinen the Son,” 131
photograph of, 137
and public relations, 131, 147
Eero Saarinen, 132, 243n42
The Proud Possessors, 243n42
Saarinen, Eero: studies of, 1
Scully on, 3
criticism of, 4, 112, 114, 116, 118–19, 122, 146–47, 242n23
and evolution of modern architecture, 4–5, 9–10, 109–10, 114, 146
architectural model for the Smithsonian Gallery of Art, 31, 31
Banham on, 71, 118, 146, 147
Bell Telephone commission, 109
CBS headquarters, 109, 146
death of, 109, 132, 140, 146
Dulles International Airport, 109
IBM commission, 109
Jefferson Memorial, St. Louis, 109
John Deere commission, 109
Oslo embassy, 109
U.S. Chancellery Building, London, 109, 146
photographs of, 110, 137
and artistic expression, 111, 132, 143, 144, 214
and communication, 111, 112, 119, 242n22
influences on, 111, 123, 131, 132, 242n25, 243n51, 250n74
and Mies van der Rohe, 111, 122, 123, 243n51, 250n74
and Charles Eames, 112, 242n9, 243n51, 250n74
and “family of forms,” 112, 131, 132
and customized design, 114
Kresge Auditorium, Massachusetts Institute of Technology, Cambridge, 118, 133
Kresge Chapel, Massachusetts Institute of Technology, Cambridge, 118, 133, 214–15, 214, 215, 216, 250n74
Womb Chair of, 131, 131
Miller House, Columbus, Indiana, 140
Vassar College, Emma Hartman Noyes Hall, 140, 140
Yale University, Ingalls Hockey Rink, 143, 146
Concordia College, Fort Wayne, Indiana, 146
Morse College, Yale, 146
Stiles College, Yale, 146
religious architecture of, 189
as advisor to Air Force, 220
and Kelly, 238n64
and McCandless, 238n77
and “ribbon of color,” 242n25. See also General Motors Technical Center (Eero Saarinen)
TWA Terminal at Idlewild (Eero Saarinen)
Saarinen, Eero (and Nowicki), Brandeis Chapel, 214, 216
Saarinen, Eliel: Scandinavian regionalism of, 12
architectural model for the Smithsonian Gallery of Art, 31, 37
death of, 109
Chicago Tribune Tower Competition, 111
Helsinki Railway Station, 111
Eero Saarinen’s partnership with, 111
Saarinen House, Bloomfield Hills, Michigan, 112, 113
General Motors Technical Center, 119, 129
influence on Eero Saarinen, 123, 131, 132, 242n25, 243n51, 250n74
First Christian Church, Columbus, Indiana, 213, 214
and “ribbon of color,” 242n25
library of, 249n72
Saarinen, Loja, 112
Sainte-Chapelle, Paris, 216, 220
SANAA, 230
Sanders, Morris (with Lapidus), Distilled Spirits Institutes in the Food Building, New York World’s Fair, 160
Saturday Review, 208
Schinkel, Karl Friedrich: picturesque landscapes of, 50
Casino at Potsdam, 52
and Johnson, 60, 210
Schultze and Weaver, 154
Schwartz, Rudolph, 249n72
Scully, Vincent, on Eero Saarinen, 3, 118
Seagram Building, New York (Mies van der Rohe and Johnson): materials of, 6, 62, 63–64
Four Seasons Restaurant, 43, 62, 64–66, 65, 66, 134, 238n76
and Mies/Johnson collaboration, 43, 59, 60, 63–64
view of, 61
and monumentality, 62, 63, 64
and American glamour, 64
procession of, 64
in film, 238n72
Seeger, Ruth Crawford, 23
Sejima, Kazuyo, 230
Sert, Josep Luis, 237n28
Set designers, 154
“Ship of Tomorrow” interior, 164, 165
Shopping habits: and Americannness, 25
and Lapidus, 157, 162
and popular culture, 159
and Miami Beach resort hotels, 168, 171. See also Consumer culture
Show magazine, 59, 71
Shulman, Julius: Case Study House No. 22, x, 2, 3, 4, 27
Kaufmann Desert House, Palm Springs, 6, 74, 76, 87, 88–89, 90, 97, 93, 96, 97, 98, 98, 100, 103
Lovell “Health” House, Los Angeles, 85
and Miller House, Palm Springs, 95
Los Angeles International Airport, Theme Building, 145
Siry, Joseph, 199, 248n36
Siting: and Mid-Century Modern architecture, 5, 6
and Kaufmann Desert House, 87, 96
and Eero Saarinen, 114, 122, 127
and Beth Sholom Synagogue, 196, 248n18
and Wright, 200
Skidmore, Owings and Merrill: Lever House, 67
Pepsi-Cola Building, 67, 67
and resort hotels, 150, 244n5
glass pavilion, New York World’s Fair, 160
religious architecture of, 189
Air Force Academy Cadet Chapel, Colorado Springs, 216, 218, 218, 219, 220, 223
Air Force Academy complex, Colorado Springs, 216, 218, 220, 227, 222, 223
Skidmore, Owings and Merrill (with Eldem), Istanbul Hilton, 244n5
Sloan, Alfred P., 129, 130
Smithsonian Gallery of Art, Eero and Eliel Saarinen’s architectural model for, 31, 37
Soane, John, 59
Social mobility, 21, 23
Social policy, 226
Soriano, Raphael, 106
Southern California United Airlines travel poster, 92
Spaciousness: and Americanness, 2, 24, 25–26
and Neutra, 96
and Lapidus, 151
and religious architecture, 188
and Beth Sholom Synagogue, 196, 203
S.S. Brazil, 169
S.S. France, 164, 164
S.S. Ile de France, 164, 165
Staehle, Albert, poster for New York World’s Fair, 36, 37
Stein, Gertrude, 25
Stone, Edward Durell: detractors of, 3
American pavilion at Brussels World’s Fair, 67, 68, 218, 220
Huntington Hartford Museum, 67
U.S. Embassy in New Delhi, 67, 220
and Eero Saarinen, in, 144
and resort hotels, 150, 244n5
and Mortimer Cohen, 205
memorial article on Wright, 205, 208
El Panama Hotel, 218, 244n5
Stone, Edward Durell (with Goodwin), Museum of Modern Art, 218
Streamline Moderne, 3, 4, 45, 218
Suburbs: and middle-class white Americans, 23
and spaciousness, 25–26
contradictions of, 26–27
and religious architecture, 190
and economic prosperity, 226
Sullivan, Louis, 84
Sunset Boulevard (film), 10
Sunset magazine, 94, 96
Surface details: and Mid-Century Modern architecture, 5, 27
and Neutra, 96
and Eero Saarinen, 142
and Wright, 191, 201
Swanson, J. Robert F., 31
T
Taliesin, 75, 82, 97
Taliesin Foundation, 100
Tamarack Lodge, Greenfield Park, New York, 168, 171
Tatlin, Vladimir, “Monument to the Third International,” 127
Teague, Walter Dorwin, “Road of Tomorrow,” 161
Technology: and Eero Saarinen, 3, 110, 111, 116, 118, 119, 123, 132, 144
and postwar period, 8
and American glamour, 10, 17
European ambivalence toward, 21, 226
and International Style, 44
and monumentality, 50
and Kaufmann Desert House, 76, 97
and Neutra, 78, 86, 94, 97
and Edgar Kaufmann, Sr., 83, 86
and Fallingwater, 98, 99
and Lapidus, 150
and ocean liners, 162, 164
and religious architecture, 189
and Beth Sholom Synagogue, 200, 203
and Wallace K. Harrison, 215
and Netsch, 220
erosion of confidence in, 226
and modernity, 226
Television, 1, 23, 27, 86
Theatricality: and American glamour, 10
and glamour, 13
and framing, 27
and Wallace K. Harrison, 35
and Johnson, 40, 51, 57, 60, 63, 64
and Neutra, 97
and Lautner, 101
and Eero Saarinen, 119, 127–29, 134, 214
and Lapidus, 151, 162, 175, 178, 182
and consumer culture, 158–59
and ocean liners, 164
and religious architecture, 187, 189
and Beth Sholom Synagogue, 203, 204, 208
Time magazine: and Mies van der Rohe, 64
Wright on cover of, 75
photography used in, 77
Neutra on cover of, 106
“The Maturing Modern,” 110
Eero Saarinen on cover of, 110
and Beth Sholom Synagogue, 204
Wright’s work represented in, 248n20
Toffel, Harry, 245n30
Toro, Oswaldo Luis (and Warner), Caribe Hilton, Puerto Rico, 244ns
Tourism, 23, 24, 142, 143
Town and Country magazine, Wright’s cover, 202, 203
Trilling, Lionel, 20
Triumphalism, 8
Turner, Frederick Jackson, 25
TWA: criticism of, 142
Paris: Fly TWA poster, 142
TWA Terminal at Idlewild Airport (Eero Saarinen): commission for, 109
critical reaction to, 112, 132, 134, 142, 143–44
view of, 116
bird analogy for, 132, 134, 140, 142, 143, 144, 199
controversy of, 132
and engineering, 132, 133, 144
and family of forms, 132–33
and “gull wing” silhouette of Chevy Impala, 133, 134
planes on tarmac, 133
jetway to planes, 135
stair with figures, 135
lobby and sunken lounge, 136–37
sunken lounge, 138–39, 140
historical references of, 140
public reaction to, 140, 142
stair under construction, 147
in MoMA exhibition, 144
Theme Building at Los Angeles International Airport compared to, 144–45
Metropolitan Opera House compared to, 145
Tyler School of Art, Temple University, 190, 192
U
United Nations complex, designs for, 34, 67
Urban, Joseph: Kaufmann’s Department Store project, 80–81, 80, 81
and “Art in Industry” essay contest, 240n20
Urban planning, 226
Urban society, complexity of, 154–55
Urban sprawl, 227
Utopianism: backlash against, 10–11
and Johnson, 40
and Wright, 200
and Bauhaus, 227
Utzon, Jørn, Sydney Opera House, 144
V
Values: historical context of, 4
of cultural elites, 8, 34–35, 36, 45, 111, 132, 149, 161, 174, 184, 227, 228
American values, 9, 22, 34
of modernity, 9, 10, 228
and utopianism, 10–11, 40, 200, 227
and movement from modern to postmodern, 12
and glamour, 13
and Eero Saarinen, 116
and popular culture, 184, 228
and religious architecture, 187, 189–90
VanDerZee, James, Harlem Couple, 25
Vanity Fair, 14
Veblen, Thorstein, 23, 49
Vendome Shop, 82
Venturi, Robert: postmodern theories of, 12, 227–28
Guild House, Philadelphia, 224, 227
Complexity and Contradiction in Architecture, 227
Mother’s House, Chestnut Hill, Pennsylvania, 227
and “decorated sheds,” 228, 250n13
Venturi, Robert (and Brown), Learning from Las Vegas, 228
Verisimilitude, 30
Vietnam War, 226
Viewing habits, and Mid-Century Modern architecture, 5, 8, 27
Vogue, 14
Voorhees, Walker, Foley & Smith: General Electric pavilion, New York World’s Fair, 160
New York World’s Fair night views, 160
W
Walter Dorwin Teague Associates, 220
Wanamaker, John, Queen Mary Special Perfume “Nineteen Thirty Six,” 159
Warhol, Andy: and American glamour, 11
Triple Elvis, 11
Cold Marilyn, 11
Triple Elvis, 11
Philip Johnson, 38
and Johnson’s Guest House, 57, 58
Warner, Charles (and Toro), Caribe Hilton, Puerto Rico, 244n5
Warren and Wetmore, 154
Washington Monument, 35
Weed & Reeder, Beach Theater, Lincoln Rd., Miami Beach, 158
Western Pennsylvania Conservancy, 83
Williams, E. Stewart, 93–94
Williams, Paul (with Luckman and Pereira), Los Angeles International Airport, Theme Building, 144–45, 145
Women: and film, 3, 157, 158
architectural tastes of, 8, 9, 10, 22, 182
suburban women’s mobility, 26–27
and Neutra, 96
and automobile design, 130, 130
as decision-makers, 130
and retail design, 157
and undercurrent of misogyny, 183–84
and Lapidus, 184, 185
World War II: and emotional expression, 10
effect on American experience, 23, 189, 226
and humanization of form, 30
Jewish experience in, 167
and ideals of modernism, 227. See also Postwar period
Wright, Frank Lloyd: and evolution of modern architecture, 4–5, 9–10, 30, 225
disregarding of, 30
personalism of, 33
range of expression, 34
and MoMA exhibition on modern architecture, 44
Johnson on, 46, 53
and Johnson, 49, 53
death of, 75, 200, 204, 205, 208
Edgar Kaufmann, Sr. as loyal supporter of, 75, 82, 83, 86, 100
and Edgar Kaufmann, Sr.’s commission of Neutra, 75–76, 94, 96, 100
and “Cause of Architecture,” 78
Broadacre City project, 82, 83, 84, 200, 248n33
Edgar Kaufmann, Jr.’s study with, 82
functionalism of, 84
and middle-class houses, 87
and clients, 94, 99, 100, 190, 191–94, 196–200, 201, 204
Pittsburgh Point Project, 100
Point View apartment complex, 100
Kaufmann House (Boulder House) project, 101, 107
Rhododendron Chapel, 103, 199
Americanness of, 109, 191, 196–97
imagery of, 109
and Eero Saarinen, 111, 145
Guggenheim Museum, New York, 145, 191, 203, 205
as maverick individualist, 189
religious architecture of, 189, 190, 199
Annie Pfeiffer Chapel, Florida Southern College, 191, 191
Annunciation Greek Orthodox Church, Milwaukee, 191, 191
Unity Temple, Oak Park, Illinois, 191, 196, 199
“Is It Good-By to Gothic?,” 192
photograph of, with Cohen, 192
“Sixty Years of Living Architecture” exhibition, 192
Steel Cathedral project, New York, 198, 199
The Living City: ground view, 199, 200
An Autobiography, 200
Usonian designs, 200, 240n20
Price Tower, 201
cover, Town and Country magazine, 202, 203
Prairie houses of, 204
Gammage Auditorium, Tempe, 248n36. See also Beth Sholom Synagogue, Elkins Park, Pennsylvania (Wright)
Fallingwater (Wright)
Wurster, William, 250n74
Y
Yamasaki, Minoru: detractors of, 3, 71
Neogothic monuments of, 5
Conservatory of Music in Oberlin, Ohio, 67
Northwestern National Life Insurance Co. (now Reliastar) Building, 67
Wayne State University, College of Education Building, Detroit, 67, 68
North Shore Congregation Israel, Glencoe, Illinois, 249n63
Z
Zevi, Bruno, 118, 208
Index
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