一幅略微不同的关于这位20世纪建筑师的肖像，他的作品定义了美国企业的建筑美学。

尼古拉斯•亚当斯（Nicholas Adams）探索了本夏夫特作为一个独特的艺术天才对赞誉的野心与SOM的建筑合伙关系的协作结构之间存在的具有争议的界限。本夏夫特于1988年获得了普利兹克建筑奖，并且仍然是**获得这一殊荣的SOM合作伙伴。亚当斯（Adams）通过与这个现代主义时刻（当时本夏夫特**作品的未来还是个问题）有关的必要的批判性背景反驳了本夏夫特的格言，即“建筑物可以为自己代言”。

A nuanced portrait of the 20th-

century architect whose work defined the built aesthetic of corporate America

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.