Word: bunshaft
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...that the Reynolds Metals Co. asked for was a new set of the most efficient offices they could get, and Gordon Bunshaft, design partner of famed Skidmore, Owings & Merrill, produced a high-efficiency aluminum, glass and steel building, set squarely behind its own private reflecting pool five miles north of downtown Richmond, citadel of the Old Dominion's fanciers of mellow brick, white porticoes and neo-Monticello atmosphere. Reynolds expected furious protests from wave on wave of outraged Virginians. Instead, the distinguished director of the Virginia Museum of Fine Arts, Leslie Cheek Jr., told them that whether they knew...
...others in the top seven: ¶ Skidmore, Owings & Merrill's Lever House (TIME, April 28, 1952) on Manhattan's Park Avenue, designed by S.O.M. Partner Gordon Bunshaft-a pattern-setter for the era of the glass tower plus plaza...
...buildings from all over the U.S., the American Institute of Architects last week picked this year's winners of "first honor" awards for architectural excellence. The year's best: the Connecticut General Life Insurance Co. home office building near Hartford by Skidmore, Owings & Merrill Partner Gordon Bunshaft (TIME COLOR PAGES, Sept. 16); the Stuart Co. pharmaceutical plant at Pasadena by Architect Edward D. Stone (TIME COVER, March 31); two glass-façaded California school buildings by San Francisco's Mario J. Ciampi; a highly patterned tile-and-glass-façaded Palm Springs specialty shop...
Going through a list of about 15 modern painters, Heinz President Jack Heinz, 49, and Bunshaft soon chose Stuart Davis, 63 (TIME, March 15, 1954). Explains Heinz's Heinz: "After all, it doesn't take long to think of Stuart Davis. He's the dean." Painter Davis created his own design, evolved an ingenious rig that allowed him to swing the huge canvas over a wooden roller like a rug hung up on a clothesline. He worked six months from his first sketch to the completed work, produced the largest single canvas he has ever done...
...into his work, in disguise. In the lower left portion there is a scrambled 1957, thus: 1922. This, says Davis, represents "the year it was painted, the year the building went up, and 57 Varieties." In place against its white plastic panel background, the mural is what Architect Bunshaft calls "a real head-snapper." Says pleased Preserver Heinz: "Exactly what we wanted. It gives vitality to the whole room...