Yamasaki Report

THE YAMASAKI COLLECTION
ARCHIVES OF MICHIGAN
NEEDS ASSESSMENT ANALYSIS REPORT
December 30, 2010
©Tawny Ryan Nelb

Nelb Archival Consulting, Inc.
5610 Woodberry Ct.
Midland, MI 48640
(989) 631-1011, TawnyRN@aol.com
www.nelbarchival.com
The Yamasaki Collection
Needs Assessment Analysis
TABLE OF CONTENTS
TABLE OF CONTENTS..................................................................................................... i
ACKNOWLEDGMENTS .................................................................................................. ii
I. EXECUTIVE SUMMARY ............................................................................................. 1
II. INTRODUCTION.......................................................................................................... 1
III. MINORU YAMASAKI BRIEF BIOGRAPHY ........................................................... 3
IV. MINORU YAMASAKI LEGACY ............................................................................ 13
V. PRE-1986 YAMASAKI VERSUS LATER YAMASAKI FIRM MATERIALS ....... 18
A. Summary of Record Types/Percentages Based on May-October 2010 Survey..... 20
VI. FULL SURVEY ......................................................................................................... 22
VII. SURVEY ANALYSIS .............................................................................................. 23
A. Visual Materials ..................................................................................................... 23
1. Photographic Material....................................................................................... 23
a.) 4 x 5” Color Negatives, Transparencies, and Prints .................................. 23
b.) 105 mm Microfilm..................................................................................... 25
c.) 35 mm Slides ............................................................................................. 26
d.) 35 mm Aperture Cards .............................................................................. 31
e.) Photo Prints................................................................................................ 31
f.) Digital Photographs.................................................................................... 32
2. Drawings ........................................................................................................... 32
a.) Analog........................................................................................................ 32
i.) Presentation Boards .............................................................................. 32
ii.) Flat and Rolled .................................................................................... 33
b.) Computer Aided Design and Other Born-Digital Files ............................. 34
B. Books...................................................................................................................... 36
C. Artifacts.................................................................................................................. 40
D. Project Records ...................................................................................................... 41
1. Project List ........................................................................................................ 41
2. Project Files ...................................................................................................... 43
E. Office Records........................................................................................................ 43
1. Correspondence and Financial Records............................................................ 43
2. Public Relations ................................................................................................ 43
3. Project Development, Reference, Clippings and Articles ................................ 43
F. What’s Missing? ..................................................................................................... 44
VIII. ADDITIONAL MATERIALS................................................................................. 46
i
IX. CONSERVATION ISSUES....................................................................................... 47

A. Visual Materials ..................................................................................................... 47
1. Photographic Material....................................................................................... 47
a.) 4 x 5” Color Negatives, Transparencies, and Prints .................................. 47
b.) 105 mm Microfilm..................................................................................... 49
c.) 35 mm Slides ............................................................................................. 49
d.) 35 mm Aperture Cards .............................................................................. 50
e.) Photoprints ................................................................................................. 50
2. Drawings ........................................................................................................... 51
a.) Analog........................................................................................................ 51
i.) Presentation Boards .............................................................................. 51
ii.) Flat and Rolled .................................................................................... 51
b.) CAD and Other Born Digital Records....................................................... 52
B. Books...................................................................................................................... 53
X. PROCESSING ............................................................................................................. 54
A. Arrangement and Description ................................................................................ 54
1. Standard Series and Subseries with Examples.................................................. 56
2. Yamasaki Collection Series .............................................................................. 57
3. Project Index ..................................................................................................... 59
B. Copyright................................................................................................................ 61
1. Drawings Copyright.......................................................................................... 61
2. Photographic Material Copyright ..................................................................... 63
C. Security Issues........................................................................................................ 66
D. Visual Materials Processing................................................................................... 66
1. Analog Photographic Material.......................................................................... 66
2. Analog Drawings .............................................................................................. 67
3. Computer Aided Design (CAD) ....................................................................... 68
E. Textual and Other Materials Processing................................................................. 74
XI. STORAGE.................................................................................................................. 75
A. 35 mm Slides.......................................................................................................... 75
B. Flat and Rolled Drawings....................................................................................... 76
C. Presentation Materials: Mounted Drawings and Photographs .............................. 80
XII. ORAL HISTORIES................................................................................................... 81
XIII. RESEARCH, COMMERCIALIZATION, AND EXHIBITION USE .................... 84
A. Research and Outreach........................................................................................... 84
1. Heightened Research Interest ........................................................................... 84
2. Digitization Collaboration for Research Access............................................... 85
3. Digitization Planning ........................................................................................ 88
a.) Standards.................................................................................................... 88
b.) Capture....................................................................................................... 90
c.) Long-Term Preservation ............................................................................ 92
d.) Dublin Core Minimal Metadata................................................................. 92
4. Fellowships ....................................................................................................... 92
5. Lecture Series.................................................................................................... 93
ii
B. Commercialization ................................................................................................. 93
1. Products............................................................................................................. 93
2. Architectural Tourism and Education............................................................... 95
C. Exhibitions ............................................................................................................. 97
1. Exhibitions ........................................................................................................ 97
2. International Confederation of Architectural Museums ................................... 97
XIV. PROJECT FUNDING.............................................................................................. 99
A. Advisory Board ...................................................................................................... 99
B. Collaborative Funding............................................................................................ 99
1. Governmental and Government-Related Grant Funding................................ 100
a.) Institute Of Museum and Library Services (IMLS)................................. 100
b.) National Endowment for the Humanities (NEH) .................................... 100
c.) The National Historical Publications and Records Commission (NHPRC)
....................................................................................................................... 102
d.) Michigan Humanities Council................................................................. 103
e.) Michigan State Historic Preservation Office (MSHPO).......................... 103
f.) The Michigan History Foundation ........................................................... 103
2. Private Foundation Funding............................................................................ 103
a.) Graham Foundation ................................................................................. 103
b.) Michigan Architectural Foundation......................................................... 104
c.) Getty Foundation ..................................................................................... 105
3. Private Individuals or Organizational Funding............................................... 105
a.) Clients ...................................................................................................... 105
b.) Colleagues ............................................................................................... 106
XV. CONCLUSION ....................................................................................................... 107
XVI. APPENDICES ....................................................................................................... 108
Appendix A. Needs Assessment Analysis Survey
Appendix B. Media/support Identification and Preservation Chart
Appendix C. Standard Series for Architecture and Landscape Design Records
Appendix D. Oral History Questions
iii
ACKNOWLEDGMENTS
The Archives of Michigan has worked since their opening to preserve the history of the
State of Michigan. In the past, the Archives has focused on collecting primarily
government records. And while these are important, recently the Archives has broadened
their collection policy to include other materials of historic importance to the State of
Michigan. This policy change that helps preserve important material of long term value
that might otherwise have been destroyed has been welcomed by historians and records
creators. The Yamasaki Collection is among those rescues.
Special thanks are given to Mark Harvey, Director of the Archives of Michigan, and his
staff for facilitating the research required to produce this report and for making me
always feel welcome on my visits to Lansing. Nicole Garrett, Jill Arnold, and Chrissie
Evaskis helped by scanning some of the images and offering other assistance necessary
for the needs assessment analysis.
All images of Minoru Yamasaki himself and his design projects are from the Yamasaki
Collection at the Archives of Michigan.
iv
The Yamasaki Collection 1
Executive Summary
I. EXECUTIVE SUMMARY
Modernist architect Minoru Yamasaki is best known for his 1962-1981design of the
World Trade Center complex in New York City, which was destroyed by terrorists on
September 11, 2001. His legacy, however, goes far beyond that to reflect his roots as a
“Nisei,” Japanese American, who suffered discrimination throughout his life and the
development and transition of modernism worldwide.
The Yamasaki Collection consists of records dating from 1948-2009 and it actually
incorporates materials from several Minoru Yamasaki-related firms including Hellmuth,
Yamasaki, Leinweber; Yamasaki, Leinweber and Associates, Incorporated; Minoru
Yamasaki Associates, Inc.; Yamasaki Associates, Inc.; and Yamasaki Incorporated.
There is no clear division between the pre-1986 (the year of Yamasaki’s death) and post-
1986 materials in boxes since the firm used older projects for marketing. In addition,
Yamasaki’s early design projects were often renovated by the successor firm and original
and alterations were filed together. All of the Yamasaki materials should be kept
together as the Yamasaki Collection without an attempt to separate this material into pre-
or post-1986 groups.
The portion of the collection that predates Minoru Yamasaki’s death (1986) consists
primarily of visual materials including analog presentation boards, project drawings,
photographs, 4 x 5” color negatives, transparencies and their corresponding prints, 35
mm slides, aperture cards, and 105 mm microfilm. There is also an extensive collection
of Minoru Yamasaki’s personal library books. Lesser amounts of textual materials
(correspondence, proposals) and artifacts are extant from this period. There is little
personal material reflecting his life outside architecture.
The post-1986 materials are also primarily visual materials and include analog
presentation boards, photographs, color negatives, transparencies and accompanying
prints, 35 mm slides, and project drawings. The bulk of the records, however, are in
myriad digital formats including computer aided design (CAD) drawings, photographs,
PowerPoint presentations, video, email, financial records, correspondence, proposals, and
other firm documents. These digital materials are voluminous and may equal two to
three terabytes of data, or more, once they are analyzed more fully.
Despite the destruction of major portions of the Yamasaki firm records before the
Archives of Michigan accessioned the material in 2010, the intellectual value of the
extant material in the collection is extraordinary. Images of design projects’ presentation
drawings, models, construction and post-construction photographs, slides, and other
photographic formats are a gold mine for understanding the breadth of Minoru Yamasaki
and his successor firm’s work. Most individual projects are extremely well documented
visually. Project drawings for some of Minoru Yamasaki’s most important works exist,
including the World Trade Center and Century Plaza Hotel. Lesser numbers of textual
materials survive in the Archives of Michigan collection but project information will be
supplemented by extant records at other repositories such as Wayne State University.
Executive Summary
Although Yamasaki Collection’s potential for research use is exciting on many fronts, it
presents significant challenges for access and preservation. The analog and digital visual
materials have the greatest preservation needs. The analog photographic materials need
immediate re-housing to better protect them for long term storage. The 4 x 5” color
negatives, transparencies, and their corresponding prints which represent major
documentation of Minoru Yamasaki’s project models and presentation drawings are
stored in polyvinylchloride pages and acidic glassine sleeves. Adhesive tape was used to
attach the negatives and corresponding prints together. It is now degrading and will
require a plan for cost effective removal. The 35 mm slides were taken with a variety of
color film technologies including Ansco color and Ektachrome scattered in smaller
amounts throughout the early project years. These two slide film types require cold
storage for long term preservation. The majority of slides are labeled with a stick-on
label with information including their project number and whether they are models,
presentation drawings, working drawings, construction, or post-construction photos.
Many of these labels are starting to fall off as the adhesive degrades. Some of the photo
prints were poorly washed and a color shift is evident.
The drawings are in primarily good to excellent condition with some experiencing the
usual rips and tears from decades of use. However, in recent years, the Yamasaki
Associates firm began to use “Post-it Notes” to make annotations on the drawings. Since
Post-it Notes will eventually lose their adhesive grip and fall off, keeping the context for
the annotations will have to be built into the processing plan. The firm also used sticky-
backs and magic markers to create portions drawings, both of which offer preservation
problems over the long-term. Unstable ink jet prints are common in the later years. The
number of drawings in the collection will require significant financial resources to house
them in the recommended flat storage for long term preservation.
Despite these concerns, there are “best practice answers” for all this analog material. It
will just take time, financial resources for storage equipment, and financial resources for
staff to store, arrange, and describe the records. It is the born-digital records that create
the most serious challenges. The Yamasaki Associates firm moved to born-digital
materials for project files, drawings, accounting, and most other aspects of their records
creation beginning in the late 1980s. Many of the early storage formats are obsolete and
simply accessing the data on the older formats will require vendor assistance. The firm
used no standards for file names and there may be two or three terabytes of data made up
of 1000s of digital files in the archives. These will all have to be appraised file-by-file or
at least folder-by-folder to determine their long term value. Options are being explored
for the long term preservation of such a huge amount of data once the appraisal decisions
are made.
Files formats, too, may either be obsolete or the software unavailable without
commitment of significant resources. Computer Aided Design (CAD) records present
questions of the need to preserve functionality in dwg and other CAD formats versus just
preserving a snap shot of the project drawing as a jpg or a tiff file. Current archival
models for CAD preservation used in other repositories are time consuming and
Executive Summary
complicated. The Archives of Michigan is already exploring other user friendly use and
preservation options.
Digitization of some of the analog visual materials in the Minoru Yamasaki Archives is
important for researcher use and access. The Archives of Michigan has substantial
expertise managing capture, metadata, and storage, but it will require significant staffing
resources and appropriate digital file management long term.
Serious copyright issues are also yet to be resolved. Although Yamasaki Incorporated
donated the records in 2010, there are thousands of photographs, 4 x 5” negatives, color
transparencies, and 35 mm slides that are clearly identified with the name of the
photographer. Most of these photographers retained their copyrights. Drawings from
other architectural firms can also be found throughout the collection. Copyright law is
extremely complicated but little of this material is currently in the public domain and
securing either the copyrights or licensing the use of the material is a top priority.
Due to its wealth of visual materials, this collection has tremendous potential for
production or licensing of products that could generate funds for the Archives of
Michigan. Interest in this collection is already growing, and there are many opportunities
for collaboration both with other repositories holding smaller amounts of Yamasaki-
related material and with potential grantors or donors who will find the Yamasaki
Collection worthy of their support.
The Yamasaki Collection not only documents the changes to Minoru Yamasaki’s own
design approach over time but also documents the work of the successor firm during the
following twenty-five years. The collection will be a valuable resource for students,
historians, historic preservationists, cultural tourism, and all those interested in
preservation of our built environment.
Tawny Ryan Nelb

Nelb Archival Consulting, Inc.
December 30, 2010
II. INTRODUCTION
On Monday, March 2, 2010, Brian
Conway, Michigan’s State Historic
Preservation Officer (MSHPO), was
contacted by Pauline Saliga of the
Society of Architectural Historians in
Chicago, Illinois, who alerted him of the
imminent destruction of the Minoru
Yamasaki and Associates, Inc. and
Yamasaki Associates records in Troy,
Michigan by Oakland County. They
were scheduled to be destroyed the
following day by county workers
preparing the indebted firm’s equipment
for auction to recoup overdue taxes.
Mark Harvey, his staff, and members of Yamasaki Associates Architectural
the MSHPO went to the Yamasaki Firm, March 3, 2010,
Associates office the next day to see Photo Courtesy MSHPO1
what could be salvaged.1
The journey for a permanent home for these records actually started almost twenty years
ago when Sherry Birk of The American Institute of Architect Foundation’s Octagon (now
defunct) contacted the Yamasaki Associates firm after their reorganization in the early
1990s in hopes of securing Minoru Yamasaki’s papers to join an impressive list of world
renowned architects’ papers in Washington, DC. She was told by someone in the firm
that all the Minoru Yamasaki records had been destroyed except a model of the World
Trade Center (WTC) that had been sent to Lawrence Technological University. She was
able to secure the model for The Octagon’s collection.2
This attempt to locate and preserve Yamasaki materials was followed in 1994 by the
Documenting Michigan Architecture Project, a NHPRC funded project of the Michigan
Bureau of History, directed by consulting archivist/historian Tawny Ryan Nelb.3 Again,
advisors for the project were told that the material had already been destroyed except for
the WTC model. It turns out everyone had been talking to the wrong people. Some of
the Yamasaki personal records were preserved by the family, but the bulk of Minoru
Yamasaki and Associates papers were not actually destroyed until the mid 2000s when
1
“Saving Yamasaki,” MICHIGANMODERN, Michigan State Historic Preservation Office,
http://michiganmodern.org/2010/03/05/saving-yamasaki/ (October 9, 2010).
2
Sherry Birk to Mark Harvey, <SBirk@archfoundation.org> “WTC Model,” June 29, 2010, personal e-
mail (October 9, 2010). Since The Octagon is in the process of deaccessioning its collections to send to
other repositories, the model has been donated to the 9/11 Memorial and Museum in New York City in
hopes of future exhibition.
3
Tawny Ryan Nelb, “The Documenting Michigan Architecture Project,” American Archivist, 59:2 (Spring
1996), 228-239.
the firm’s owner kept paring down records’ storage units due to storage costs until there
was nothing left.
Fast forward this story to the end of 2009 when the Yamasaki firm actually went
bankrupt. Within two weeks, Lawrence University Tech associate professor Dale Allen
Gyure, concerned for the legacy of Minoru Yamasaki, sent an urgent message to the
Society of Architectural Historians listserv with a plea for help to save the Yamasaki
archives, saying,
My concern is for the firm's archives, which are said to be extensive and
covering the years when Yamasaki was one of the most prominent architects in
the country. Its contents could include materials pertaining to the World Trade
Center, the Pruitt-Igoe housing development, and the McGregor Conference
4
Center at Wayne State University, among other projects.
When this message was passed on a few days later to the Society of American Archivist’s
listserv, some archives in Michigan began to explore the issue. Unfortunately, the
misinformation from the 1990s preceded their appraisals, and few thought there would be
much left to save. As luck would have it, the Yamasaki papers’ tale-of-nine-lives finally
found a sympathetic ear with the Archives of Michigan.
Archives staff negotiated terms with Oakland County officials and arrived at the
Yamasaki, Inc. headquarters at 8 AM on March 2, 2010. During their walk through, they
earmarked and packed material they thought would be appropriate for long-term
preservation. The county staff reserved anything of monetary value for an impending
auction, refusing to allow some posters and other visual materials to be taken in by the
Archives of Michigan. As Archives and MSHPO staff cleared an area, county-contracted
disposal crews moved in to clean out the space.
After shipping the material to

Lansing, the Archives of Michigan
made a significant commitment to
preserving the Yamasaki Papers by
immediately hiring an archival
consultant to survey the collection and
make recommendations for action.
The review began on May 17, 2010
and was completed on December 29,
2010 with the submittal of this report.
MSHPO and Archives of Michigan Staff

Move Yamasaki Records for Transfer to
Lansing, MI, March 3, 2010, Photo
Courtesy MSHPO
4
Dale Allen Gyure to SAH Listserv, <dalegyure@yahoo.com> “Minoru Yamasaki Archive Endangered,”
January 16, 2010, personal e-mail (October 9, 2010).
III. MINORU YAMASAKI BRIEF BIOGRAPHY

”For me, architecture is not a way of life, it is my life.”5
Minoru Yamasaki’s work as an architect has always drawn “high praise and high
criticism.”6 Minoru Yamasaki was born in Seattle, Washington on December 1, 1912 of
Japanese emigrants and known as a “Nisei” or American-born progeny of Japanese
ancestry. His father, Tsunejiro Yamasaki, was the third son from well-to-do rural family
in Toyama on the western shore of the main island of Honshu. His uncle had emigrated
to the U. S. so Yamasaki’s father joined him in Seattle. His mother, Hana, was the oldest
of twelve children whose parents moved to Seattle to start a tailor business. She stayed in
Japan to care for the youngest children and rejoined them years later. His parents had an
arranged marriage. They had both attended high school in Japan, and despite their
emigration, American ways remained somewhat foreign to them. This was exacerbated
by the fact that they did not speak English well and that the West Coast had a strong
racial prejudice against “Orientals” at the time.7
His parents worked hard with two or three jobs to improve their economic situation and
to give their children a good education. Minoru was a good student and excelled in math
and science but not subjects in which he had little interest like languages or geography.
He was exposed to architecture by his uncle, Koken Ito, who had attended the University
of California and stopped in Seattle on his way to a job in Chicago. He had brought some
architectural drawings with him and Yamasaki commented later, “…I almost exploded
with excitement when I saw them. Right then and there I decided to become an
architect….”8
During his young years, he was exposed to the strong racial bias against the Japanese in
Seattle, and he was deeply hurt by it. He said later, “I am a firm believer that all people,
whatever their color, race or creed, should be recognized for their character and for their
contributions to society and the happiness of their families, rather than for their color.”9
Yamasaki graduated from Auburn High School and attended the University of
Washington. He worked hard at developing his drawing skills while in college. He spent
hours learning to sketch with pencil and create watercolors in his spare time. He was
inspired by professor Lionel Henry Pries who encouraged him with the prediction that he
5
Minoru Yamasaki, A Life in Architecture (New York: Weatherhill, 1979), 9.
6
Roddy Ray and Marsha Miro, “Minoru Yamasaki Architect put Soul in Modern,” Detroit Free Press,
February 9, 1986, Minoru Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit,
MI.
7
8
Minoru Yamasaki, A Life in Architecture (New York: Weatherhill, 1979), 10-11.
9
would become one of the best architects ever to graduate from the school.10 He
graduated in 1934 with a B. A. in architecture.11
He worked in the salmon canneries in Alaska for five summers during the Great
Depression. The exploitation of the workers, primarily Nisei and Filipino who would
accept low wages, was indelibly stamped on his mind. During the preparation month
before the salmon arrived, they worked from six in the morning to six at night with an
hour for lunch and one ten-minute break, six days per week and were paid seventeen
cents per hour. Once the salmon arrived they worked eighteen hours per day, seven days
per week for twenty-five cents an hour. They were given poor food and a hundred men
were housed in one room in bunks with very poor straw mattresses with bedbugs. There
was no medical care and men suffered from beriberi. Some men lost fingers and arms to
a fish trimming and gutting machine, the “Iron Chink”--so named because it replaced
several men. Yamasaki himself almost lost two fingers on his drawing hand during this
work.12
Those summers in Alaska left an indelible mark. He experienced drudgery, harshness,

and dehumanizing work conditions. He became determined not to do that kind of work
the rest of his life. He knew that hard work and steady application would allow him to
develop and use his natural gifts. These trials later gave him a deep appreciation for
those with whom he worked in his architectural office and there was “practically no
dissension as we worked together to complete the projects.”13
After graduation, instead of working for his uncle in Texas, he went to New York. He
found no architectural jobs available during the Depression but found work wrapping
dishes for a firm importing Noritake china. This made him more determined to become
an architect. He started on a Masters of Architecture program at New York University.
He improved his drawing and painting, and his instructor, Mrs. Estelle Armstrong, asked
him if he would like to teach at the University. He taught one afternoon each week as
Instructor of Water Color (1935-1936) while still working for the dish company. He
found the students didn’t learn well with the existing teaching method. He reorganized
the entire system so instead of working on one piece for 3 hours they did four sketches
every hour, one every ten minutes with a break in-between. His teacher thought he was
so talented he should become a painter instead of an architect. For many years he spent
spare evenings painting two or three watercolors for enjoyment and to perfect his craft. 14
After two years, he was asked to work on a “charrette” (a rush to finish a project under
pressure of a deadline) to finish drawings for the new Oregon State Capitol Building
competition. He worked madly for two weeks (on leave from a dish company) and the
company won the competition to collaborate with the main project architects. Soon
10
11
“Minoru Yamasaki,” Fellows of the American Institute of Architects (Memphis, TN: Books LLC, 2010),
260.
12
13
14
afterward he was offered a job (1935-1937) as designer-draftsman for the firm, Githens
and Keally Architects.15 At the same time, he was offered a designer or administrative
job by the china firm that would have required him to go to Japan. Yamasaki commented
later that this was five years before Pearl Harbor, and if he had taken the job he would
have been drafted into the Japanese army. Yamasaki said this “would have been totally
against my firm democratic beliefs.”16
The firm soon ran out of work but recommended him to Shreve, Lamb, and Harmon,
architects of the Empire State Building. He didn’t care for the type of design they were
doing so he transferred to the working drawings department. He worked under chief
draftsman Harry Dowswell and worked with the firm from late 1936 or early 1937 to late
1943.17 Since work was so scarce, the architects were constantly in fear of losing their
positions. During that time he also worked as an Instructor in Architectural Design at
Columbia University (1943-1945).
On December 5, 1941, he married Teruko (Terry) Hirashiki, a Juilliard piano student

from Los Angeles,18 and the couple later had three children, Carol, Taro, and Kim.19
They divorced in 1961 and Yamasaki married twice more before remarrying his first wife
in 1969.20 During the war, Yamasaki spent significant time working on building design
and construction for Shreve, Lamb, and Harmon at the Sampson Naval Station on the
shore of Lake Seneca in New York State. He experienced a significant amount of anti-
Japanese prejudice during the war but as an American citizen and after passing numerous
security checks by the FBI, Navy, and Army, he was able to keep working. His parents
came to live with his family in New York during the war and were thus able to avoid the
west coast internment camps.21
As work declined with Shreve, Lamb, and Harmon, Yamasaki took a position (1943-
1944) with Harrison, Fouilhoux, and Abramovitz. Although the position only lasted a
year, he was deeply influence by the appreciative and respectful way in which the firm
15
“Art: The Road to Xanadu,” Time (January 18, 1963), http://www.time.com/time/
magazine/article/0,9171,874696,00.html (October 7, 2010).
16
17
18
Terry Yamasaki taught piano until the late 1970s. She also was an accompanist, performer, piano
competition judge, and a great supporter of the Detroit Symphony Orchestra and Michigan Opera Theatre.
“Since Age 8, Pianist Used Music to Make Life Sing,” Teruko Yamasaki Obituary, Detroit Free Press,
November 12, 1997, Minoru Yamasaki Biographical File, American Institute of Architects-Michigan,
Detroit, MI.
19
“Minoru Yamasaki,” The Free Online Encyclopedia of Washington State University,
http://www.historylink.org/index.cfm?DisplayPage=output.cfm&file_id=5352 (October 5, 2010); Minoru
Yamasaki, A Life in Architecture (New York: Weatherhill, 1979), 20.
20
Former hospital administrator Peggy Watty was his second wife for two years but little is known about
his third wife, a Japanese woman he met while on an architectural mission there. Jean Sharley, “Bride of
Famous Architect: Beautiful Mrs. Yamasaki,” Detroit Free Press, July 28, 1961, Minoru Yamasaki
Biographical File, American Institute of Architects-Michigan, Detroit, MI; Jane Schermerhorn, “The
Yamasakis: The Story of a Love Reborn,” Detroit News, September 7, 1969, Minoru Yamasaki
Biographical File, American Institute of Architects-Michigan, Detroit, MI.
21
treated its staff. At the same time, he was an Instructor of Architectural Design at
Columbia University.22 He also worked freelance with George Nelson and soon left
Harrison, Fouilhoux and Abramovitz for work with Raymond Loewy’s office working in
industrial design (1944-1945). After a year of working on industrial skins of machinery,
he decided to move on to other areas of interest. In 1945, he was hired as chief designer
for Smith, Hinchman, and Grylls, a Detroit firm where, among other projects, he worked
on a project for the state capitol in Lansing.23 He didn’t care for the huge size of the firm.
With 600 people occupying nine floors of a big office building downtown, he became
disenchanted with the impersonal nature of the work.24
In 1949, he established an independent partnership with George Hellmuth and Joseph

Leinweber with offices in both St. Louis and Detroit. Together they built the highly
respected Lambert-St. Louis airport terminal. They also built the infamous Pruitt-Igoe
public housing project that was destroyed less than 20 years after its construction due to
functional problems of the recreational galleries and skip-stop elevators, low occupancy
rate, lack of maintenance, and vandalism.25
His earlier interest in the work of architects Le Corbusier and Mies van der Rohe
designing buildings of unadorned glass and steel boxes gradually evolved into more focus
on creating “light, harmonious buildings.” A trip to Japan, India, and Europe in 1954
influenced his work greatly as he moved toward the creation of serene and surprising, yet
exciting, spaces.26 One after another, his structures showed a personal odyssey.27 From
1955-59, he wrote several articles in architecture and other journals and was interviewed
by others to explain his new approach.28 In one article, he commented, “Ornament as
22
“Minoru Yamasaki Education and Professional Record,” c 1979, enclosure in letter, Judith A. Griffin
(Minoru Yamasaki Associates) to Ray Chalmers, September 28, 1979, Minoru Yamasaki Biographical File,
American Institute of Architects-Michigan, Detroit, MI.
23
Minoru Yamasaki, A Life in Architecture (New York: Weatherhill, 1979), 22; “Minoru Yamasaki,” The
Free Online Encyclopedia of Washington State University, http://www.historylink.org/
index.cfm?DisplayPage=output.cfm&file_id=5352 (October 5, 2010); Minoru Yamasaki Resume, 1961,
Yamasaki Collection, Archives of Michigan.
24
Bruce Britt, “Big Dreams” Metrotimes (September 25-October 2, 1985).
25
Alexander von Hoffman, “Why They Built the Pruitt-Igoe Project,” Joint Center for Housing Studies,
Harvard University, http://www.soc.iastate.edu/sapp/PruittIgoe.html (October 7, 2010).
26
Patricia Beach Smith, “Yamasaki—Nature’s Advocate,” Troy, Michigan Observer and Eccentric,
Detroit, MI.
“Surprise and Delight: the Architecture of Minoru Yamasaki,” National Trust for Historic Preservation,
c 2009, http://www.preservationnation.org/issues/diversity/asian-pacific-american-heritage/profiles/
minoru-yamasaki.html (October 7, 2010).
27
“A Conversation with Yamasaki,” Architectural Forum, July 1959, 111, Minoru Yamasaki Biographical
File, American Institute of Architects-Michigan, Detroit, MI.
28
Minoru Yamasaki, “Toward an Architecture for Enjoyment,” Architectural Record (August 1955);
Minoru Yamasaki, “Visual Delight in Architecture,” Perspective, (1955), 8; “Minoru Yamasaki,”
Architectural Record (May 1957), 168-182; Minoru Yamasaki, “History and Emotional Expression,”
Journal of Architectural Education, (Summer 1957), 8; “Minoru Yamasaki Interview with Virginia
Harriman,” Archives of American Art, Smithsonian Institute, c 1959 August, http://www.aaa.si.
edu/collections/oralhistories/transcripts/yamasa59.htm (May 28, 2010).
used in the buildings of the past to beautify the surface of buildings, to give contrast to
plain surfaces and to enrich our surroundings must have a place in our culture.”29
George Hellmuth left the firm in 1955 but Yamasaki and Leinweber continued and won
numerous awards for their work at Wayne State University where Yamasaki’s evolving
aesthetic sense lead to the blending of European and Asian forms on the campus.30 In
redesigning the campus, he commented, “At Wayne we are aiming for an island of urban
delight—a lovely system of courts linking the building, all on a walking scale.”31 Critics
and especially other modernist-purist architects, however, were not always kind to his
designs and compared the McGregor Center disparagingly to a cake.32 Noted Yale art
history professor Vincent Scully Jr. commented at the time that Yamasaki has created “a
twittering aviary.”33
Others were more sympathetic to his approach. In an article about Yamasaki’s work,
Architectural Forum commented the building looked “as graceful and sun-filled as a
dream palace” and the President of Wayne State University at the time, Clarence B.
Hillberry, commented “It’s the only college building I’ve ever seen that makes people
stop and look up. It makes you want to stretch taller.”34 In later response to criticism
Yamasaki said, “I don’t try to start controversy but if it happens it’s part of creative
activities….People may be blindly against you, but …don’t pay any attention to
that…You do pay attention to valid criticism.”35
Meanwhile, Yamasaki’s constant commute to St. Louis, occurrence of near-fatal stomach

ulcers from the strain of the workload, his Co-principal Joseph Leinweber’s supposed
retirement, and perhaps the refocusing of his design interest caused the firm to dissolve in
1959.36 He formed his own firm in Troy, Michigan that same year.
29
Minoru Yamasaki, “Visual Delight in Architecture,” Perspective, (1955), 8. He wrote about his design
philosophy more extensively in his biography, A Life in Architecture (New York: Weatherhill, 1979).
30
Minoru Yamasaki, “The Plan for Wayne State,” Journal of Architectural Education, 13:2 (Autumn,
1958), 48-49. JSTOR http://www.jstor.org/stable/1424252 (April 25, 2010); “Minoru Yamasaki,” The
Free Online Encyclopedia of Washington State University, http://www.historylink.org/
index.cfm?DisplayPage=output.cfm&file_id=5352 (October 5, 2010).
31
Robert E. Smith, “Minoru Yamasaki Silhouette,” The Harvard Crimson, October 13, 1962,
<http://www.thecrimson.com/article/1962/10/13/minoru-yamasaki-ptoday-our-technology-has/ (October 7,
2010).
32
“Minoru Yamasaki, World-Class Architect,” Detroit News, August 14, 1998, http://apps.detnews.com/
apps/history/index.php?id=206 (October 5, 2010).
33
“Art: The Road to Xanadu,” Time (January 18, 1963), http://www.time.com/time/
magazine/article/0,9171,874696,00.html (October 7, 2010).
34
“Yamasaki’s Serene Campus Center,” Architectural Forum, August 1958, 79, Minoru Yamasaki
Biographical File, American Institute of Architects-Michigan, Detroit, MI.
35
Rick Ratliff and John Dunphy, “Troy’s World-Class Architect Dies,” Detroit Free Press, February 8,
1986, Minoru Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit, MI.
36
Although newspaper accounts mention Leinweber’s retirement, he may have begun practicing with
architect Alex Gow in Troy, Michigan that same year. Minoru Yamasaki, A Life in Architecture (New
York: Weatherhill, 1979), 23; “Architect Firm Changes Name,” Detroit News, January 16, 1959, Minoru
Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit, MI.; “Minoru Yamasaki,”
The Free Online Encyclopedia of Washington State University, http://www.historylink.org/
index.cfm?DisplayPage=output. cfm&file_id=5352 (October 5, 2010); “Leinweber and Gow,” Corporation
Yamasaki was known for his “no-detail-is-too-small” approach to designing37 and yet his
work was prolific and is reflected in the extensive job list given to the Archives of
Michigan. The following is only a partial list of the more than 300 projects he designed:
Urban Redevelopment Plan, St. Louis, MO, 1952

Gratiot Urban Redevelopment Project, Detroit, MI, 1954
University School, Grosse Pointe, MI 1954
U.S. Consulate, Kobe, Japan, 1955
Pruitt-Igoe Public Housing, St. Louis, MO 1955
Military Personnel Records Center, St. Louis, MO, 1955
Lambert-St. Louis Airport Terminal, MO 1956
McGregor Memorial Conference Center, Wayne State University, Detroit, MI
1958
Reynolds Metals Regional Sales Office, Southfield, MI 1959
Birmingham Unitarian Church, Bloomfield Hills, MI, 1959
U.S. Pavilion, World Agricultural Fair, New Delhi, India, 1959
Michigan State Medical Society, East Lansing, MI, 1959
Dhahran Air Terminal, Dhahran, Saudi Arabia, 1961
Carleton College buildings: Olin Hall of Science, Northfield, MN, 1961;
4th Floor addition to Myers Hall, 1961; Goodhue Dormitory, 1962;
West Gym, 1964; Cowling Recreation Center, 1965; Watson Hall 1966
Dhahran Air Terminal, Saudi Arabia, 1961
Federal Science Pavilion, Seattle World's Fair, WA, 1962
Behavioral Sciences Building - Harvard University, Cambridge, MA, 1963
Oberlin Conservatory of Music, Oberlin College, OH, 1963
Michigan Consolidated Gas Co. (One Woodward), Detroit, MI, 1963
Queen Emma Gardens, Honolulu, HI, 1964
IBM Office Building, Seattle, WA, 1964
North Shore Congregation Israel, Glencoe, IL, 1964
Lincoln Elementary School, Livonia, MI, 1964
Northwestern National Life Insurance Co., Minneapolis, MI, 1964
Woodrow Wilson School of Public and International Affairs,
Princeton University, NJ, 1965
Century Plaza Hotel, Los Angeles, CA, 1966
Quo Vadis Entertainment Center, Westland, MI, 1966
King Building, Oberlin College, OH, 1966
M&T Bank Center, Buffalo, NY, 1967
Manufacturers and Traders Trust Co., Buffalo, NY, 1967
Japan Center, San Francisco, CA, 1968
Montgomery Ward Corporate Headquarters Tower, Chicago, IL, 1972
Division Business Entity, Michigan Department of Energy, Labor & Economic Growth, <http://www.dleg.
state.mi.us/bcs_corp/dt_corp.asp?id_nbr=045757&name_entity=LEINWEBER%20AND%20GOW,%
20INC> (December 19, 2010).
37
“Art: Onward & Upward,” Time (January 24, 1964), http://www.time.com/time/magazine/
article/0,9171,875685,00.html (October 7, 2010).
World Trade Center, New York, NY, 1962-1976

One Government Center, Toledo, Ohio, OH, 1976
Eastern Airlines Terminal, Logan International Airport, Boston, MA, 1969
Horace Mann Educators Insurance Co., Springfield, IL, 1979
Temple Beth El, Birmingham, AL, 1974
Century Plaza Towers, Los Angeles, CA, 1975
Colorado National Bank, Denver, CO, 1974
Bank of Oklahoma, Tulsa, OK, 1977
Performing Arts Center, Tulsa, OK, 1976
Rainer Bank Tower, Seattle, 1977
Federal Reserve Bank, Richmond, Va., 1978
Horace Mann Educators Insurance Co., Springfield, IL, 1979
100 Washington Square, Minneapolis, MN, 1981
Saudi Arabian Monetary Agency Head Office, Riyadh, Saudi Arabia, 1981
Founder's Hall, Shinji Shumeikai, Shiga Prefecture, Japan, 1982
King Fahd Eastern Province International Airport, Saudi Arabia, 198538
Of his 300 plus projects, four of his designs have already been destroyed: Lincoln School
Elementary School in Livonia, Michigan, the Eastern Airlines Terminal, the World Trade
Center, and Pruitt-Igoe. A fifth, the Military Personal Records Center, was almost
destroyed by fire in 1973.39
As his architecture continued to evolve, he became known for Gothic inspired “jewel-like
designs” with delicate narrow windows which he explained were due to their ability “to
admit light without subjecting the tenants and office workers to vertiginous views.”40 In
his 1979 autobiography, A Life in Architecture, he commented:
Architecture is a fascinating and unique profession that, in its ideal,

combines function and beauty to create an atmosphere in which man can
live, work, and enjoy. Each building should enhance the lives of the
people who enter or see it. To accomplish this, the architect must utilize
the entire gamut of thought processes. Although the logical side must
clearly define the way in which the functional problems of a particular
38
260; “Minoru Yamasaki, World-Class Architect,” Detroit News, August 14, 1998,
http://apps.detnews.com/apps/history/index.php?id=206 (October 5, 2010).
39
Walter Stender and Evans Walker, “The National Personnel Records Center Fire: A Study in Disaster,”
American Archivist 37:4 (October 1974), 521-549, http://archivists.metapress.com/content/
2881301629107368/?p=7147bd5805e2492ab0ffb804e303b647&pi=1 (October 7, 2010); “Minoru
Yamasaki,” Fellows of the American Institute of Architects (Memphis, TN: Books LLC, 2010), 261-262;
Mariana Mogilevich, “Architecture: Big Bad Buildings: The Vanishing Legacy of Minoru Yamasaki, Next
American City Magazine (October 2003) http://americancity.org/magazine/article/architecture-big-bad-
buildings-mogilevich/ (March 9, 2010).
40
apps/history/index.php?id=206 (October 5, 2010); “Minoru Yamasaki,” The Free Online Encyclopedia of
Washington State University, http://www.historylink.org/index.cfm?DisplayPage=output.
cfm&file_id=5352 (October 5, 2010).
project are solved, these solutions must also be determined both by the
aesthetic needs of man and by the environment.41
He wanted his building designs to evoke “serenity, surprise, and delight.”42
His most famous building is arguably the World

the Trade Center (WTC) complex in New York
City, and this project landed him on the cover of
Time Magazine43 on January 18, 1963, an honor
reserved for relatively few architects.44 These
buildings were controversial from the beginning
due to the huge swath of New York City
neighborhood buildings the developers wanted to
replace with the structures. The Port Authority of
New York approached Yamasaki about the job in
1962 and when he saw the $280 million projected
costs,45 he thought it was a mistake. Initially, he
responded that the project was too big for the
firm, but eventually he reconsidered and he was
chosen over thirty other applicants. In the next
eighteen months, he and his staff prepared 105
schemes including countless models with various
more complicated decorative designs before the
owners settled on the chosen twin-tower plan.46
Yamasaki was teamed with the Emery Roth and Minoru Yamasaki Overlooks a
Sons engineering firm, and the building featured World Trade Center Model
many technological firsts. For example, a tightly
knit aluminum skin helped support the twin 110 story buildings. Also, express elevators
took passengers to local cars beginning on the seventy-eighth floor to cut down on the
footprint required for elevators in the upper floors, creating more rentable floor space,
and a stone “slurry wall” kept the nearby Hudson River at bay. Despite these features,
41
42
Marketing Video for Marharishi Tower, Sao Paulo Brazil, Vol. 4 (2008), Yamasaki Archives, Archives
of Michigan.
43
“Art: The Road to Xanadu,” Time (January 18, 1963), http://www.time.com/time/magazine/
article/0,9171,874696,00.html (October 7, 2010).
44
Frank Lloyd Wright (1938), William Adams Delano (1930), William Adams Delano (1930), Richard
Neutra (1949), Wallace K. Harrison (1952), Eero Saarinen (1956), Edward Durrell Stone (1958), Le
Corbusier (1961), R. Buckminster Fuller (1964), and Nathaniel Owings (1968) to name a few have been
honored on Time Magazine covers. Time Magazine Archives, http://www.time.com/time/archive/ (October
7, 2010).
45
Costs would eventually raise to over $900 million including construction, relocation, demolition and site
preparation. See: Russell Lynes, “The Architect was Told ‘World Trade’ so he Planned Big,” Smithsonian
(January 1978), 45.
46
Bruce Britt, “Big Dreams” Metrotimes (September 25-October 2, 1985); James Glanz and Eric Lipton,
City in the Sky: The Rise and Fall of the World Trade Center (New York, NY: Time Books, Henry Holt
and Company, 2003), 112.
critics thought the buildings were “too high, too huge, and too flat-topped.”47 One critic,
Ada Louise Huxtable, commented,
The module is so small, and the 22-inch-wide windows so narrow, that

one of the miraculous benefits of the tall building, the panoramic view out
is destroyed. No amount of head-dodging from column to column can put
the fragmented view together. It’s pure visual frustration.48
Perhaps the cruelest comment came from one critic writing in Architectural Forum, who
in obvious reference to Hellmuth, Yamasaki, and Leinweber’s Pruitt-Igoe project,
predicted sarcastically that by 2023 the WTC would become a low-income housing
complex with squatters camped out on various floors.49 In a more positive vein, another
critic argued that, “the genius of the plan is that
Yamasaki decided on two tall and slender towers
and not one massive one, so that there is airiness
rather than brutality about the open space.”50
Many look to the World Trade Center as

Yamasaki’s most famous work and to its
symbolism. Yamasaki’s son, Taro, commented
after visiting the site only a few months after its
destruction, “What hits me in the gut is that my
father didn’t intend the World Trade Center to be
a monument to capitalism. He believed that it
was a symbol of man’s limitless potential.”51
Minoru Yamasaki said of this project, “World
trade means world peace.”52 And yet, the
building was destroyed on September 11, 2001 by
Photograph of one of the 105 terrorists who saw it as a symbol for “evil”
World Trade Center Models Western Capitalism.53
47
Bruce Britt, “Big Dreams,” Metrotimes (September 25-October 2, 1985).
48
Ada Louise Huxtable, Kicked a Building Lately? (Berkeley, CA: University of California Press, 1989)
122-123.
49
“WTC 2023,” Architectural Forum (April 1973), 56-61.
50
Russell Lynes, “The Architect was Told ‘World Trade’ so he Planned Big,” Smithsonian (January 1978),
44.
51
Frank Provenzano, “A Father’s Vision, a Son’s Quest,” Detroit Free Press, November 14, 2001, Minoru
Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit, MI.
52
Patricia Beach Smith, “Yamasaki—Nature’s Advocate,” Troy, Michigan Observer and Eccentric,
Detroit, MI.; The Free Online Encyclopedia of Washington State University, http://www.historylink.
org/index.cfm?DisplayPage=output. cfm&file_id=5352 (October 5, 2010).
53
For an excellent description of the World Trade Center’s birth and destruction, see: James Glanz and
Eric Lipton, City in the Sky: The Rise and Fall of the World Trade Center (New York, NY: Times Books,
Henry Holt and Company, 2003).
Yamasaki was elected as a Fellow of the American Institute of Architects (AIA) in 1960
and won the AIA’s First Honor Award three times for the Lambert-St. Louis Airport
Terminal (1956), the McGregor Memorial Conference Center, Wayne State University,
Detroit (1959), and the Reynolds Metals Regional Building, Southfield, MI (1961).54 He
was also honored with numerous honorary degrees from Wayne State University (1960),
University of Washington at Seattle (1960), University of Michigan (1961), Rensselaer
Polytechnic Institute (1961), Bates College (1964), Carleton College (1967), University
of Saskatchewan (1967), and Franklin & Marshall (1976), among others.55
Minoru Yamasaki died at Henry Ford Hospital in Detroit from cancer on Feb. 7, 1986 at
age 73.56
Minoru Yamasaki
54
262; “Minoru Yamasaki,” American Institute of Architects Directory, (New Providence, New Jersey: R. R.
Bowker, 1970).
55
“Minoru Yamasaki,” American Institute of Architects Directory, (New Providence, New Jersey: R. R.
Bowker, 1970); “Minoru Yamasaki Education and Professional Record,” c 1979, enclosure in letter, Judith
A. Griffin (Minoru Yamasaki Associates) to Ray Chalmers, September 28, 1979, Minoru Yamasaki
Biographical File, American Institute of Architects-Michigan, Detroit, MI. There may be a more extensive
list of honorary degrees within the Minoru Yamasaki Papers at the Reuther Library at Wayne State
University.
56
Dean Murphy, “Architect Minoru Yamasaki Dies at 73: Designs Include Century Plaza Towers, N.Y.
World Trade Center,” Los Angeles Times, February 9, 1986, http://articles.latimes.com/1986-02-
09/news/mn-5976_1_world-trade-center-towers (October 9, 2010); Frank Provenzano, “A Father’s Vision,
a Son’s Quest,” Detroit Free Press, November 14, 2001, Minoru Yamasaki Biographical File, American
Institute of Architects-Michigan, Detroit, MI.
IV. MINORU YAMASAKI LEGACY

Soon after the announcement that the Yamasaki materials had been donated to the
Archives of Michigan, researchers began to call for access. An architect working on
gathering documentation for the Century Plaza Hotel restoration flew out from Los
Angeles within weeks to examine the material and a documentary film maker, Bill
Kubota, spent several hours filming the on-going work to survey and analyze the material
in hopes of producing a full-length documentary film on Yamasaki’s work. These are
just two examples of the level of interest in this material.
Minoru Yamasaki is forever linked to the design and construction of one of the world’s
most famous buildings, the World Trade Center in New York City. Nine years after its
violent destruction by terrorists on September 11, 2001, images of the building are
ubiquitous. They are found in tribute photos of the towers in doctors’ offices waiting
rooms, on commemorative coins, and for several months after their destruction, they
reappeared in light beams ascending to the heavens. The footprints of the main two
towers destroyed in the attack will be preserved as reflecting pools in the new World
Trade Center site under construction,57 and in September 2010, two treelike columns
from the skin of the original World Trade Center Tower 1 were reinstalled as giant
memorial artifacts to “survival and resilience.”58
In addition, “The Port Authority is

soliciting proposals from public and
municipal agencies and not-for-profit
organizations interested in acquiring a
piece of 9/11 World Trade Center
steel for public display.”59 The
comparison to relic worship is not a
stretch. This building adoration goes
beyond icon status to actual reverence
on the part of the general public, and
only a handful of other buildings have
achieved this status worldwide: The World Trade Center’s
Lincoln Memorial, the Kabba in Structural Treelike Columns
Mecca, Saudi Arabia, and the Taj
Majal in India to name a few.
57
“World Trade Center Site Plan,” World Trade Center, Port Authority of New York and New Jersey,
http://www.panynj.gov/wtcprogress/wtc-site-plan.html (September 28, 2010); “National September 11th
Memorial and Museum,” World Trade Center, Port Authority of New York and New Jersey,
http://www.panynj.gov/wtcprogress/memorial-museum.html (September 28, 2010).
58
David Dunlap, “Two Trees Return to World Trade Center,” New York Times ,September 8, 2010,
http://cityroom.blogs.nytimes.com/2010/09/08/two-trees-return-to-the-world-trade-
center/?scp=1&sq=Minoru%20Yamasaki&st=cse (October 7, 2010).
59
“PA Seeks New Homes for 9/11 Steel,” World Trade Center, Port Authority of New York and New
Jersey, http://www.panynj.gov/wtcprogress/wtc-9-11-steel.html (September 28, 2010).
While the building’s design was debated heavily when it was under construction and it
was vilified by some, many of the New York public quickly grew to love the building. It
acquired iconic status as a symbol of the city, and as a center of world trade, it became a
strong symbol of Western Capitalism.60 This status is certainly one of the reasons it was
targeted for destruction.
Minoru Yamasaki’s legacy goes beyond his connection with the tragic loss of people and
structures in the World Trade Center bombing. For many, his design projects represent
“touchstones of the modern age.”61 They are symbols of the transformation of world
architecture. Yamasaki is highlighted in several books on modern design in the Minoru
Yamasaki library including:
John Peter. Design with Glass, (NY, NY: Reinhold Publishing, 1964).
Jürgen Joedicke. A History of Modern Architecture, (NY, NY: Frederick A.

Praeger, 1959).
John Jacobus. Twentieth-Century Architecture: The Middle Years 1940-65, (NY,

NY: Frederick A. Praeger, 1966).
Wolf Van Eckardt, ed. Mid-Century Architecture in America: Honor Awards of

the American Institute of Architects (Baltimore, MD: Johns Hopkins Press,
1961).
Arthur Drexler. Transformations in Modern Architecture (NY, NY: Museum of

Modern Art, 1979).
John Peter. Masters of Modern Architecture (NY, NY: George Braziller, Inc.),
1958.
At the same time, the Dean of Lawrence Institute of Technology School of Architecture,
Karl Greimel, said, “He really wrenched Michigan and the Detroit area in particular, into
the spirit of modern architecture. Partly because he was domestic—he did schools, he did
houses, and he touched the man in the street with the buildings he designed.”62
Ultimately, his legacy is world-wide.63
60
“Surprise and Delight: the Architecture of Minoru Yamasaki,” National Trust for Historic Preservation, ,
http://www.preservationnation.org/issues/diversity/asian-pacific-american-heritage/profiles/minoru-
yamasaki.html (October 7, 2010).
61
“Surprise and Delight: the Architecture of Minoru Yamasaki,” National Trust for Historic Preservation, ,
http://www.preservationnation.org/issues/diversity/asian-pacific-american-heritage/profiles/minoru-
yamasaki.html (October 7, 2010).
62
MI.
63
David A. Markiewicz, “Architect Yamasaki Dies; Leaves Worldwide Legacy,” Detroit News, February
8, 1986, Minoru Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit, MI.
Many questions can be asked of the work of Yamasaki and his colleagues, and the
Yamasaki Collection offers a deep well for scholarly research and exploration of issues
such as:
 The firm’s change after Hellmuth’s

departure and Leinweber’s supposed
retirement.
 Popular versus critical acclaim. Noted

architectural photographer, Balthazar
Korab, who documented Yamasaki’s work
for 25 years commented at his death, “He
was very, very popular with the public,
though he was a controversial figure in the
business because of this extreme decorative
approach to architecture.”64

The transformation of modernism. His
transformation from minimalist modernist
architect to interpreter of buildings that
“conveyed softness, nonfunctional
Michigan Magazine Cover, decorative romanticism” is a study in the
Detroit News transformation of architectural design
itself.65 In 1955, he wrote, “It is my belief
that we stand on a line between the early, formative period of the past thirty years
and a middle period. The middle period promises culmination, a flowering of the
great potential in Modern Architecture.”66
 How his Nisei roots impacted other’s views of diversity. His Nisei background
resulted in discrimination from those who did not respect his Japanese-American
heritage yet he is considered one of the most prominent Asian-Americans ever.67
 His tolerance of others. His approach to working with others, developed from
converse observations of both his mistreatment and fair treatment by employers
and the community, is a model in tolerance and respect for mankind.68
64
MI.
65
66
Minoru Yamasaki, “Visual Delight in Architecture,” Perspective, (1955), 6.
67
Barbara J. Marvis, Contemporary American Success Stories: Famous People of Asian Ancestry, (Childs,
MD: Mitchell Lane Publishers, 1994).
68
Minoru Yamasaki, A Life in Architecture (New York: Weatherhill, 1979), 16, 22.
 His work ethic. His “no-detail-is-too-small” approach to design meant late nights
and time away from his family.
 His extensive use of models. The use of models as a design methodology before
the advent of computerized 3-D modeling would be a fascinating exploration.
Such a study might invite comparison of Minoru Yamasaki with other architects
who used models extensively such as Cesar Pelli and Richard Meier.69
 Provincialism in architecture. His firm’s Midwestern location presents

challenging examples of the lack of respect architects based anywhere other than
the east coast routinely received from eastern critics.70
 Critics’ impact on architectural practice and credibility. Charles Jencks, author of

The Language of Post-Modern Architecture, singled out the exact moment of
Pruitt-Igoe’s destruction at 3:32 PM on July 15, 1972 as the “death of modern
architecture.”71 This statement, which highlighted the failure of the buildings,
dogged Yamasaki and yet, in a competing analysis another architectural historian,
Katharine G. Bristol says this statement is a myth and rests the failure on
institutional problems with public housing.72 The Yamasaki Collection will help
scholars debate these two theories and see how such criticism impacted the firm’s
future work.
These and many more questions warrant further examination, and yet very little has been
written on Yamasaki’s work beyond his connection to the World Trade Center since his
death. Certainly, the upcoming anniversary of his death almost twenty-five years ago is
the time to begin to reassess his contributions to the built environment.
The post Minoru Yamasaki firm also presents fascinating areas for research and study.
 Firm survival after the death of its principal;
 Successor firm credibility;
 Change in successor firms design focus;
 Impact of recessions on architectural practice;
 Impact of management change; and
69
“Cesar Pelli Wins Gold Medal,” Progressive Architecture (February 1995); Robin Progreben, “Room
with a View of an Architect’s Retired Ideas,” New York Times, http://www.nytimes.com/2007/
04/26/arts/design/26meie.html (December 9, 2010).
70
“Art: The Road to Xanadu,” Time (January 18, 1963), http://www.time.com/time
/magazine/article/0,9171,874696,00.html (October 7, 2010).
71
Bruce Britt, “Big Dreams,” Metrotimes (September 25-October 2, 1985).
72
Katharine G. Bristol, “The Pruitt-Igoe Myth,” Journal of Architectural Education, 44:3 (May 1991),
163-171.
 Individual design projects
Access to the archival materials now preserved at the Archives of Michigan will be
critical to the analysis of these subjects.
V. PRE-1986 YAMASAKI VERSUS LATER YAMASAKI

FIRM MATERIALS
The Yamasaki materials donated to the Archives of Michigan actually reflect the work of
several different Yamasaki-related firms: Hellmuth, Yamasaki, Leinweber; Yamasaki,
Leinweber and Associates, Incorporated; Minoru Yamasaki Associates, Inc.; and
Yamasaki Associates, Inc. to mention a few. The State of Michigan and State of
Missouri corporation records actually reveal several listing for the firm as partners came
and went or ownership or function changed. The final name of the firm before
dissolution was Yamasaki Incorporated.73 These records are intertwined in several areas
due to:
 The nature of the firm’s recordkeeping;
 The collaborative nature of architecture;
 After Hellmuth’s departure, Yamasaki and Leinweber continued together until

1959;
 The fact that some of the staff continued to work with Yamasaki after the
dissolution of Yamasaki, Leinweber and Associates Incorporated;
 Yamasaki-designed projects were often renovated by the successor firm and

original project and alterations were filed together;
 The architectural firms used older projects for public relations and marketing
throughout its history;
 Some Minoru Yamasaki Associates projects at the end of his life may have been
started by the firm before his death, but either he was not involved directly or the
major design development for the project occurred after his death;
 The firm worked under Minoru Yamasaki Associates, Inc. for several years after
Yamasaki’s death and didn’t take on the new moniker, Yamasaki Associates,
until approximately 2003; and
 The fact that the Yamasaki Associates firm was made up of many of the
remaining principals and architects after Yamasaki’s death.
73
“Yamasaki,” Corporation Division Business Entity, Department of Energy, Labor & Economic Growth, ,
<http://www.dleg.state.mi.us/bcs_corp/rs_corp.asp?s_button=sword&v_search=Yamasaki&hiddenField=&
search=Search> (December 19, 2010); “Hellmuth, Yamasaki, Leinweber,” Business Entity, State of
Missouri Secretary of State, https://www.sos.mo.gov/BusinessEntity/soskb/csearch.asp (December 21,
2010); “Leinweber and Gow,” Corporation Division Business Entity, Michigan Department of Energy,
Labor & Economic Growth, <http://www.dleg.state.mi.us/bcs_corp/dt_corp.asp?id_nbr=045757&name_
entity=LEINWEBER%20AND%20GOW,%20INC> (December 19, 2010).
All these factors make it difficult to make a clear distinction between the various groups
of firm records. For grant funding purposes, it will be important to analyze the division
between those that reflect records created during Yamasaki’s lifetime and those created
after his death. Below is an
estimate of the various records
genre in the papers. The
percentages of each type shown
in the following tables are only
estimates. In addition, the
overall percentages of the
collection are misleading since
the born-digital media in the
collection stored on CD, DVD,
tape, floppy, and external hard
drives is the equivalent of tens
of thousands of documents.
Although the exact amount of
data in the collection will not
be determined until full Born-Digital Storage CDs and Tapes
processing, it could well equal
two to three terabytes of data. One terabyte is the equivalent of 143,000,000 pages of
text or 200,000 photographs.74 In addition, it is difficult to compare dissimilar genre and
the measurements used for them. For example, linear feet, the standard measurement for
textual material, doesn’t compare well with item level drawing or photograph counts.
For grant planning purposes, the inventory itself provides an approximate breakdown of
the records created from 1948-1986 by Hellmuth, Yamasaki, Leinweber; Yamasaki,
Leinweber and Associates Incorporated (called 1948-1986 Yamasaki Records); and
Minoru Yamasaki Associates versus the 1986-2009 Yamasaki successor firm records
(called 1986-2009 Yamasaki Records).75 Although the Archives of Michigan requested
an analysis of the division between these materials, the report recommends they be
considered together as one Yamasaki Collection to reduce processing time and to better
serve the researcher’s needs. One will find a more extensive discussion of this
recommendation in the Processing Plan.
74
O. Paull, “What is 1.0 TB?” eHow, May 18, 2010, http://www.ehow.co.uk/about_6525884_1_0-tb_.html
(October 23, 2010).
75
As mentioned earlier, the Yamasaki successor firm used several names from 1986-2009 including
Minoru Yamasaki Associates, Yamasaki Associates, and Yamasaki Incorporated.
A. Summary of Record Types/Percentages Based on May-October 2010 Survey
MATERIAL YAMASAKI YAMASAKI TOTALS YAMASAKI YAMASAKI

TYPES RECORDS RECORDS RECORDS RECORDS
(1948 TO 1986) (1986-2009) (1948 TO 1986) (1986-2009)
PERCENTAGES PERCENTAGES
Presentation or 29 120 149 19.5% 80.5%
exhibit boards
Project drawings 2,193 6,273 8,466 26% 74%
(of these 1,211 are for the (more drawings in

World Trade Center) born-digital formats
below)
Posters 2 2 4 50% 50%
Photographs on ~1300 ~250 ~1550 84% 16%
paper or ink jet.
Various sizes
Photographs: 4 x 5” ~4,300 transparencies or ~1,200 ~9,500 82% 18%
color negatives, negatives
transparencies and ~500 prints
accompanying ~3,500 prints
prints (more photos in born-
digital formats below)
Photographs: 105 988 0 988 100% 0%
mm microfilm
Photographs: 35 ~14,945 ~6935 ~21,880 68% 32%
mm slides (including duplicates) (including duplicates)
Photographs: other 68 0 68 misc. 100% 0%
negatives negatives
MATERIAL YAMASAKI YAMASAKI TOTALS YAMASAKI YAMASAKI

TYPES RECORDS RECORDS RECORDS RECORDS
(1948 TO 1986) (1986-2009) (1948 TO 1986) (1986-2009)
PERCENTAGES PERCENTAGES
Photographs: 300 items 0 300 items 100% 0%
aperture cards
Public Relations 4.76 linear feet (lf) 3.95 lf 8.71 lf 55% 45%
correspondence
Publicity files 1 lf 0 1 lf 100% 0%
Project l.5 lf 0 1.5 lf 100% 0%
Development files
Reference Files .2 lf 0 .2 lf 100% 0%
Equipment 2 lf 1 lf 3 lf 67% 33%
Artifacts/ephemera 7 items 2 items 9 items 78% 12%
Awards 26 items ~3 items 29 items 90% 10%
Project ~0 6.3 lf 6.3 lf 0% 100%
correspondence (more project files in
files: analog born-digital formats
below)
Project ~0 ~300 CD/DVDs The number ~0% ~100%
drawings/files: (a few CAD generated 4 external hard drives of terabytes
born digital drawings or project files 258 digital tapes to be
may be found in the 88 3.5” floppy discs determined
floppy discs once full
processing begins)
Minoru Yamasaki ~412 ~6 ~418 98.5% ~1.5%
Library (books)
Vendor Samples 0 1 lf 1 lf 0% 100%
VI. FULL SURVEY

The full survey of the Minoru Yamasaki and Yamasaki Associates records is found in
Appendix A. The survey’s approach was to give an overview of the material as found in
the overall Collection of material. The inventory moved range by range, shelf by shelf
through the temporary storage of the Collection where, as a result of its transport to the
Archives of Michigan, the material had been sorted into rough genre groupings:
photographs, drawings, textual materials, etc.
As requested, an attempt was made to identify specific building projects represented in

the Collection, but due to time constraints and the hundreds of projects represented in
each genre type, the survey could not identify material fully at the folder and sometimes
item level this would have required. Nevertheless, the survey will give the Archives of
Michigan a significant starting place for the work ahead.
VII. SURVEY ANALYSIS

Although a large portion of the Minoru Yamasaki firm records were destroyed
approximately four years ago, the firm continued to use a variety of Yamasaki-era visual
materials, publicity, and other files in their office. In addition, a substantial number of
Yamasaki-era drawings are extant primarily because they had been removed from off-site
storage for use and had not been returned. The beehive of activity in the U. S. around
both the WTC and Century Plaza reconstruction/restoration projects in the last ten years
is perhaps the only reason those materials survive.
Following is an analysis of the materials in the Yamasaki Collection.
A. Visual Materials
1. Photographic Material
a.) 4 x 5” Color Negatives, Transparencies, and Prints

4 x 5” color negatives, transparencies and prints are among the most important items in
the collection. Although the survey does not provide an exact count of the material, they
equal approximately 5,500 color negatives or transparencies and approximately 4,000
accompanying prints housed together in 19 binders. The numbers of images in each
binder vary dramatically from a few hundred to as much as almost 900 for the thicker
binders.76
The majority of these images document models and presentation drawings for various
projects from 1955-1999. There is substantial documentation for some projects and very
few images for others. Since these
are primarily design and presentation
materials, undoubtedly some of these
projects were never built.
For identification purposes, the

binders were given a temporary
number during the survey to put them
into an approximate chronological
order by project number. These
project numbers are found on the
binder’s exterior labeling but include
some omissions. A project number
consists of four digits. The first two
4 x 5” Color Transparency, digits represent the year and the
Negative, and Print Binders
76
No item level count was made of the images in the 19 binders. Only binder 19 was counted in its entirely
and the distribution was 423 color transparencies and 451 prints.
second two the order in which the

project was contracted by the firm
within the year (i.e. 5812 is the twelfth
project contracted in 1958). Project
numbers usually retain their number
despite project scheme changes but
sometimes a large project may have
multiple numbers. Within each binder,
the majority of the images have a
sleeve label identifying project name
and number. Other labels contain
photo exposure information from the
photographer or copyright information.
As mentioned, images of project 4 x 5” Color Transparency Labels

models are a major part of the
documentation in the 4 x 5” negatives, transparencies, and prints. This portion of the
collection reveals the tremendous influence models had on the Yamasaki’s work.
According to Henry J. Guthard, long time member of the Yamasaki firm, it was part of
Yamasaki’s design process to have three-dimensional models created to determine what
worked and what didn’t.77 Models allowed Yamasaki to envision whether the design
solved a variety of building program elements unlike two-dimensional drawings. Other
documentation in the collection shows the large number of models being stored at the
Yamasaki firm and numbers of staff making models.
Unfortunately, only one known original model from the hundreds, and perhaps thousands
of models made by the firm, survives. The only surviving model of the 105 models used
to help design the World Trade Center project is now in the collections of the National
9/11 Memorial Museum under design
and construction in New York City.78
Some of the photo documentation of

models is quite unusual. One model
documenting the passenger traffic flow
for arrivals and departures at King Fahd
Airport terminal is extraordinary and an
example of the complexity of the models
constructed by the firm. The 4 x 5”
color negatives, transparencies, and
prints in the collection also reveal an
extraordinary use of presentation
drawings by the firm. It is common for King Fahd Airport Passenger Flow
design firms to make several perspective Model Photograph
77
Henry J. Guthard, Conversation with the Consultant, October 18, 2010.
78
“Permanent Collection: WTC History,” National 911 Memorial Museum, http://www.national911
memorial.org/site/PageServer?pagename=New_Museum_Collection_Life (October 25, 2010).
drawings that help the client envision how a structure will appear upon completion.
These can be created before the architect gets the job to help “sell” the design and secure
their services, after the architect has been hired to help the client choose between various
design schemes, or to flesh out a program solution in a specific area.
Presentation drawings are labor-

intensive and thus expensive to
make. The voluminous number
in the collection either indicates
substantial financial costs to the
firm and a willingness to use
these as part of their design
approach despite the costs or an
unlimited budget on the part of
the client. King Fahd Airport
project may certainly be an
example of the later. There are
approximately 1500 images of
King Fahd Airport and Mosque
which means there are literally
hundreds of presentation
Photograph of King Fahd Airport and Mosque drawings. Such documentation
Presentation Drawing is unprecedented and will offer
the researcher a superb
understanding of the proposed project and will engender questions on the impact creating
such documentation had on the firm’s bottom line and fee structures.
b.) 105 mm Microfilm

Another important group of visual
materials is the 105 mm microfilm of
working drawings. These 988 images are
limited in number since their survival is, in
fact, due solely to luck. Although the firm
had created large negatives of working
drawings for their files, these materials are
extant simply because they were pulled for
use and then not returned to their off-site
storage before a records purge.
Thankfully, they document some of his
more important projects including Century
Plaza, the McGregor Center, and the
Minoru Yamasaki Associates Office. 105 mm Microfilm of Century Plaza Hotel
These materials are currently housed in
labeled paper sleeves.
c.) 35 mm Slides
The Yamasaki slide collection is significant not only in intellectual value but also in bulk.
There may be as many as 22,000 slides and duplicates. Exact numbers will not be
determined until actual processing. Current storage includes drawers and trays. There
are 105 trays with slides and many others that are empty. Trays contain 100+ slides if
they are full. There are also 15 drawers, each containing approximately 1000 slides if
full. Drawers were used primarily for duplicates but five drawers contain originals and
reference or so-called presentation slides.
Slide Trays and Slide Drawers
Ninety-nine percent of the slides in the trays have project numbers attached with an
adhesive label. More than half of the slides in the drawers have project numbers but
many others are not labeled except by slide drawer dividers that include the project name.
Recordkeeping deteriorated with the newer (post 1986) slides. In addition, during
transportation from the donor, several of the drawers were bumped up-and-down in the
van and the slides lost all order by project number.
The slide tray numbers begin with the oldest

slides and run chronologically by project number.
They span the years 1949-1998. Drawers span the
same dates but are not always in chronological
order. Drawers #00 was inserted after drawer 6
and later numbers reflected a jumbled chronology.
Slide labels are composed of two sets of numbers:

the first is the project number with the first two
digits equaling the year and the second two digits
identify the order in which the project was begun
(i.e. 8824 is the 24th project begun in 1988). As
with the 4 x 5” color
negatives/transparencies/prints, projects usually Slides Jostled During Transport to Archives
retain their original number despite project
scheme changes but sometimes a large project may have multiple project numbers. The
second set of numbers on each slide is a 4 digit code to indicate the type of image and the
order of each using the thousands place as follows:
1000: Drawings and plans,

2000: Models (including exterior samples),
3000: Construction and site photos,
4000: Finished Exterior,
5000: Finished Interior,
6000: Misc.
The first, tens, and hundreds places in the code represent the slide order (i.e. the number,
1025, represents the 25th image of drawings and plans for a certain project).
There is a slide inventory for both the trays and drawers

based on the project number and the alphabetically
arranged project name. The inventory was somewhat
accurate, however, many examples were found of
projects that had been misnumbered or not included in
the inventory. Although slides follow mostly a
chronological (or project number) order, later slides
were added where there was empty space. In general,
the slides are in good order with most staying within
their project order sequence. However, the numerical
order of the 1000s, 2000s, 3000s, etc. within project
number is less consistent and many slides have lost
their internal order over time as they were removed for
use and replaced haphazardly.
Although there is some duplication of what the images

represent in the trays, especially of building exteriors,
these are not actually duplicate slides. Duplicates are found in the drawers and are
usually marked “D” for duplicate. There are also significant numbers of slides labeled
“reference” or “presentation.” These may have served more of a marketing function.
Since the slides are somewhat complicated, a table is provided below to help clarify the
numbers of originals and duplicates of project images pre- and post-1986 and the
numbers of reference and presentation slides which are a mixture of originals and
duplicates. Other small groups of slides were found in other locations throughout the
collection so theses are estimated numbers.
Reference
Pre 1986 Post 1986
Storage Pre 1986 Post 1986 and
originals of originals of
Type duplicates duplicates presentation
project slides project slides
material
Trays 1-49,
77-97, 146, ~7,250
152
Trays 50- ~2,800
76, 110
Trays 149,
~250
150, 152
Drawers 1-
~6,160
5, 7, 8, 13,
14
Drawer 00 ~660
Drawer 10,
~1,910
11
Drawer 6,
~1,350
12
Drawers 8,
~1,500
9
TOTALS ~7,910 ~4,710 ~6,160 ~1,350 ~1,750
Grand
Grand Total
Total in
Slides
Drawers
~21,880
and Trays
The firm used professional photographers for many of the images, thus the quality is
exceptionally high. Photographers would have culled out the “bad,” under and
overexposed, and out of focus images, before they gave them to the firm. Several
independent photographers are represented in the slides: Balthazar Korab, Tony Vaccaro
from Look magazine, Dan Bartush, Hedrich-Blessing, and Taro Yamasaki were identified
among others in the survey but many are anonymous or were taken by in-house “work for
hire” photographers. For a more complete list of photographers identified during
sampling see the Copyright section of the Processing Plan.
Overall, the intellectual value of the slides is phenomenal. The 1949-1998 projects dates
are well documented with most of them including the full range of document types (1000:
Drawings and plans, 2000: Models, 3000: Construction and site photos, 4000: Finished
Exterior, 5000: Finished Interior, 6000: Misc.). In the 1000s series, there are very few
sketches or working drawings represented in the 35 mm slides (except for World Trade
Center). Most of the drawings are presentation drawings. The slides are the only
series/subseries that contain major materials of the Hellmuth, Yamasaki, Leinweber and
Yamasaki, Leinweber and Associates Incorporated firm projects (1949-1959). There are
approximately 1,500 slides from this period.79
The documentation of
the slides is
significant and gives
one a tremendous
appreciation of the
level of services the
firm offered to their
clients.
Photographers took
extraordinary care to
make the photographs
models look “real” by
adding sky, clouds,
trees, and people, and
they staged and lit
Minoru Yamasaki with a Pruitt-Igoe Complex Model them well.
There were two good slides or slide groups of Yamasaki himself found in the sample.
One can be found in Tray #1, project 4907 MO 1.4 St. Louis (Pruitt-Igoe) of Yamasaki
looking at a model with two unidentified men and the others in Tray #152, 5017-Misc. of
Yamasaki in his office. In addition, photos of the Yamasaki firm members including the
model shop are invaluable (Tray #26, project #6410, MYA Office-Troy). There are
important images of WTC construction photos that show structure, skin elements
fabrication, and wind studies (Trays 19-24).
Minoru Yamasaki in His Office in Troy, MI
79
A few photographs and awards from these earlier firms were also found in other portions of the
collection.
In addition, although there are already miscellaneous Pruitt-Igoe images available to the
general public on the Internet from other repositories or private unidentified collectors,
Tray #1 contains what may be among the most complete group of surviving construction
photographs for the structures and even shows children walking in front of the buildings
at Pruitt-Igoe. Yamasaki’s collaboration with Japanese lighting design artist Motoko
Ishii is also documented in the slides.80
One can anticipate significant use of this material, and over time, due to their dual
intellectual and illustrative value, these slides along with the 4 x 5” color negatives,
transparencies, and prints will undoubtedly end up being the most used material in the
collection.
Yamasaki Model Maker
World Trade Center

Wind Study
Children Playing at Pruitt-Igoe, St. Louis, MO
80
Thanks to Archives of Michigan Project Archivist Chrissie Evaskis for identifying this material.
d.) 35 mm Aperture Cards

There is a small collection of approximately 300 aperture cards of the Federal Reserve
Bank of Richmond. These are architectural, mechanical, mechanical engineering, full
scale details, and structural working drawings for the project. They are all labeled with
drawing number and a drawing identification but no project name.
e.) Photo Prints

Photographic prints can be found in every conceivable size and even 11” x 14” prints are
common. They include many duplicates presumably because these prints were used for
public relations/marketing. Many
of the oversized duplicates may
have resulted from marketing
portfolios assembled by Balthazar
Korab for the firm. Although a few
folios still exist, the majority have
been distributed to past clients or
destroyed. Although some of the
photo prints are filed together by
project name, many more are
simply miscellaneous
accumulations of images from
various projects.
Project Portfolio Assembled by Many of the photographs are
Photographer Balthazar Korab extraordinary images due to the
talents of the numerous photographers used over the years for this work. Large portions
are also marked with the photographer’s identification or copyright ownership. The
photos taken by Taro Yamasaki of what is presumed to be his father’s visit to the grand
opening ceremony for Founder’s Hall
(Shiga Temple) are among the most
exciting in the collection since they
show not only the building but also
client representatives and the general
public interacting with Minoru
Yamasaki.
There are also several oversized photos

on presentation boards in no particular
order. These commonly measure 30” x
40” but are also found as large as 40 x
40” or 26 x 45”. These mostly stem
from Yamasaki’s tenure and are true Yamasaki at Founder’s Hall
photographs of completed projects or
models. The presentation photographs

on oversized boards were used for
marketing to new clients to
demonstrate the types of buildings they
had designed and their iconic nature
but they may also represent some
exhibit materials. Some of the
oversized photo prints are labeled to
allow easy identification for an exhibit.
The identity of others will have to be
researched further.
Verso of an Exhibit Board with Label
f.) Digital Photographs

The collection contains potentially
thousands of born digital photos stored on a
variety of digital storage media. The images
reflect the firm’s shift to born-digital
photographic documentation in the late
1980s and early 1990s. The file formats are
primarily jpg but also include tiff and a
variety of other formats. For more
information, see: Drawings: Computer
Aided Design and Other Born-Digital
Materials below.
King Abdulaziz International Airport Royal
2. Drawings Pavilion, Jeddah, Saudi Arabia on
Presentation Board
a.) Analog
i.) Presentation Boards
There are well over 100 oversized drawings
mounted on presentation boards in
absolutely no order. As with the oversized
photographs, these were used for marketing
but more commonly, since
the drawings usually reflected a rendering of

a potential project, the drawings were used
to sell the project idea to the client either for
initial hire or subsequent design scenarios
after the project was secured by the firm.
Chunbak Provincial Office, Junju, Korea
Presentation drawings are always of interest for exhibition and to document the creativity
of an architect, but due to inevitable changes to the project during design development,
they do not always document the final building design accurately.
A few of the presentation boards contain

small sketches that have been attached to
large pieces of foam core. Two different
uses for this approach were observed. One
attached many drawings side by side for
review and comment by either the other
architects in the firm or by clients,
possibly in a charrette where a group of
designers meet together to solve a design
problem. The other use was a storyboard
for animation in the New Cairo project.
ii.) Flat and Rolled

There are approximately 8,500 flat and New Cairo Story Board
rolled drawings in the Yamasaki
Collection. The majority of these are rolled but
there are significant numbers of smaller drawings
dating from the final days of the firm that are flat.
Unlike the earlier drawings from Minoru
Yamasaki’s time,81 the later Yamasaki Associates
materials often offer a good reflection of the full
design process with sketches, presentation
drawings, design development, working drawings,
and even as-builts (record sets) some-times filed
together in the project file.
There are also some surprising insights into the use

of these materials as simply tools for their work and
the take-it-for-granted attitude architects have
towards their artistic craft. In one example, a
presentation drawing for a residence shows the
client how the house would look and then clearly,
the architect has drawn an annotation directly on the Rolled Drawings
rendering to show the road level.
81
Minoru Yamasaki-era sketches, presentation drawings, and design development drawings survive only as
copies documented in photographic media.
Presentation Drawing with Close up of Annotations from Client Meeting
Most of the drawings have a title block that reflects authorship by the firm, and these are
incredibly important to help the archives identify information about the project. But the
title blocks do not always contain clear information on the client, project, or project dates.
b.) Computer Aided Design and Other Born-Digital Files

The digital files are extensive. There are
approximately 300 CD/DVDs, 4 external
hard drives, 258 digital tapes, and 88 3.5”
floppy discs containing born-digital
material including computer aided design
drawings. CAD files can be extremely
large and may be 25-60 MB per file.82
The storage media contain thousands of
files with a total of two or three terabytes
of data, perhaps more.
Since the digital materials are so prolific,

a sampling methodology was used to Digital Storage Tapes
begin to understand the material.
Since the scope of each type of
digital record can not be
determined without extensive
additional analysis, all born-digital
materials are being lumped
together here. A full
understanding and survey of this
material will not be available until
full processing is implemented.
Computer Aided Design
82
“How to Cope with Huge Files on AutoCad,” Daily CAD, March 3, 2010 <http://www.dailyautocad.
com/2010/03/how-to-cope-with-huge-files-on-autocad.html> (December 27, 2010).
The computer aided design materials and other born-digital materials offer both exciting
information as well as challenging appraisal and preservation issues. The Yamasaki firm
whole-heartedly embraced computer aided design along with the rest of the architectural
community in the late 1980s when personal computers made the process more user-
friendly than the clunky and huge stand-alone CAD workstations of an earlier time.
CAD became a workhorse in the 1990s as technology continued to improve and staff
become more proficient with the software.
Digital folders routinely contain dwg, dwf, ppt, jpg, tiff, and pdf files of CAD drawings
created by the Yamasaki firm itself and also files sent to the firm by various collaborating
architects, consultants, and vendors working on building projects. There may have been
a standard set by the firm but it was not followed. The firm appeared to just take in
whatever file type was sent via email, through the mail on compact discs, or on FTP sites
and simply made it work for the project. Their concern, of course, was getting the
information, not keeping it for the long term. Unfortunately, there is seldom a clear
division between CAD files and other types of digital office files on the same storage
media.
The firm also embraced computer-based technologies of the modern office. The digital
files reflect innumerable software, file formats, and platforms. Formats found in the
sample reflect word processing applications, financial record keeping, computer aided
design, audiovisual files, animation files, web files, photographic, PowerPoint, email,
programming files, templates, back-ups, spreadsheets, print files, and many files types
that could not be readily identified. The file extensions in the sample include Access
Files, apt, avi, bak, bkf, cmt, ctb, ctl, dbf, dll, doc, dot, dwf, dwg, exe, fmp, gif, glt, htm,
ir, js, ldb, lh, max, mpg, msg, net, oab, pc3, pdf, plt, pmd, png, prn, prt, pst, rb, rtf, shx,
tiff, tti, ttm, ttt, txt, xlg, xls, shx, and v2I. Some of these are proprietary file formats
requiring specific software to open and others are more universally accessible using third-
party programs. Multiple formats are found on every storage media and within every
folder and often every subfolder.
File methodologies also changed over time with changes of staff and equipment and
reflected the deterioration of management. There were no naming standards or
seemingly any attempt to appraise the files before keeping them. In some cases, the files
simply represent data dumps where all the files on a server or an individual work station
were simply saved on a particular date without any regard to their value. As a result,
unidentified photos of individual architects, office parties, music preferences, and even
lunch order menus are found in the files.
Many of the files were compressed but were able to be opened. Some were compressed
and compressed again and could not be opened. Some files could not be opened on
Archives of Michigan hardware equipment using their existing software despite setting
up a suite of computers with varying data ports. Not all the external hard drives were
able to be accessed during the sampling due to equipment issues but the two that could be
read contained massive amounts of unorganized data.
The storage media that could be opened appeared to contain a large number of drawings
and many examples of project correspondence but it is impossible to know if any records
were weeded from the files before they were saved. The first CD sampled was labeled
“Archived Projects 1994-1996,” and contained file folders documenting projects 9400,
9500, 9601a, b, c, 9603, 9606, 9614, 9618, 9631, 9632, 9637, 9640, 9640, 9641, 9644 but
the actual survey of the folders indicated there were other projects included in these
folders. The file names themselves are somewhat mnemonic but many have no
connection to the project number or name except by nature of their location in a specific
folder. Even if they were labeled mnemonically, the file names were sometimes less than
helpful, such as “old drawings.”
Of the many types of storage media, most are poorly labeled, but one particular series of
CDs was clearly labeled with volume numbers and design project names. They contained
primarily CAD drawings in various formats along with other miscellaneous types of
records. Another group of CDs appear to be data dumps from individual workstations
marked with the workstation
number (i.e. 21, 44, 49, etc.).
The digital files offer the

greatest challenge to the
Archives of Michigan. But as
further work is implemented on
the born-digital materials in the
collection with grant funding,
their processing offers a
tremendous opportunity to
establish models for other
repositories to follow.
Clearly Labeled Compact Discs for Digital Storage
B. Books
The Minoru Yamasaki Library books are numbered through 603A but there are only 418
books extant. The majority were marked “Library of Minoru Yamasaki.” Since the
library was used after Minoru Yamasaki’s death for reference, some of the books have
disappeared by attrition and were never returned to the library. Others may be in
protective custody as a result of the heart-wrenching way in which the firm dissolved in
its final few months, and others may have been removed by family after his death as
keepsakes or heirlooms. A few books published after Yamasaki’s death are included in
the Library.
Portions of Minoru Yamasaki

Personal Library
The Minoru Yamasaki Library offers fascinating insight into the influences on his life
and work. The library is a snapshot of his wider interests and an artifact of the fact that
during his lifetime, unlike today’s web-based information glut, access to knowledge and
information was primarily book-based. According to a study of architect’s books
compiled by Jo Steffens, “each architect’s collection is unique and informs its owner’s
practice in surprising ways.”83 One of her interviewees, Bernard Tschumi, wrote of his
own books,
Architecture doesn’t exist in a vacuum. Architecture is made out of a few

constants and many variables. Most of the variables are cultural,
technological, social, economic, and even philosophical. Hence there is a
lot of importing and exporting between architecture and other
disciplines.84
Other interviewee, Tod Williams and Billie Tsien, commented, “We would say that [our]
books are a part of life—but not the equivalent. Our work is enriched by the stories we
read, and the stories we live, and the stories we see.”85
Yamasaki’s books had no less value to his life and work than these architects. A
summary of book subjects in the Minoru Yamasaki Library is as follows:
 Architectural styles in general

 Modern architecture from all over the world
 Various artists and artistic styles: Antonio Gaudi, Giacomo Manzu, Masayuki
Nagare, European and American art, Indian art, Turkish art, Japanese art
 Other architects: Eero Saarinen, Eric Mendelsohn, Alvar Aalto, Skidmore
Owings Merrill, Oscar Niemeyer, Mies van der Rohe, Marcel Breuer, Philip
Johnson, Kevin Roche, Walter Gropius, Richard Neutra, Louis Kahn,
Mitchell/Girgola, Edward Larabee Barnes, Le Corbusier
 World architecture: Japan, United States
 Architectural Practice: compensation, perspective drawings, lettering, legal
aspects, metric construction, business management, graphic standards, group
practice
 Architecture design for specific built environment functions: theater,
auditorium, industrial, airports, research buildings, cathedrals, elevators,
commercial, apartments and dorms, correctional, courthouses, synagogues,
libraries, barrier-free, bridges, vets, railway stations, airports, mosques, corporate
headquarters, hotels, museums, churches, motels, fountains, hospitals, schools,
university, bridges, shopping centers, industrial, for aged, swimming pools,
medical, gardens, high buildings, solar control and shading
83
Jo Steffens, ed., “Preface,” Unpacking My Library: Architects and Their Books (New Haven, CT: Yale
University Press, 2009), viii.
84
Jo Steffens, ed., “Bernard Tschumi,” Unpacking My Library: Architects and Their Books (New Haven,
CT: Yale University Press, 2009), 143-144.
85
Jo Steffens, ed., “Tod Williams and Billie Tsien,” Unpacking My Library: Architects and Their Books
(New Haven, CT: Yale University Press, 2009), 160.
 Crafts and materials: stained glass, traditional crafts, metals, textiles, bamboo,
Italian marble and granite, concrete, natural stone, aluminum, lighting
 Journals: a run of Daedalus (Academy of Arts and Sciences journal) from 1978-
1986
 Literature: Ralph Waldo Emerson only
 Minoru Yamasaki’s writings: “Visual Delight in Architecture,” Perspective,
(1955).
 Calendar book: consists of an Arabic calendar presented to Yamasaki for his
work in Saudi Arabia.
 Post 1986 books: added into library include Hellmuth Obata, Kassabaum
(HOK), Kohn Pedersen Fox, Zaha Hadid, Eames Primer and 2005 Construction
Guide
These books were also probably used as teaching tools with his colleagues in the firm.
They may, in fact, have been used to document points in critical design discussions or
arguments.86
It is surprising how little literature is included in the library although it does include two
of Ralph Waldo Emerson’s books. One of the books doesn’t look like it has been
opened. Yamasaki was known to quote Emerson.87 With his interest in Le Corbusier, it
is surprising there was no copy of a translation of Vers Une Architecture (Towards a
[New] Architecture), Le Corbusier’s classic 1923 modernist manifesto. The library also
does not contain a copy of Minoru Yamasaki’s own book, A Life in Architecture.88
However, some of this material may have been retained by the family or members of the
firm.
As with many book collections, some of the books were probably not read and were kept
merely for occasional reference. Even with that in mind, the Library will be a valuable
resource for the study of Minoru Yamasaki in particular and the study of modernism,
architecture in the larger context, and art in general.
86
Jo Steffens, ed., “Steven Holl,” Unpacking My Library: Architects and Their Books (New Haven, CT:
Yale University Press, 2009), 96.
87
Russell Lynes, “The Architect was Told ‘World Trade’ so He Planned Big,” Smithsonian (January 1978),
48.
88
The Archives of Michigan Director has recently purchased a copy to supplement the collection.
C. Artifacts
I t is very common to find Drafting Compasses
three-dimensional artifacts in
archival collections and the
Yamasaki material is no
exception. Most of the artifacts
in the Yamasaki collection
relate directly to the practice of
architecture and may be used
both for exhibit and study. In
addition to Minoru Yamasaki’s
box of drafting curves
including some homemade
versions, the artifacts include a
compass set for drawings, two
electric erasing machines, a
recording device, laser pen
pointer, miscellaneous equipment,
compensating polar planimeter, and three
hardhats from Yamasaki successor firm-
supervised construction sites.
The collection also contains a small

number of vendor samples for flooring and
other surfaces from the post Minoru
Yamasaki period. The Archives may want
to retain them for potential exhibition.
Drawing Curves
Yamasaki Construction Hardhats

In addition, there are several plaques in recognition of awards received. The award
plaques document a part of the architecture profession where awards are sought from the
profession and/or client and manufacturing groups to help the firm’s name recognition
and offer credibility for future clients.
Although, this material

may seem appropriate to
keep merely for potential
exhibition, there are those
who would argue that
these artifacts, classified
by some as museum
objects, actually are
expressions of general
cultural ideas worthy of
significant study. Almost
fifty years ago, an
archivist at the
Smithsonian, Wilcomb E.
Washburn, made this
point89 and by the 1980s,
a whole new field of
Award Granted to Minoru Yamasaki study defined as “material
culture” had been
developed in universities. One of the material culture pioneers, Thomas J. Schlereth,
argued that there is “a strong interrelation between physical objects and human
behavior,” and that the study of material culture includes, “the totality of artifacts in a
culture, the vast universe of objects used by humankind to cope with the physical world,
to facilitate social intercourse, to delight our fancy, and to create symbols of meaning.”90
D. Project Records
Although many of the visual materials (negatives, photos, slides, and drawings) are
considered to be project records and have been addressed earlier, there are also other
project records extant including a project list and both analog and digital project files.
1. Project List
The 110 page project list is an incredibly important resource to help decode the
collection. The firm used project numbers to identify projects as described earlier under
89
Wilcomb E. Washburn, “Manuscripts and Manufacts,” American Archivist, 27:2 (April 1964), 245-250,
http://archivists.metapress.com/content/e750422621078k41/?p=a5100fa1012d4236a33f24b689f080db&pi=
28 (November 27, 2010).
90
Thomas Schlereth, Material Culture: A Research Guide (Lawrence, KS: University of Kansas Press,
1985), 3, 4.
visual materials and did not always identify projects by name. The project list not only
helps identify these projects but also confirms the firm’s involvement in projects. It can
also be used as a thesaurus of project names or a cross reference if different project
names are preferred.
The list spans projects from 1949-1992 and thus covers not only the records of the
Minoru Yamasaki Associate and Yamasaki Associates but also the earlier firm Hellmuth
Yamasaki Leinweber and the Leinweber Yamasaki and Associates firms. Project
numbers run from 4909 to 9237 so it is clear that Yamasaki continued the run of project
number after the dissolution of his earlier firms. His successor firm also continued the
project numbering system in chronological order after Yamasaki’s death.
The list does not appear to be complete since some earlier project numbers not in the
Project List (i.e. 4901, 4905, and 4908) were found in Tray 1 of the 35 mm slides. It will
take a more thorough comparison to see if any other project numbers are missing. The
list includes:
1.) List of inactive or closed projects

2.) List of active projects up to 1992
3.) List of account numbers
Unfortunately, there is no evident list of projects after 1992 although it may turn up
during processing of either the analog or digital project files.
The information provided in the project list varies from decade to decade or perhaps more
accurately reflects the thoroughness of different staff through the decades. Earlier entries
contain simply the project numbers and project name. However, project names on the
Project List may not reflect later names used for a project. For example, the project list
identifies what became known as the Pruitt-Igoe low cost housing as MO 1.3 and MO 1.4
St. Louis. Project name changes are quite common in architectural collections since the
name of the client may be the first name assigned a project and over time the project is
assigned a more specific title, such as the name of a prominent individual.
According to the Project List, the firm sometimes divided project numbers into
alphabetical groups or added a suffix of “X” and a number to the project name reflecting
work on different buildings within a large client project or even different parts of one
structure (i.e. Century Plaza 6106, Century Plaza Publicity 6106-X1, Century Plaza Front
entrance change 6106-X2, etc.). This was not standardized and again was probably
affected by changes in the recordkeeping/naming approach of different staff members.
Later project numbers (beginning in 1959) also included what may be contract dates and
sometimes identified the principal architect managing the project. The list also assigned
project numbers for non-project related work that still involved staff time (i.e. 5901
Speeches for Mr. Minoru Yamasaki or 5910 Gold Medal Exhibit, Architectural League of
NY).
2. Project Files
Some analog project files survive. Almost 6.3 linear feet is extant from the late 1990s to
2009 and is made up of correspondence, transmittals, contracts, proposals, etc. It is likely
that a substantial number of project files will be uncovered in the digital material when it
is analyzed in detail. The digital files sampled showed significant amounts of this type of
record.
E. Office Records
Since the bulk of these types of records were destroyed, only small numbers of office
records were found scattered throughout the collection. More of all types of office
records will be found among the digital materials but can not be quantified without
extensive additional appraisal.
1. Correspondence and Financial Records

The digital records sampling revealed some examples of correspondence and financial
records. Many of the digital tapes contained back-ups of financial records.
2. Public Relations
Approximately ten linear of analog Public Relations records were found unfortunately
scattered throughout many boxes of material. These include project tear sheets,
proposals, correspondence, subject files, reports, brochures, resumes, posters, and firm
portfolios
The collection contains several

examples of two dimensional award
certificates and also award
applications. Awards are the bread and
butter for a firm to market their
expertise for new work.
One nice surprise in the digital record

was a group of CDs [Temporary Box
27] with video avi files of the
Yamasaki Office at work in 2008.
These files would provide wonderful
clips for a documentary on architecture Award Nominations
function, what is architecture, and the culture of the office. There is some duplication,
and there are multiple takes. One gets a sense of the tremendous diversity in the office
and the firm’s design approach, past and present.
3. Project Development, Reference, Clippings and Articles

Approximately three linear feet of other types of analog Office Records were found. The
Project Development files are somewhat unusual since they were created as a separate
group of office records. They are marked as “D” files and include correspondence,
reports, lists of current projects, and client prospect data sheets.
A small number of Reference files were also discovered that included magazines,
building codes, vendor catalogs, architecture books, and language tapes.
The firm collected Clippings and Journal Articles about Minoru Yamasaki and about the
overall work and projects the firm designed. These are not extensive considering the age
of the firm and may well have been selectively removed in the past or did not survive the
records purge in the mid 2000s. They date from 1956-2006 and include some significant
documentation about the World Trade Center and other projects. Among the most
interesting is a group of articles about
the World Trade Center disaster.
F. What’s Missing?
Although this collection offers
significant value for research, it is
clear that the bulk of the collection
did not survive the firm’s financial
decline in the mid to late 2000s. In
addition to the bulk of the project
files, thousands upon thousands of
drawings were destroyed including
World Trade Center Destruction original sketches, presentation
Newspaper Clippings drawings, and working drawings.
The surviving drawings did so by happenstance. The drawings files in either microfilm
or hard copy formats were pulled from storage for use, were never returned to offsite
storage, and remained in the firm’s offices. Photographs in varying formats survived
because the firm used images from past projects to market their work.
The Archives of Michigan collection contains little information about Minoru

Yamasaki’s personal life including correspondence or family photos. Called the “C” files
at the firm, the bulk of this personal material was removed from the firm by the
Yamasaki family after Minoru Yamasaki’s death. These personal correspondence files
were donated to the Reuther Library at Wayne State University in 2010. These 35 linear
feet of material has been processed and a folder level inventory is available at the Reuther
Library at Wayne State University and on their web site.91
One rare personal item of interest was discovered in the collection at the Archives of
Michigan that documented the firm staff’s “get well wishes” for a 1973 automobile
91
Minoru Yamasaki Papers, Reuther Library, Wayne State University, <http://www.reuther.wayne.
edu/files/UP002108.pdf> (December 23, 2010).
accident92 presented to Yamasaki in caricature form. This drawing reveals a lot about his
relationship with his staff and also is an ideal exhibition piece.
Although the 35 mm slides contain substantial examples of the work of the Hellmuth,
Yamasaki, Leinweber firm and Leinweber, Yamasaki and Associates, there are very few
other project records or office files from this period. In fact, very few project files
besides drawings are extant for the Minoru Yamasaki Associates through 1986.
Caricature of Yamasaki’s Auto Accident

Undoubtedly, more job files will be uncovered among the various digital storage media
as these are fully appraised and processed but these are likely to be from the firm’s later
years.
92
“Architect Injured: Police Investigate Accident in Troy,” Detroit News, November 27, 1973, Minoru
Yamasaki Biographical File, American Institute of Architects-Michigan, Detroit, MI.
VIII. ADDITIONAL MATERIALS

It is highly likely more Yamasaki materials are extant and remain to be identified. As the
Collection at the Archives of Michigan becomes known and their approach to access and
preservation is publicized, these additional materials will make their way to the Archives
of Michigan.
There are also other opportunities for collecting that do not involve the Yamasaki firm or
family. The American Institute of Architects-Michigan in Detroit has biographical
clippings, letters, and photographs for most of the architects in the state including an
extensive file (about 6” linear feet) on Minoru Yamasaki. Although they use these
materials from to time and respond to requests for information from outside researchers,
the Archives of Michigan could make a good case for transferring these materials to
Lansing where they could be properly preserved.
Another option is to contact the Smith, Hinchman, Grylls (Smith Group) in Detroit where
Minoru Yamasaki worked from 1945-1949 before establishing his own practice.
Although it is unclear exactly what the firm might have regarding his work, it would be
worth contacting them.
IX. CONSERVATION ISSUES

The Yamasaki Collection is in remarkably good condition considering the years of use
and lack of attention to preservation issues before the material was donated to the
Archives of Michigan. There are very few conservation issues among the textual
materials except for some heat-generated photocopies, and occasional Post-It notes. The
visual materials, however, have many different areas of concern.
A. Visual Materials
1. Photographic Material
a.) 4 x 5” Color Negatives, Transparencies, and Prints

Currently, the 4 x 5” color negatives,
transparencies and prints are housed in
polyvinyl chloride (PVC) sleeves
within nineteen PVC binders. Within
these sleeves, many of the
negatives/prints are further housed in
PVC sleeves, acetate sleeves, and
acidic glassine envelopes which have
undoubtedly contributed to their
deterioration over time. It is difficult
to quantify the damage. There may
have been infiltration and staining
from the glassine envelope’s adhesive
and potential weakening of the 4 x 5” Images in PVC Sleeves
photograph paper fibers or color shifts.
In addition, an attempt was made by the

firm to keep the transparency and its
print together so a piece of adhesive
tape was used on the image edges to
secure them together before they were
put in the sleeve. This condition is
found on as many as half the images or
more depending upon the binder.1
Although this was very effective to
keep track of matching negatives and
prints, the adhesive tape is starting to
degrade. Although it is not yet
yellowing, it is getting sticky and
Adhesive Tape Used on Prints
1
Sometimes color negatives or transparencies are attached to non-matching prints.
oozing from beneath the adhesive

carrier. On occasion, someone has
either tried to pull off the tape or it
has gotten caught on the sleeve when
the print was removed and the
emulsion on the photo print was
damaged.
Where the tape has touched the

inside of the sleeve compartment,
some of the adhesive has leached out
and is now sticking the
transparency/print combination to the
sleeve. It is easily removable but a
Print Damaged by Adhesive Removal little of the adhesive remains behind
on the sleeve. Care will have to be taken when removing these images for processing.
In addition, occasionally double-backed tape was used to stick prints to the transparency
sleeve. This is also becoming gummy and starting to degrade. This method of keeping
the documents together is far less common than sticking them together with tape at the
edge.
Where multiple sets are in the sleeve (4 sets,) the tight fit has exacerbated the adhesive
leaching and some sets are lightly stuck together. The tape will be able to be easily
removed from the negatives since each is already in a sleeve but it will be more difficult
to remove them from the prints. These could be removed with a gentle application of
heat and then the residue removed with a crepe eraser but this may damage the emulsion
if not done carefully. A second opinion on this method should be sought from a
professional conservator and attempt it only under their supervision until well-practiced.
Since the negatives and the prints are stored immediately adjacent to each other and since
the prints may not have been processed archivally, there is a danger of residual chemicals
affecting the negatives. Many of the prints are showing signs of yellowing and the color
balance is shifting toward red.
Some of the paper labels on individual transparency sleeves have dried up and are falling
off and they are being held on simply by remaining in the individual page pocket. This
will require careful attention to track the images as they are removed from the sleeve.
Some of the negatives have been embossed from writing information on top of something
adjacent. This is not commonplace. These are only discernible in certain light and
should not affect copying or viewing. There are a few large paper clips within the
binders securing some images within the compartment sleeves. The most immediate
need for visual materials is to re-house this material as soon as possible in appropriate
polyester enclosures.
b.) 105 mm Microfilm

Although these materials are generally in good condition, they are stored in acidic sleeves
and should be rehoused in acid-free
enclosures for long term storage.
c.) 35 mm Slides
The firm used a variety of slide film
technologies over the 50 years. Many are
not labeled with the film type but
Ektachrome, Kodachrome, and Ansco film
formats are found scattered throughout.
Thankfully, the Ektachrome and Ansco
slides number are only in the hundreds

instead of the thousands since they need to
be cold stored to prolong their life. The Microfilm in Acidic Sleeves
majority of slides are labeled with a
stick-on label with information
including their project number and
whether they are models,
presentation drawings, working
drawings, construction, or post-
construction photos. Many of these
labels are starting to fall off as the
adhesive degrades.
The slides are mostly in “good” but

not “excellent” condition. A few of
the oldest slides are only in “fair”
condition. Thankfully most of the
Detached Slides Labels
slides were filed in protective sleeves,
which have kept them cleaner than they
would be otherwise and made all the
difference between “fair” and “good” for
the majority. There is no sign of mold
from the sampling that would indicate
storage in an improper environment.
However, a few slides in the sample
appeared to have gotten wet or had
something spilled on them that degraded
the mount. This is negligible considering
the collection size.
Slides are in every conceivable mount type Water-damaged Slide

since the collection spans so many decades including glass, paper, metal, plastic, and they
reflect an interesting history of material culture, change of technology, and marketing.
Many of the slides appear “pitted”

and often have dirt particles on the
surface despite the protective sleeve.
The dirt and dust is especially
common in the older slides like
Pruitt-Igoe. There is also some color
shifting and fading but this is not
actually a common problem
considering the number of slides. A
few of the transparencies have
slipped from their mounts.
Dirty and Faded Pruitt-Igoe
Construction Slide
d.) 35 mm Aperture Cards

The aperture cards are in good condition
and show little signs of deterioration. The
adhesive used to attach the 35 mm pieces
of microfilm to the index cards is intact
and shows no sign of stickiness or oozing.
However, the cards themselves are acidic
paper stock which reduces their longevity.
e.) Photoprints
In general, the photo prints are in good
condition. Some of the photo prints have
an evident color shift that may have been
caused by improper photographic
processing or poor storage. Others show
evidence of abrasion, small rips, and
adhesive residue from inappropriate
storage. The greatest preservation
problems among prints can be found when
oversized photos have been attached to
presentation boards of Masonite,
cardboard, or foam core. The Masonite
boards, especially, are showing signs of
deterioration from abrasion and from
being dropped too many times on their Damaged Supports for Oversized Prints
corners. Trying to remove these
photographs from the boards will not be cost effective.
2. Drawings
a.) Analog
i.) Presentation Boards
As with the board mounted photographs, board mounted drawings show wear and tear
from frequent transport to clients or
exhibitions. Foam core backings are
sometimes crushed and broken and
edge covers have degraded. Many of
these boards are not only oversized,
but are also very thick and may
require significant, expensive storage
space if stored in flat drawers.
There are also examples of

presentation boards on which smaller
drawings have been attached with
adhesive tape. At least one of these is
extremely large and presents long
term storage problems. The report Foam Core Damaged Edges
advises holdings maintenance only to
keep them as long as possible but regenerate the images if needed for exhibition using the
original transparencies, if available.
ii.) Flat and Rolled

The drawings are in primarily good to excellent condition with some experiencing the
usual rips and tears from decades of
use. A wide variety of media were
used for their creation including
tracing paper, sepia, and diazo
according to the common
media/supports of their time frame
and their function.2 The firm also
later used sticky-backs and magic
markers to create portions of
drawings, both of which offer
preservation problems over the long-
term.
Ripped Sepia Print
2
For a media/support timeline see: Tawny Ryan Nelb, “Identification and Preservation Maintenance of
Common Visual Media and Supports,” Architectural Records: Managing Design and Construction
Records (Chicago, IL: Society of American Archivists, 2006), 126. For examples of actual media/supports
see: Appendix II for a Media/Support Identification and Preservation Chart.
Unstable ink jet prints are common in

the later years. The number of
drawings in the collection will require
significant resources to house them in
the recommended flat storage for long
term preservation.
In recent years, the Yamasaki

Associates firm began to use “Post-it
Notes” to make annotations on the
drawings. Since Post-it Notes will
eventually lose their adhesive grip
and fall off, keeping the context of
the annotations will be important
Barwa City Design Printed with
during processing.
Light Sensitive Ink Jet Media
Some of the rolled drawings were
edged with masking tape to help
prevent edge tears over time.
Although this methodology worked to
some extent, the tape is now degrading
and has undoubtedly weakened the
paper fibers at the edges.
b.) CAD and Other Born

Digital Records
The born-digital records create the
most serious challenges in the
collection. Conservation appraisal of
digital materials on the large variety of Masking Tape Edged Drawings
storage formats will take more time
than that of the sampling used for the inventory. The Yamasaki Associates firm slowly
moved to born-digital materials for project files, drawings, accounting, and most other
aspects of their records creation beginning in the late 1980s.
Unfortunately architects, engineers, and their related consultants seldom standardized file
types that were shared and exchanged during a project and the result is a myriad of file
types that promise an alphabet soup of file extensions and a nightmare for the archival
repository trying to unravel and coordinate the file functions. With few exceptions, the
standard used was whatever was available at the time not only with file types but also
versions of the same file type. Although the often frenetic pace and deadline-driven work
of design would make standardization sensible, it appears lack of file management, lack
of digital file expertise, and changes to the firm staff resulted in confused recordkeeping.
Many of the early storage formats

(floppydiscs and various older digital
tapes) are obsolete and could not be
read, even after setting up a suite of
older hardware with a variety of data
port options. Simply accessing the data
on the older formats may require
vendor assistance. The firm used no
standards for file names and there are
many terabytes of data made up of
thousands of digital files in the
archives. These will all have to be
appraised file-by-file or at least folder-
by-folder to determine their long term Obsolete Hardware Set Up to Review
value. Yamasaki Digital Files
Files formats, too, may either be obsolete or the software unavailable without
commitment of significant resources. Any files created by Autodesk, like dwg and dwf
files, are probably backwards compatible but it generally requires proprietary Autodesk
software to read. Computer Aided Design (CAD) records also present questions of the
need to preserve functionality in dwg and other CAD formats versus just preserving a
snapshot of the project drawing as a jpg or a tiff file.
Most of the CDs are labeled with permanent magic marker directly onto the top surface
of the CD. This may have long term impact on the CD substrate. More recent CDs may
be dye-based and are affected by light exposure. Changes in the color may change the
ability of the CD reader to differentiate between “0” and “1” in the bit-stream.
B. Books
The books are in good to excellent
condition except for some shelf wear.
Some of the book jackets have minor
rips. Only one book, Architectural
Graphics Standards, had obvious
damage to the binding and was full of
Post-It Notes from more recent use.
There is no sign of mold or mildew. All
the books were printed on acidic paper
and thus will deteriorate more quickly
than if printed on acid-free or alkaline
paper common in books after 1990.
One Book in Poor Condition

X. PROCESSING
A. Arrangement and Description
At the macro-level, the Archives of Michigan is moving towards description of all their
records at the collection level using OCLC MARC catalog records and EAD findings
aids generated with the Archivist’s Toolkit. These are the standard in archives so they
won’t be addressed here.
When funds become available for further arrangement and description beyond the
collection level record, the application of series, subseries, sub subseries, and folders will
result in a Container List that identifies intellectual hierarchies (series, etc.) along with
box and folder or other container numbers to pinpoint what the researcher needs to use.
The Archives of Michigan took in all of what they assumed to be the Yamasaki
Incorporated records that survived in the firm offices in 2010. Although the Archives
may need to understand the percentages of what portion of the materials were created
before versus after Minoru Yamasaki’s death in 1986, it is not the best way to arrange the
records. The firm records actually begin in 1948 just before the incorporation of the
Hellmuth, Yamasaki, Leinweber firm that dissolved in 1959. Yamasaki continued the
firm as Minoru Yamasaki Associates until his death and his successor firm carried on
under that same name for 17 years after his death. They picked up and finished projects
that began under his tenure and continued to use the projects created during Minoru
Yamasaki’s time for marketing and as the basis for new designs much as Yamasaki
himself had done with the records created before his earlier firm’s demise in 1959. The
successor firm’s direct connection to Yamasaki was part of their personal and
professional identity as architects and part of their credibility as a firm. Therefore, the
report recommends all this material be unified into a group of records to be named the
Yamasaki Collection.
Although the survey (see: Appendix A) of necessity identifies and describes the records
as they were found, divided into groupings by the genre of textual, photographic, and
drawing materials, this is not the optimum method for the Archives to arrange and
describe the material for long term access or preservation. Such an intellectual order by
genre gives very little focus to the material, and may, in fact, cause researchers to actually
misinterpret the resources.
It is better to use an approach that more accurately provides a hierarchy and context to the
records. In 2000, with funding from the Getty, the Environmental Design Archives at
University of California Berkeley created the Standard Series for Architecture and
Landscape Design Records: A Tool for the Arrangement and Description of Archival
Collections.3 This tool was used to impose an order on collections that were scattered
3
Kelcy Shepherd and Waverly Lowell, “Standard Series and Subseries with Examples,” Standard Series
for Architecture and Landscape Design Records: A Tool for the Arrangement and Description of Archival
and filed together by record type with little regard for the provenance or original order
used by standard archival concepts. It was created with tremendous forethought and
reflects the organization of the majority of architectural collections.
Portions of the
Yamasaki Collection
as Surveyed
The emergency nature of the rescue of the Yamasaki Collection, the haphazard
arrangement, and the reality of loss of major amounts of material over the decades will
allow the Standard Series to create a framework for the Yamasaki Collection, speed
processing, and bring clarity for both the archivists and the researchers to what is now a
tangle of records. The options available in the Standard Series are presented below with
examples. 4 See Appendix C for a full copy of the Standard Series, included in the report
with the authors’ permission.
Collections (Berkeley, CA: Environmental Design Archives, University of California, Berkeley, 2000),
2-3.
4
Collections (Berkeley, CA: Environmental Design Archives, University of California, Berkeley, 2000), 13.
1. Standard Series and Subseries with Examples

Samples of the use of this methodology and final EAD inventories are available on the
On-Line Archives of California. For one example, see the EAD inventory of Architect
Bernard Maybeck’s records at the Environmental Design Archives.5
Only the series that are applicable would be used for the Yamasaki Collection, and the
original order of the collection is respected if at all possible. For example, although
Minoru Yamasaki did teach at New York University and Columbia University during his
career, none of those faculty-related papers (if they still exist) are included in the
Collection at the Archives of Michigan. That Faculty Papers series would not be used.
The recommended Series and Subseries are as follows:
2. Yamasaki Collection Series
Approximate
SERIES SUBSERIES SUB SUBSERIES
Amount
PROFESSIONAL Awards Certificates and Plaques ~29
PAPERS
PERSONAL Minoru Yamasaki ~412 books
PAPERS Books
Personal Ephemera .1 linear foot (lf)
(cartoon after car
accident)
OFFICE Administration Software, Web-site 1 lf
RECORDS
Other to be determined
Correspondence RFPs .5 lf
Correspondence To be Determined (TBD) To be
(mostly digital Determined
files) (TBD)
Financial Records To be Determined (TBD) To be
(digital files) Determined
(TBD)
Public Relations Marketing subject files, 8.71 lf
correspondence, tear
sheets, brochures, award
nominations
Public Relations Posters .1 lf
Public Relations Digital Files TBD
5
“Bernard Maybeck, “EAD Finding Aid,” On-line Archives of California, <http://www.oac.cdlib.
org/view?docId=tf0h4n986k;query=Bernard%20Maybeck;style=oac4;view=admin#note-1.8.8> (December
27, 2010).
Approximate
Amount
OFFICE Photographs Post construction prints ~1200
RECORDS
Photographs A Life in Architecture ~120
Photographs Korab folios 3 folios
Other folios TBD
Photographs Staff head shots Staff TBD
Photographs Digital files TBD
Presentation Oversized photos and 149 boards
Materials drawings 1,750 slides
Slides
Project 1.5 lf
Development
Reference .2 lf
Clippings and Minoru Yamasaki 1 lf
Articles biography and
Firm projects
PROJECT Project Lists Project List (110 pages) .3 lf
RECORDS
Project Lists Other project lists that TBD
may come to light during
processing
Project Files Correspondence analog 6.3 lf
Project Files Born-digital digital TBD
Photographs 4 x 5” color negatives/ ~9,500
transparencies/prints
Photographs 105 mm microfilm 988 images

Photographs Aperture cards 300 aperture
cards
Photographs 35 mm slides ~22,000 slides
Photographs Misc. photos, prints, Misc. photos,

negatives prints, and
negatives TBD
Photographs Digital photographs Digital photos
TBD
Drawings Flat 8,466 drawings

Rolled
Approximate
Amount
PROJECT Photographs Born-digital digital TBD
RECORDS (potentially two
to three
terabytes or
more)
Models 3 small, c 2000s
Vendor Samples 1 lf
ART AND Artifacts Office Equipment 3 lf
ARTIFACTS
Drafting Equipment ~7 items

ADDITIONAL Books A Life in Architecture, 2 items
DONATIONS Motoko Ishii
To Be Determined
3. Project Index
Although the hierarchical approach of series and subseries, etc. resulting in a container
list is a standard approach in archives, it is not always easy to reconcile with architectural
records due to their unique nature where the focus is on the project as the basic unit.6 In
architectural records, project information can be scattered among many series, so creation
of a Project Index for the Yamasaki Collection would allow researchers to quickly locate
the information they need for projects without having to pull together all the project-
related information into one unit. Rearranging all the project information together would
actually change the existing order of the material and significantly increase processing
costs. The Project Index also helps avoid researchers browsing unnecessarily through
material they don’t need, increases researcher’s efficiency, reduces the amount of
documents staff needs to transport to the reading room, and cuts down on wear and tear
of the material.
An example of a Project Index is as follows:
6
Collections (Berkeley, CA: Environmental Design Archives, University of California, Berkeley, 2000),
11.
Obviously, the level of detail can be tailored specifically to the Yamasaki Collection. At
a minimum, the initial information gathered should include Job # (where available since
the firm used this type of identification), Project Name/Client/Title, Location, Date, and
Container. Additional data elements can be added over time such as project type
(residential, commercial, etc.), collaborator, and photographer. The Container List and
the Project Index together will help guide researchers through the material.
Identification and description for projects through 1992 will be assisted by the detailed
project list. Determine what project names will be used as thesaurus terms based on the
project list. Yamasaki Associates projects after 1992 are not listed and the description of
the material will have to rely on title block information on the drawings to confirm the
firm’s involvement. A more extensive project list may turn up in the digital material but
if not, securing or creating a full project list through 2009 is critical for proper
arrangement and description of the collection. Until a Project Index is prepared, create a
temporary searchable project name index to assist researchers by scanning the Project
List with optical character recognition software and creating a computer-searchable
document.
B. Copyright
1. Drawings Copyright
The copyright for the Yamasaki Collection was deeded to the Archives of Michigan in
2010. However, copyright still remains a tangled weave of laws with the potential for
confused interpretation. Previous building design copyright was superseded by the
Copyright Act of 1990 that expanded new rights to creators.7 After December 1, 1990,
drawings and also the buildings themselves could be copyrighted for new designs.
Copyright ended on drawings for projects that were not executed by December 31, 2002.
Buildings that were constructed by December 1, 1990 retain the same protection that had
previously: life of the author plus 70 years for works created by an individual and “95
years from the date of publication of the work or for 120 years from the date of creation
of the work, whichever term is less.”8 The copyright office defines:
“Creation” is the first-ever tangible fixation or embodiment of a design,

whether in plans, drawings, models, or a constructed building.
“Publication” occurs when underlying plans, drawings, or other copies of
the building design are distributed or made available t the public for sale
or other transfer of ownership or by rental, lease, or lending. Construction
of a building does not constitute publication for purposes of registration,
unless multiple copies are constructed.9
7
Peter Hirtle, “Copyright Term and Public Domain in the United States,” Cornell University,
http://copyright.cornell.edu/resources/publicdomain.cfm (December 6, 2010).
8
“Copyright Claims in Architectural Works,” Copyright Office, 2 http://www.copyright.
gov/circs/circ41.pdf (December 6, 2010).
9
“Copyright Claims in Architectural Works,” Copyright Office, 1 http://www.copyright.
Although the design did not have to be registered with the U. S. Copyright Office in order
for the creator to own copyright, registration is required in order to prove copyright
infringement.10 It is highly unlikely the Yamasaki firm ever registered their drawings
with the U. S. Copyright Office since this takes time and requires depositing copies of the
drawings with the copyright office and paying a processing fee. The Catch-22 for the
Archives of Michigan is that the Copyright Act of 1990 does not allow any buildings
designs to be registered if the designs either predate December 1, 1990 or the designs that
predate December 1, 1990 were not constructed before January 1, 2003. Thus, although
the Archives of Michigan may own the copyright on this material, they may not have
much legal recourse if someone violates the copyright.
Another copyright issue also affects the Yamasaki Collection. The Collection contains
drawings by architects who either collaborated with the Yamasaki firm on projects or the
firm used projects by other architects as reference tools. The Collection contains
drawings from both these categories including the following:
ARCHITECT PROJECT DATE

Albert Kahn Kresge Building c 1914
William Kuni Kajaian Residence 1925
Richard Marr Pinnacle 1942
Emery Roth and Sons World Trade Center 1968
Rosetti Assoc. Big Beaver Tower 1973
Skidmore Owings Merrill Airport 1977
Ford & Earl Assocs. Kasle Residence 1987
Victor Huff Tory Marriott 1987
Sikes, Jennings, Kelly, Brewer Troy Marriott 1988
Mobile Facility Engineering. GM Proving Ground 1995
Roy French Associates Crittenton Hospital 1995
Campbell/Manix Abebano Brake Co. 1996
Dick Moute Siegel Harwood School 2002
Mancini, Alkateeb & Assoc. Susick School 2003
Hurley and Steward Portage Trade Center 2004
HOK International ADNOC 2008
Gary Safety Lighting ADNOC 2009
Of the most immediate interest will be the Emery Roth and Sons’ World Trade Center
drawings. Copyright for these may be held at Columbia University where the collection
resides. Every drawing was not examined during the survey and other architect’s
drawings may be discovered during processing.
This copyright issue also affects the born-digital drawings. Most drawings were created
in-house and are works-for-hire, but the advent of web-based project management and
10
“Copyright Claims in Architectural Works,” Copyright Office, 2, http://www.copyright.
the ability to share documents on-line has blurred these lines. Numerous design
consultants are common especially in large projects and the copyright will most likely
have been retained by those firms. Careful analysis of the born-digital materials will
have to be initiated during processing to guarantee the copyright was owned by the
Yamasaki Associates firm at the time of the deed of gift.
2. Photographic Material Copyright

The deed of gift to the Yamasaki Collection only turned over the copyrights to the
materials created by members of the firm during its existence until 2009. Although some
of the photographs were created in-house, the collection includes thousands of images by
photographers who retained their copyrights. The photographic materials in the
Yamasaki Collection will be the most used over time. Although the images can be used
according to fair use standards for nonprofit teaching, private scholarship, commentary,
criticism, satire and parody, and news reporting, their greater use would be for
publication and exhibition.11 The photographic material presents one of the most critical
copyright issues in the collection since the Archives of Michigan will eventually want to
digitize this material for on-line access and reap the benefits of sales of images or
licensing use.
The copyright laws regarding photos are still convoluted and complex and the copyright
limitations depend on knowing the photographer’s name, whether the photo was a work-
for-hire, when it was created, and when it was first distributed, registered, or published.12
The creator’s copyrights vary dramatically depending on these factors.
Since the Yamasaki Collection spans approximately 1948-2009, little of the material is in
the public domain although some of the material published in the 1940s is getting close to
public domain status. Unpublished material created before 1978 is under copyright for
life of the creator plus 70 years or December 31, 2002, whichever is greater. Published
and/or registered material created before 1978 retains copyright for life of the creator plus
70 years or December 31, 2047 whichever is greater. If created after January 1, 1978, the
copyright term is life of the creator plus 70 years or the shortest of 95 from publication or
120 years from creation if the work has corporate ownership.13
Although it is not clear from the images themselves whether photographers who worked
with the firm registered their copyright with the U. S. Copyright Office, there are many
examples of photographers who either marked their photographs with a copyright stamp
or some other identifying mark to make claim to their copyright ownership.
Some examples of copyrighted photographic material sampled in the inventory are as

follows:
11
Diane Vogt-O’Connor, “Legal and Ethical Issues of Ownership, Access, and Usage,” Photographs:
Archival Care and Management (Chicago: IL, Society of American Archivists, 2006), 312.
12
Diane Vogt-O’Connor, “Legal and Ethical Issues of Ownership, Access, and Usage,” Photographs:
Archival Care and Management (Chicago: IL, Society of American Archivists, 2006), 309.
13
Lolly Gasaway, “When US Works Pass into the Public Domain,” University of North Carolina
http://www.unc.edu/~unclng/public-d.htm (December 6, 2010).
PHOTOGRAPHER NAME/PROJECT NUMBER

Balthazar Korab World Trade Center (WTC) 6211
Manufacturers and Trade 6308
Eastern Airlines Terminal Boston 6501
Century Plaza 6813
Temple Beth El 6805
Miyako Hotel Tokyo 6815
Montgomery Ward 6908
Colorado National Bank 7007
Rainier Bank Seattle 7203
Columbia Center 8517
Oakland County Computer Center 8740
Kennedy Square 8861
Chatham Village
Seattle World’s Fair
IBM 6204
Harvard 5939
Dan Bartush WTC 6211
Basic and Clinical Research Medical College
of Ohio at Toledo 6707
Temple Beth El 6805
Miyako Hotel Tokyo 6815
Horace Mann 6809
Master Plan for Makiki-Kewalo-Ala Moana
Planning Area Honolulu 6907
Federal Reserve Bank of Richmond 7008
Rainier Bank Seattle 7203
Tulsa Performing Arts Center 7302
King Fahd International Airport 8220
Hyatt Hotel Kuala Lumpur Malaysia 8107
Monte-Carlo Palace 8202
Tahir Center Cairo Egypt 8405
Wilshire Plaza West 8501
Somerset North 8507
City Bank Honolulu 8510
Columbia Center 8517
Hedrich-Blessing Horace Mann 6809
IBM 6204 (Hedrich-Blessing Archives
is now owned by the Chicago History Museum.)
Julius Shulman Century Plaza 6813 (Shulman died in July 2009.
The Shulman Collection is now at the Getty in
Los Angeles);
Taro Yamasaki Shiga Temple7802
Taikichi Irie Shiga Temple7802
Nakatai Shiga Temple7802
Titan Photo Somerset North 8507

Titan Photo Trammell Crow Project 8509
111 Long Lake 8513
Illegible Tulsa photographer Tulsa Performing Arts Center7302
Gary Quesada Columbia Center 8517
Ezra Stoller Federal Reserve Bank, Detroit
Lens Art Thompson Products
Weisburg Clinic
Joseph Molitor Woodrow Wilson 6109
Rondal Partridge Dhahran Air Terminal 5817
Tony Vaccaro World Trade Center 6211
Camera Craft IBM 6204
Dudley Hardin and Yang IBM 6204
Wheeler/Larsen Tulsa Performing Arts Center 7302
Glen Moon Detroit Hospital 1998
This list is simply the photographers that were readily evident. Others will be identified
during processing, including born-digital photographic images, which will require
lengthy additional analysis.
Photographers can transfer rights to others and the Archives of Michigan should make a
best faith effort to contact the copyright holders or their heirs as soon as possible to
secure the copyrights to this material. Many of these materials will not come into the
public domain for several decades. Unlike property, copyright can not be abandoned.14
If they will not grant the copyright to the Archives of Michigan, discussions about
licensing their use may be the only option.
If the copyright holder’s contact information is not evident through standard sources such
as www.whitepages.com or other resources, publish classified ads in the newspaper of
original geographical location of the copyright holders for a week including Sunday and
allow a month for potential copyright holders to reply. Many local newspapers also have
a “Back Page” ad section that many people read religiously. It may be more effective
than a standard classified ad. Peter Hirtle, Emily Hudson, and Andrew Kenyon’s 2009
book, Copyright and Cultural Institutions, has a whole chapter on strategies for locating
copyright holders. In addition, the Archives of Michigan should include a disclaimer on
their website regarding copyright. Something similar to the following based on the
Greene and Greene Virtual Archives website site disclaimer may be appropriate.15
The Archives of Michigan respects copyright and other legal rights

associated with material under consideration for dissemination over the
Internet. The Archives of Michigan makes items from these collections
available online after a full risk assessment has determined the legal status
14
Peter B. Hirtle, Emily Hudson, and Andrew T. Kenyon, Copyright and Cultural Institutions: Guidelines
for Digitization for U.S. Libraries, Archives, and Museums (Ithaca, NY: Cornell University Library, 2009).
15
“Copyright,” Greene and Greene Virtual Archives, University of Southern California,
http://www.usc.edu/dept/architecture/greeneandgreene/copyright.html (December 26, 2010).
of items and identified rights of owners or other parties to the fullest

extent possible. Permission or authorization is sought from known rights
owners or other parties for rights such as copyright, publicity and privacy.
It is the patron’s obligation to determine and satisfy copyright or other use
restrictions when publishing, copying, displaying or otherwise distributing
materials found in the repositories collections. Any publishing, copying,
displaying or distributing for reference, personal, or educational use
requires contacting the copyright holder and obtaining written
authorization or may be in violation of federal copyright laws subject to
the prosecution to the fullest extent of the law.
Copyright permission to use the Yamasaki materials for the website has
been obtained from the [fill in names]. A best-faith effort has been made
to contact the heirs of photographers and architects.
The Archives of Michigan is eager to hear from any copyright owners who
are not properly identified on this website so that corrections can be made
and appropriate information provided in the future.
The Archives of Michigan should consult an expert on copyright law before making
prints of these materials or providing them to potential users on-line.
C. Security Issues
The Yamasaki Collection contains several examples of Federal Reserve Banks and many
other regional banks designed by the firm. This material must be examined carefully for
potential security issues. Exterior photographs, presentation drawings and images of
models will likely cause no problems but any security system plans should be completely
eliminated from the collection. Further, the Archives of Michigan may want to either
restrict access to interior photographs showing vaults, security stations (if they exist), and
working drawings or deaccession them from the collection and send the material to the
various clients for further preservation.
D. Visual Materials Processing
1. Analog Photographic Material

The 4 x 5” color negatives, transparencies, and their prints should be rehoused into
individual polyester sleeves or they can be housed in polyester multi-pocket sleeves that
may better maintain the relationship of the negatives and their corresponding prints. Care
should be taken to safeguard the labels so the information can be transferred to the new
sleeves.
Although there was an attempt by the firm to house the 4 x 5” color negatives,
transparencies, and prints with project numbers from the same period, decades of use,
lack of re-filing, and slippage from internal sleeves has confused some of this order. As
with most of the Project Records, the project name or number should be the basic unit of
order. The majority of the 4 x 5” color negatives can be grouped by project number
without worrying about additional internal order since they primarily represent the design
phase. However, larger projects such as WTC and KFAD should be sorted and sub-
divided further to separate photographs of models, presentation drawings, construction
and post construction where appropriate.
The 35 mm slides present more serious problems since some will need cold storage for
the long term due to the type of transparency film used by the photographers. See more
on this issue under Storage below. Re-establish the project number order and the
drawings type order and transfer labeling information directly onto the slides. This will
be incredibly labor intensive, but is the only way to prevent loss of identifying
information.
The sleeves have protected the slides in the short term but most are covered in dust and
dirt particles that have filtered into the storage trays and drawers from use. These should
be removed and discarded. If the Archives of Michigan determines the air filtering
capacity of their storage area is adequate to filter out such particulates, then the sleeves
should not have to be replaced. In addition, standards for handling slides are much
different than in an architectural office setting, so the sleeves are no longer necessary.
Discarding the sleeves will also save space in the film storage cabinets.
Slides are made up of originals and duplicates of project and presentation and reference
files. Although the inventory should refer to the project slides and the presentation or
reference slides as separate groups, they should stay together in the slide cabinets. There
are approximately 7,000 duplicate slides, and these can be weeded after a careful
comparison with the original slides and an assessment of the slide’s physical condition.
It is possible some of the originals are in poorer condition than the duplicate or missing
completely. The duplicate may be the only viable document of the image.
The majority of the other photographic media: prints, aperture cards, and miscellaneous
slides media can be processed using standard methods. The building project should be
the minimum access level.
2. Analog Drawings
Processing this material is fairly straight forward.
If the Archives of Michigan decides to flat store
all but the largest drawings, then humidifying and
flattening them is the first step. These can be
humidified using a low-tech Horton
Humidification Chamber, and then they can be
unrolled, dried flat and housed in acid-free folders
in flat storage cabinets. To humidify the
drawings, place a small plastic trashcan inside a
larger, thirty-gallon, covered plastic trashcan. Fill
the outer trashcan with approximately two inches
of water and place two or three rolls of drawings
in the inner can. One may accelerate the process
by using blotter paper as a wick for the water or by cutting holes in the sides of the inner
trash can no lower than six inches from the bottom.16
Cover both cans with the larger lid and leave the drawings inside for six to eight hours.
Monitor the process closely. Extra wide drawings can be humidified by upending a
second thirty-gallon can over the first, cocktail shaker fashion. If the drawings are left
too long or are forgotten, mold and mildew could begin to form. 17
After humidification, turn the drawings face down onto a clean surface covered with
acid-free paper or blotter paper and weigh down the drawings evenly for several days to
allow them to dry and flatten. Other more labor intensive but faster methods are
described on pages 110-111 in Waverly Lowell and Tawny Ryan Nelb’s book,
Architectural Records: Managing Design and Construction Records, a copy of which is
in your archival reference book holdings.
After flattening, the majority of the drawing material will be included in the Project
Records series and Project Drawings sub-series but should be sorted further to the project
level. The arrangement can be further refined based on project drawing numbers in the
title block or dates. Such a detailed arrangement will cut down on the wear and tear of
the material. However, since researchers should be given an entire folder for use, not
individual items, an item level arrangement is not necessary for access.
Weed duplicate drawings in the pre-1986 period but make sure they are actually
duplicates by careful comparison of drawing numbers, views they represent (plans,
sections, elevations, details, etc.), and revision dates. Consider disposing of earlier
versions of the multiple sets of post-Yamasaki era drawings. The projects designed in the
late 2000s, especially, contain many versions of design development (preliminary)
drawings with minor changes from revision to revision. Keep the drawings with the
latest date. If both original media (ink, pencil, ink jet) survive for a drawing and there is
also an exact sepia or diazo copy of the same drawing. The copies may be discarded.
Take care to remove Post-It Notes from the drawings. These are especially common in
the drawings from the late 2000s. Although the Post-It Notes can be removed and treated
as objects for conservation, this is not cost effective. Simply photocopy the note
annotations and maintain adjacency with a piece of folded acid-free bond paper wrapped
around the annotation and the drawing to which it pertains.
3. Computer Aided Design (CAD)

We know from years of archival practice that digital media is not permanent because bit
streams may become unreadable and should be “refreshed” or migrated to new storage
16
Warren Seamens, “Restoring and Preserving Architectural Drawings: An Economical Method for
Treating Embrittled Documents,” Technology & Conservation (Winter 1976), 8–10.
17
Nelb, “Identification and Preservation Maintenance of Common Visual Media and Supports,”
Architectural Records: Managing Design and Construction Records (Chicago, IL: Society of American
Archivists, 2006), 110.
media before the old media degrades or becomes obsolete.18 This is an accepted,
although not necessarily foolproof, strategy for long-term preservation of born-digital
information. Emulation of older hardware and software by mimicking the attributes of
the original software and the appearance of the final product is another preservation/
conversion methodology that continues to be widely investigated.19 This involves:
(1) developing techniques for specifying emulators that will run on

unknown future computers and that capture all of the elements required to
re-create the behavior of current and future digital documents; (2)
developing techniques for saving—in human readable form—the metadata
needed to find, access, and re-create digital documents so that emulation
techniques can be used for preservation; and (3) developing techniques for
encapsulating documents, their metadata, software, and emulator
specifications in ways that ensure their cohesion and prevent their
corruption.20
Emulation projects such as Creative Archiving at Michigan and Leeds Emulating the Old
on the New (CAMiLEON) is one of several projects that tested emulation as a
preservation methodology.21 But what about more comprehensive plans for CAD
preservation? Although there are few proven digital preservation standards, there has
been some work to develop strategies.
Preservation begins with documenting information on who, what, when, where, and why
about the data that describes the digital CAD file. This administrative, descriptive, and
structural information or data about the data, called metadata, lets others understand and
easily find this information in the future. Different levels of metadata are available to
describe the dataset. Many repositories now use the Dublin Core set of metadata,
developed by a world-wide community in the late 1990s, and it has become a minimum
standard. The fifteen Dublin Core elements include Title, Creator, Subject, Description,
Publisher, Contributor, Date, Type, Format, Unique Identifier, Source, Language,
Relation (to other data sets), Coverage (location), and Rights.22
18
Jeff Rothenberg, “Ensuring the Longevity of Digital Documents,” Scientific American
272 (January 1995), 42–47; Waverly Lowell and Tawny Ryan Nelb, Architectural Records: Managing
Design and Construction Records (Chicago, Society of American Archivists, 2006), 136-137.
19
Jeff Rothenberg, “Preservation of the Times,” Information Management Journal 36 (March/April 2002),
38–43.
20
Jeff Rothenberg, Avoiding Technological Quicksand: Finding a Viable Technical Foundation for Digital
Preservation, Council on Library and Information Resources, January 1998, http://www.clir.
org/pubs/reports/rothenberg/contents.html (November 28, 2010); Waverly Lowell and Tawny Ryan Nelb,
Architectural Records: Managing Design and Construction Records (Chicago, Society of American
21
University of Michigan, The Creative Archiving at Michigan and Leeds Emulating the Old on the New
(CAMiLEON), http://www2.si.umich.edu/CAMILEON/ (November 28, 2010).
22
Dublin Core Metadata Initiative, “Dublin Core Metadata Element Set, Version 1.1: Reference
Description,” http://dublincore.org/documents/dces/ (November 28, 2010).
Categories for the Description of Works of Art (CDWA) developed by the J. Paul Getty
Trust and the College Art Association is another metadata schema for art-related
materials. CDWA has many metadata categories intended for use by academic and
scholarly researchers. These categories are:
FOR THE OBJECT, ARCHITECTURE, OR GROUP
Catalog Level
Object/Work Type
Classification Term
Title or Name
Measurements Description
Materials and Techniques Description
Creator Description
Creator Identity
Creator Role
Creation Date
Earliest Date
Latest Date
Subject Matter
Current Location Repository Name/Geographic Location
Current Repository Numbers
FOR RELATED TEXTUAL REFERENCES AUTHORITY

Brief Citation
Full Citation
FOR CREATOR IDENTIFICATION AUTHORITY

Name
Source
Display Biography
Birth Date
Death Date
Nationality/Culture/Race
Life Roles
FOR PLACE/LOCATION AUTHORITY

Place Name
Source
Place Type
Broader Context
FOR GENERIC CONCEPT AUTHORITY

Term
Source
Broader Context
Scope Note
Source
FOR SUBJECT AUTHORITY

Subject Name
Source
Broader Context23
Each of these CDWA categories has numerous subcategories of metadata that offers an
extremely high level of access to design records and represents a gold standard of
metadata. Although CDWA is used in other repositories containing architectural
materials, it appears unlikely that the Archives of Michigan would use it due to the cost
of creating such metadata. The Archives of Michigan currently uses a small subset of
Dublin Core to create its catalog records. Eventually the data set can be expanded to
include the full set of Dublin Core data elements mentioned above.
Besides ignoring the necessity of creating metadata for access to digital materials, the
design community has been very slow to develop and promote standards for saving the
digital records they create. In fact, most of these preservation efforts have been led by
museums or archival repositories or communities of people who need to preserve
material for the long term. Some information on “good CAD practice” is available from
other disciplines that also use CAD for their work. Design related programs such as the
Harvard Planning and Real Estate Office and the Denver Service Center of the National
Park Service developed CAD standards or user’s guides for their designers in the late
1990s.24 The Arts and Humanities Service in London,
provided standards for born-digital archeological data and recommended

storing digital media in fireproof, anti-magnetic areas, storing the back-up
digital media separately from the “original” media, and including data
documentation with the storage media. File-naming conventions, version
control with creation dates and version numbers, file logs, different
directories for design, working, and archives versions, a grandfather-
parent-child strategy to rotate back-up media, and anti-virus control25
23
J. Paul Getty Trust and College Art Association, “Definitions of Categories,” Categories for the
Description of Works of Art, <http://www.getty.edu/research/publications/electronic_publications/cdwa/
categories.html> (December 19, 2010).
24
“CAD and Image Standards for Construction Documentation,” Harvard University Planning Office,
1998, updated 2009, www.upo.harvard.edu/campusprojects/Stds/CAD_Standards.doc (November 28,
2010); Denver Service Center, CADD User’s Guide, National Park Service, Denver, Colo., 1999,
cadd.den.nps.gov/downloads/Support/RefMan10A.pdf (November 28, 2010).
25
Harrison Eiteljorg II, Kate Fernie, Jeremy Huggett, and Damian Robinson, CAD: A Guide to Good
Practice (London, England: Kings College Arts and Humanities Data Service, 2002), 6.4,
http://ads.ahds.ac.uk/ project/goodguides/cad/ (November 28, 2010); Waverly Lowell and Tawny Ryan
Nelb, Architectural Records: Managing Design and Construction Records (Chicago, IL: Society of
American Archivists, 2006), 137.
are also important methodologies to include in digital preservation strategies.

Unfortunately, few design firms follow such practices.
One of the most comprehensive strategies was developed in 2004 when the Art Institute
of Chicago (AIC) commissioned an extensive study of the requirements for creating,
appraising, and maintaining born-digital objects. Architect and consultant Kristine K.
Fallon, FAIA, authored Collecting, Archiving, and Exhibiting Digital Design Data to
look at how CAD and other digital software are used in design firms. Fallon advises
design firms to keep information on major project “milestones” or phases and to
document the relationship between output and native data. Fallon suggests
that firms: follow standard or well-documented digital data organization

and naming conventions; save the CAD output images in uncompressed
TIFF format and animations and videos in AVI format; that CAD
drawings, hybrid outputs, and PowerPoint presentations be saved in PDF
format; and that animations be saved in individual PDF files.
Fallon’s other recommendations include the advice to
embed source color profiles and rendering intents in TIFF and PDF files,
and components of compound files should be embedded in a single file or,
when this is not possible, all the linked or referenced files should be
documented. Native data should be saved in its original format.26
Further, Fallon also recommends using Dspace, a digital library system, to capture,
store, index, and preserve the intellectual output of digital formats.27
More recently, the Façade Project at the Massachusetts Institute of Technology is trying
to create a prototype similar to the AIC model. The focus is to create collection-level
records in Dublin Core, capture technical metadata from the design firm during intake,
create structural metadata, and explore an emulation framework for DSpace.28
In addition to the long-term preservation of these files, access to the files can be difficult.
CAD software is offered by numerous vendors but Autodesk is the recognized leader in
the field. Their current offerings include ten different CAD-based software programs
designed specifically for architecture, engineering, and construction.29 This does not
include the numerous software programs in this area that they no longer support.
26
Nelb, 137; Kristin Fallon, Preparing Digital Design Data Collecting, Archiving, and Exhibiting Digital
Design Data Section 2, Art Institute of Chicago, 2004, http://www.artic.edu/aic/depts/
architecture/ddd.html (November 28, 2010).
27
D-Space Federation, D-Space, <http://www.dspace.org/> (November 28, 2010).
28
“Façade—Future-proofing Architectural Computer-Aided Design, Final Report” Massachusetts Institute
of Technology, http://facade.mit.edu/files/FACADEFinalReport.pdf (December 26, 2010); D-Space at MIT
http://libraries.mit.edu/dspace-mit/ (December 26, 2010).
29
“Autodesk Store,” Autodesk,
http://store.autodesk.com/store/adsk/DisplayCategoryProductListPage/categoryID.10032200 (December
26, 2010).
Software is not standard issue on archival computer systems, and it is expensive

(sometimes several thousand dollars) to license it for what might be only occasional use.
However, the Archives of Michigan is already exploring a user-friendly access option.
Archives Director Mark Harvey has experimented with an AutoCAD application
available on the Apple iPad.30 This application has tremendous possibilities for archival
access to AutoCAD dwg files and perhaps drawings created by other CAD software.
Autodesk advertises the software capabilities as follows:
AutoCAD® WS mobile app enables one to view and work with AutoCAD
drawings directly on the iPad, iPhone, or iPod touch. Using the touch and
gesture interface of the iPad or iPhone one can accurately view, annotate,
and revise drawings on the spot. Change the way one works in the field or
on the road by reducing the need to carry around over-sized paper
drawings.
1. View:
• Open DWG drawings uploaded to the free AutoCAD WS online
workspace
• See all aspects of your DWG file, including external references, layers,
and image underlays
• Use Multi-Touch zoom and pan to more easily navigate very large
drawings
2. Edit:
• Tap objects to select, then move, rotate, and scale
• Draw or edit shapes with accuracy using Snap and Ortho modes
• Add and edit text annotations directly on the device; no need for paper
mark-ups
• Validate distance measurements in the drawing while onsite at the actual
location
• Save edits to the AutoCAD WS online workspace; so the drawings stay
up to date
3. Share:
• Share designs with others directly from one’s device
• Work with other people on the same DWG file simultaneously
• View edits to drawings in real time: AutoCAD WS immediately captures
changes made by oneself and others in the online workspace.31
Of course, potential use of this application requires further exploration. It appears, for
example, that the file can be readily changed and edited when using the iPad-based
software. Although this would allow good functionality for the software, it would require
careful examination by the archives to assure that the CAD files they accessioned remain
30
“AutoCAD WS,” Autodesk, http://www.autocadws.com/mobile (November 27, 2010).
31
“AutoCAD WS: Description,” Autodesk, http://itunes.apple.com/app/autocad-ws/id393149734?mt=8#
(November 27, 2010).
intact after use by a researcher. It is possible a “read only” function is available or

perhaps a CAD file “Viewer” could be acquired that does allow any changes to the file.
There are also cost issues. Although it is currently a free download from Autodesk to get
users to experiment and accept the application, it is unlikely to remain so. It will
probably end up with the same licensing issues that exist currently for use of other
Autodesk products. Long term preservation also needs to be addressed with this
application.
Despite the preservation methodologies offered by the Art Institute of Chicago’s Digital
Design Data Project and MIT’s Façade project, the plan for accessing and preserving
CAD and other born-digital materials will require much further study. There is no
current standard. Decisions must be made on the desired level of metadata, and a
decision must be made on whether the CAD files need to be functional for study or if a
“snapshot” is enough. In addition, long term approaches of where to house the data such
as the Department of Natural Resources’ (DNR) own servers or perhaps the Internet
Archives could be explored. The Yamasaki collection is a perfect candidate for a grant
application to an agency like the National Endowment for the Humanities that has funded
model management projects for other repositories for records with national significance.
E. Textual and Other Materials Processing

The textual and artifact materials should be moved into their designated series as defined
in the inventory and then processed according to standard methodologies. This division
and sorting will be time consuming since similar material is disparate but there is
significantly less textual and artifact material to process than the visual materials. The
Archives of Michigan may take a minimalist processing approach to the textual materials
based on the growing interest in the Greene and Meissner “More Project Less Process”
(MPLP)32 methodology that focuses on simply boxing the material without arrangement
and providing only high level cataloging. If this approach is used, it would make the
Project Index discussed above of even greater importance to help researchers keep track
of the design project that interests them. The projected high researcher interest in the
Yamasaki material may preclude use of MPLP in favor of traditional processing.
32
Mark A. Greene and Dennis Meissner,” More Project Less Process: Revamping Traditional Archival
Process” American Archivist, 68 (Fall/Winter 2005) http://archivists.metapress.com/content/
c741823776k65863/fulltext.pdf (December 21, 2010).
XI. STORAGE
The three main problem areas for storage and housing in the Yamasaki Collection are the
35 mm slides, un-mounted architectural drawings (current flat and rolled) and mounted
presentation photos and drawings. The remaining materials such as the 4 x 5” color
negatives, small photos, correspondence and subject files, books, and artifacts can be
housed in standard archives and/or museum collection boxes available from conservation
storage vendors.
A. 35 mm Slides
In the summer of 2010, recommendations for storage cabinets were provided to the
Archives Director ahead of the completion of the report. The consultant contacted
several major slide collections throughout the United States and the universal
recommendation was for Neumade slide storage cabinets available from numerous
suppliers.33 The Archives has already purchased these for the collection.
Problematic Slide Film Types
Since a portion of the slide collection is made up of problematic film types such as help
prolong their colors and emulsions.34 The Archives of Michigan is already experienced
in freezer cold storage for photographic materials including the use of two nested, low
density polyethylene bags, hygroscopic desiccate trap materials, and a relative humidity
indicator to verify humidity levels during the equilibrium period needed to adjust from
33
See sample vendor Gaylord for Neumade Slide cabinets http://www.gaylord.com/adblock.
asp?abid=2063 (December 4, 2010).
34
Henry Wilhelm, “Handling and Preservation of Color Slide Collections, “ The Permanence and Care of
Color Photographs (Grinnell, IA: Preservation Publishing Company, 1993), 625 http://www.wilhelm-
research.com/pdf/HW_Book_18_of_20_HiRes_v1a.pdf (December 4, 2010).
long term cold storage to the temperature and humidity used in archival reading rooms.35
However, since the Ansco and Ektachrome slides are scattered among the projects and
are actually only a small percentage of the materials, the Archives could separate those
materials for storage in freezer storage while leaving the remaining slides in the cold, but
not frozen, storage in the archival vault. Obviously, the inventory for this material should
reflect the alternative storage for these materials.
B. Flat and Rolled Drawings

There are many options for storing design drawings. Architectural drawings are best
stored in shallow, oversize, powder-coated, flat metal cabinets to avoid off-gassing from
paint volatiles. Today, acceptable flat drawers come in two basic heights: two-inch and
one-inch. Since drawings can be damaged by merely retrieving them, the four-inch
drawers found in older cabinets actually hold too many drawings for optimum
preservation storage. The chance for damage increases if the paging or record retrieval
staff must search through many layers of drawing folders.36
One-Inch Storage Drawer Cabinets
35
Mark H. McCormick-Goodhart, “On the Cold Storage of Photographic Materials in a Conventional
Freezer Using the Critical Moisture Indicator (CMI) Packing Method,” 2003 http://www.wilhelm-
research.com/subzero/CMI_Paper_2003_07_31.pdf (December 4, 2010).
36
Visit the Alden B. Dow Archives in Midland, Michigan to see an example of the use of 1” flat storage
cabinets used to house 20,000 drawings.
A one-inch drawer depth is best to minimize wear and tear during retrieval and refilling.
However, the one-inch cabinets are expensive, and it may require some long-term
budgetary planning to afford them. It may be cost effective to store frequently used
drawings in one-inch drawers and less frequently accessed drawings in two-inch
drawers.37 In the case of the Yamasaki materials, the most valuable and undoubtedly
highest used drawing materials will be the World Trade Center materials. These should
be stored in optimal one-inch drawers when they become available.
For further protection in flat storage and to allow drawings sorting and segregation by
project or design phase, drawings should first be placed in oversize, acid- and lignin-free
folders. Oversize folders with a cloth reinforcing edge are the best and help support the
drawings as they are removed from the box or cabinet or when being moved. Allow
enough drawer width and depth to store the materials completely flat after they have been
housed in the folders. Do not pack the drawers so full that the top folder rubs on the
bottom of the drawer above when it is opened. If the folder fits tightly in the drawer, cut
off the corner of the folder to allow easier removal. Leave sufficient space on the sides
for grasping the folder corner to remove for research use. Small folders hide easily so
retrieval is easier when all the folders in the drawer are the same size.
There is no one answer as to the number of drawings to store in a folder. This is entirely
dependant on the type and weight of the drawing supports. Dozens of tracing paper
drawings, which are usually quite thin, can be stored in the same folder while fewer
heavier weight paper or polyester drawings should be stored per folder. The rule should
be store only the number that can be safely and comfortably transported to the reading
room by one staff member. If the folder is too heavy or awkward, drawings will easily
spill from the folder and be damaged. Some design projects may need many more than
one folder to store all the drawings, while others may only have one or two drawings
documenting the project. Provide a separate folder or multiple folders for each project.
Never mix different design projects in the same folder.
Protect potential migration of media between various types by interleaving acid-free

unbuffered or acid-free buffered tissue between the different media types (i.e. insert
tissue when sepia, blueprint, or diazo prints are stored adjacent to original media). In
many drawing collections, unbuffered acid- and lignin-free tissue or bond paper is used
because of the possible detrimental effects of alkalinity on impermanent and light-
sensitive media such as diazo, sepia, ink jet, and blueprints.38 However, buffered paper
will retain its strength better in the long term.39 Use the Media/Support Preservation
37
See a sample of flat storage cabinets available from Delta Design
http://www.deltadesignsltd.com/pdfs/4129_specs.pdf (December 4, 2010) and Mayline
<http://www.furniture-online.com/product/7679/Museum-Flat-File--Mayline-36-X-48-Museum-10-
Drawer-Flat-File.html?meta=GBASE&metacpg=7679&utm_source=gbase&utm_medium=CPC&utm_
content=&utm_campaign=7679> (December 4, 2010).
38
Tawny Ryan Nelb, “Preservation Administration,” Architectural Records: Managing Design and
Construction Records (Chicago, IL: Society of American Archivists, 2006), 115.
39
Mary Lynn Ritzethaler, Preserving Archives and Manuscripts (Chicago, IL: Society of American
Chart in Appendix B to help identify which type of interleaving tissue is appropriate for
each media type.
Whichever flat storage is chosen, folders should be removed one at a time to reach the
drawings below rather than simply flipping back the upper folders. This latter practice is
common in archives because it takes less retrieval time but it also promotes damage to
drawing materials especially if they are already on fragile supports. Never remove a
singular drawing from a folder for research use; staff should always remove an entire
folder from a drawer for use.40
When space or financial resources are limited, sometimes rolled storage is the only
option, and there are a variety of approaches. Ideally drawings should be rolled around
either an acid-free tube of no less than 3” diameter or the same size acidic tube covered
with acid-free and lignin-free bond paper. Once rolled the bundle should be wrapped
with acid-free and lignin-free bond paper and tied with flat cotton “tape” or a flat Velcro
self-grip strap.41 The rolled drawings can then be housed in round or square, acid-free
tubes or tubes lined with acid-free paper. End caps will keep out any dust.42 The tube
will both support the weight of the drawings and keep them from being crushed. Rolled
drawings can also be laid side-by-side in narrow horizontal compact shelving without
tubes but should be wrapped in acid-free and lignin-free paper or see-through,
polyethylene bags to protect against dust.
A honeycomb arrangement is also

good option for rolled storage.
Compartments can be created using
metal supports and six-inch acid-free
tubes stacked in a honeycomb
arrangement within each
compartment. Drawings are stored
within the capped tubes.
Polyethylene Storage Bags
40
41
Flat Velcro straps are available from Uline. See: “Velcro Self-grip Straps,” Uline,
<http://www.uline.com/Product/AdvSearchResult.aspx?KeywordTyped=Velcro&keywords=Velcro
%20Straps> (December 19, 2010).
42
Acid-free, roll storage boxes are also an option. Rolled drawings should either be stored
one roll per box, or if several have to be stored together, they should each be rolled
around an acid-free tube no less than 3” in diameter. If multiple drawings are stored in
roll storage boxes without an internal support for each
drawing roll, heavier drawings will crush those stored
underneath. Never store rolled drawings on end. The
ends will be crushed from the weight of the drawing
roll itself. This will lead to small tears over time as the
drawing is unrolled and re-rolled after use.
Rolls can also be suspended from metal rods hung with

brackets. This may be your only good option with
oversized drawings such as the Barwa project
presentation drawing at 72 x 106”. With this approach,
Honeycomb Roll Storage

the drawing is wrapped around a six
inch acid-free rolled cardboard core
or a cardboard core wrapped in acid-
and lignin-free paper. The drawing
(or several drawings together) is then
covered in heavy acid- and lignin- Suspended Roll Storage
free paper and secured with a loosely
tied cotton tape or a Velcro flat self-
grip strap. Run a pole through the
inside of the tube to allow the
drawing to be suspended from
brackets along a vertical metal
supporting frame. Several rolls of
drawings can be suspended
horizontally one above the other
along the wall up to a height that is
safe to retrieve.43
Barwa Project Drawing 106” Wide
43
Construction Records (Chicago, IL: Society of American Archivists, 2006), 113-118.
C. Presentation Materials: Mounted Drawings and Photographs

Although flat storage would be optimum for presentation boards, it may not be cost
effective due to the wasted space from the foam core or other backing board types.
Presentation boards can be stored on end in individual vertical racks used for museum
frame storage as long as they are not stacked one on top of another and are carefully
wrapped in acid-free paper or covered in unbleached muslin drapes to protect them from
light and dust.
XII. ORAL HISTORIES

Even though many important materials remain in the Yamasaki Collection, significant
material was destroyed previously that would have allowed us to better understand his
life and work. It has been almost twenty-five years since Minoru Yamasaki’s death, and
those who worked with him directly are aging. These two reasons alone are enough to
justify collecting oral history interviews to supplement information on his life and work.
In addition, in 2009, the Michigan State Historic Preservation Office (MSHPO), under
the leadership of Brian Conway and project manager Amy Arnold, initiated the
MichiganModern web site to document the state’s Modernist design heritage, to promote
cultural tourism in Michigan, and attract a younger workforce to the state focused around
the state’s rich heritage in modern architecture.44 Naturally, Minoru Yamasaki is one of
the focal points of the project. Oral histories are critical to this effort, and gathering this
information may be a joint task between the Archives of Michigan and MSHPO.
Oral histories are not simply a matter of sitting down and talking to someone with a tape
recorder. It takes preparation to create a series of appropriate questions, patience to
gather the information one wants without interjecting too much of the interviewer’s
presence, and scheduling and interview time. Proper written “sign-offs” or permissions
to use the material must be obtained from the interviewee. To use oral histories
effectively and to avoid their loss when the recording media (albeit analog or digital)
becomes obsolete, they should be transcribed in a timely manner. After transcription,
they are edited, reedited by the interviewee, and added to the archives’ collections. An
index to subjects discussed in the interview is recommended and extremely helpful to
expand their use. It takes an average of 10 hours of preparation, transcription, and editing
per interview hour to create a good oral history that is useable in the future
The Archives of Michigan has already assembled a list of past colleagues, friends, and
family who will be contacted for these oral history interviews. Once transcribed, the
interviews should be made available to researchers either as part of a supplemental series
at the end of the Yamasaki Collection or as part of the oral history collections already at
the Archives of Michigan with cross references to and from the Yamasaki Collection
finding aid.
During the needs assessment analysis, questions arising from the survey were gathered
together and were further supplemented by questions generated through contact with the
members of the Society of American Archivists Architectural Records Roundtable
listserv.45 All the questions generated so far can be found in Appendix D.
44
“MICHIGANMODERN,” State Historic Preservation Office,” State of Michigan,
http://michiganmodern.org/about/ (October 2, 2010).
45
“Architectural Records Roundtable Listserv,” Society of American Archivists
http://www.archivists.org/listservs/ (December 26, 2010).
In addition, the Archives of Michigan could contact architecture schools in three main
locations to reflect the educational training and work base for Yamasaki: Seattle,
Washington; New York, New York; and the Detroit, Michigan areas. The architecture
schools in those areas and their contact information are as follows:
Andrews University
School of Architecture
Architecture Building
Andrews University
Berrien Springs, MI 49104-0450
Phone: (269) 471-6003
E-mail: architecture@andrews.edu
Website: http://www.andrews.edu/arch/
University of Detroit Mercy

School of Architecture
4001 West McNichols Rd,
Detroit, Michigan 48221
Phone: (313) 993-1532
E-mail: vogelsp@udmercy.edu
Website: http://architecture.udmercy.edu/
Lawrence Technological University

College of Architecture & Design
21000 West Ten Mile Road
Southfield, Michigan 48075
Phone: (248) 204-2925
E-mail: archdean@ltu.edu
or dgyure@ltu.edu (Mr. Gyure is the assistant professor who
alerted the Archives of Michigan to the Yamasaki Papers)
Website: http://www.ltu.edu/architecture_and_design/
University of Michigan
A. Alfred Taubman College of Architecture and Urban Planning
2000 Bonisteel Boulevard
Ann Arbor, MI 48109-2069 USA
Phone: (734) 764 1300
E-mail: mpdl@umich.edu
Website: http://www.tcaup.umich.edu/
Columbia University
Graduate School of Architecture, Planning and Preservation
1172 Amsterdam Avenue
New York, NY 10027
Phone: (212) 854-3414
Website: http://www.arch.columbia.edu/programs/architecture
New York University

(NYU no longer has a graduate architecture program except for one focused on
renovating existing structures. The next best match is art history.)
College of Arts and Science, Office of the Dean
The Silver Center
100 Washington Square East, Room 910
New York, NY 10003-6688
Phone: (212) 998-8000
Website: http://arthistory.as.nyu.edu/page/urbandesign
University of Washington
College of Built Environments
Department of Architecture
224 Gould Hall
Box 355726
Seattle, WA 98195
Phone: 206-543-3043
Email: khelland@u.washington.edu
Website: http://www.caup.washington.edu/
In addition, the type of questions may be broadened significantly if Architectural History,

American Studies, and Humanities departments within those same universities were
contacted. These professors and students may jump at the chance to add to the list of
questions for review, and contact with them will also provide some outreach for the
Yamasaki Collection for potential fundraising and educational purposes.
XIII. RESEARCH, COMMERCIALIZATION, AND

EXHIBITION USE
A. Research and Outreach
1. Heightened Research Interest

The Archives of Michigan’s timely saving of the Yamasaki’s firm records and a recent
donation of Yamasaki material to the Reuther Library at Wayne State University has
renewed interest in Minoru Yamasaki among architectural historians, architects, and
historic preservationists. Twenty-five years after his death and almost ten years after the
destruction of one of his major works, the World Trade Center, Yamasaki’s work is
getting attention again. The renovation of some premier Yamasaki buildings like the
Century Plaza Hotel in Los Angeles and the McGregor Center pool restoration project at
Wayne State University in Detroit is part of this trend. Potential World Trade Center
tributes in 2011 and the opening of the 9/11 Museum in 2013 or 2014 will drive further
interest.
Some researchers aren’t waiting until the material is even processed to explore
Yamasaki’s legacy. A documentary film producer, Bill Kubota, has already contacted
potential power-brokers in the architecture and architectural academics fields to seek
funding for a major documentary on Minoru Yamasaki that would use the newly acquired
archival material. The Archives of Michigan
cooperated with Mr. Kubota during the needs
assessment analysis by allowing filming of a few
minutes of the assessment process and allowing an
interview with the Director of the Archives, Mark
Harvey, and the archival consultant, Tawny Ryan
Nelb to capture information on the records intake
and their initial impressions of the collection. Such
interaction has already set the stage for further
collaboration with potential exhibitors who are
interested in Yamasaki’s work.
Focus on Yamasaki has also come from within the

Michigan State Housing Development Authority.
One of their departments, the Michigan State
Historic Preservation Office (MSHPO), initiated the
MichiganModern web site in 2009 to celebrate
Michigan’s modernist history.46 After California,
Michigan has the nation’s richest heritage of Film Maker Bill Kubota
buildings from the heady period called “mid-century Interviews Mark Harvey
46
“MICHIGANMODERN,” State Historic Preservation Office, State of Michigan,
http://michiganmodern.org/about/ (October 2, 2010).
modern.”47 Naturally, the work and life of Minoru Yamasaki is one of the focal points of
the project. Further, in May 2010, they announced a Request for Proposal to:
develop a historic context narrative for MichiganModern 1940-1970. Work will

include primary and secondary source research and writing a historic context
narrative, conducting oral histories with significant Michigan-based architects
and/or designers from the period, historic resource survey of Modern resources—
one hundred of the most significant at the intensive level, completing a National
Register of Historic Places multiple resource property nomination that includes ten
individual Modern resources, the creation of four walking/driving tours of
Michigan’s Modern architectural resources based on theme, geography or
architect, and the development of a PowerPoint presentation on Michigan
Modern.48
Work on the Yamasaki papers will help populate the information needed for
MichiganModern.
As word of the availability of the Yamasaki Collection spreads, one can easily predict
many addition opportunities for collaboration that disseminate information on
Yamasaki’s work, provide more information on modernism in Michigan, offer additional
positive public relations to the DNR and the Archives of Michigan, and help fulfill the
mission of the organization.
2. Digitization Collaboration for Research Access

Digitizing portions of the collection will be one way to promote collaboration and
increase access for research. Several other archives hold potential Yamasaki-related
material as part of their architecture-based collections. These are collections that
document the works of Yamasaki’s early employers as well as photographic collections
that contain images of Yamasaki’s works.
Wayne State University recently acquired Minoru Yamasaki material from the Yamasaki
family earlier in 2010.49 The Avery Library at Columbia University has the Emery Roth
and Sons Papers (World Trade Center Engineering records),50 Douglas Haskell Papers,51
Shreve, Lamb and Harmon (Empire State Building) Papers,52 Wallace Harrison (United
47
Lawrence Cosentino and Amanda Harrell-Seyburn, “Hidden in Plain Sight,” City Pulse, (October 25,
2010), <http://www.lansingcitypulse.com/lansing/article-4949-hidden-in-plain-sight.html>.
48
Michigan Modern Request for Proposals, State Historic Preservation Office, State of Michigan,
www.michigan.gov/documents/.../MI_MOD_RFP_Front_320726_7.doc (October 2, 2010).
49
Minoru Yamasaki Papers, Reuther Library, Wayne State University,
http://www.reuther.wayne.edu/node/6914 (October 25, 2010).
50
Emery Roth and Sons Papers, Avery Library, Columbia University, http://findingaids.cul.columbia.
edu/ead/nnc-a/ldpd_3460569 (October 2, 2010).
51
“Douglas Haskell Papers Finding Aid,” Avery Library, Columbia University, http://www.columbia.
edu/cu/lweb/img/assets/8897/haskell.pdf (October 2, 2010).
52
“Shreve, Lamb and Harmon Papers,” Avery Library, Columbia University, http://clio.cul.
columbia.edu/cgi-bin/Pwebrecon.cgi?BBRecID=6622465&v2=1 (October 5, 2010).
Nations) Papers,53 Max Abramovitz Papers,54 and the Joseph Molitor photographs.55 The
Library of Congress may have additional related material in the John Peter Collection56
and the Raymond Loewy Papers (industrial design).57 The Lipincott, Inc. photographs at
the Archives of American Art at the Smithsonian and possible records at the Smith,
Hinchman and Grylls (now Smith Group) architectural firm in Detroit may also add
information on Yamasaki. The American Institute of Architects-Michigan branch has a
substantial biographical newspaper clipping collection along with photographs of Minoru
Yamasaki at various phrases of his career. Although these collections may add only
small pieces to the Yamasaki puzzle, these records offer opportunities for collaborative
work for a potential on-line virtual archives of Minoru Yamasaki’s work.
Examples of successful virtual archives for architectural collections that could provide
models for such a project include the Greene and Greene Virtual Archives (GGVA)58 and
the Parris Project.59 The GGVA documents the work of Charles and Henry Greene who
53
“Wallace Harrison Papers,” Avery Library, Columbia University, http://www.columbia.
edu/cu/lweb/archival/collections/ldpd_3460617/index.html (October 5, 2010).
54
“Max Abramovitz Papers,” Avery Library, Columbia University, http://www.columbia.
edu/cu/lweb/eresources/archives/avery/abramovitz/ (October 25, 2010).
55
“Joseph Molitor Papers,” Avery Library, Columbia University, http://www.columbia.edu/
cu/lweb/indiv/avery/da/molitor.html (October 2, 2010).
56
“John Peter Collection,” Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress,
http://lcweb2.loc.gov/cgi-bin/faidfrquery/F?faidfr:1:./temp/~faid_qfjO:: (October 2, 2010).
57
“Raymond Loewy Papers,” Manuscript Division, Library of Congress, http://www.loc.gov/
rr/mss/text/loewy.html (October 5, 2010).
58
Greene and Greene Virtual Archives, The Gamble House, University of Southern California,
http://www.usc.edu/dept/architecture/greeneandgreene/ (October 2, 2010).
59
Parris Project Digital Archives, (October 2, 2010), <http://parrisproject.org/>.
practiced primarily in Pasadena, California from 1894-1922 and brings together over
4,000 items of selected material from the four major Greene & Greene collections: the
Avery Architectural and Fine Arts Library at Columbia University in the City of New
York; the Environmental Design Archives at the University of California, Berkeley
(UCB); The Gamble House, University of Southern California (USC), in Pasadena,
California; and the Greene and Greene Archives, USC at The Huntington Library in San
Marino, California. The virtual archives provides:
 Information about the architects’ design projects selected for the GGVA
 Reference material, such as a bibliography and a list of links to significant
websites
 A searchable image database
 Links to the finding aids of each repository’s Greene & Greene collection60
Funds for this project were provided by the Getty Foundation in Los Angeles with
matching funds (primarily institutional staffing and indirect costs) from the collaborating
institutions.61
The Director of the Greene and Greene Virtual Archives, Edward Bosley, commented
after completion of their digitization project:
The Greene and Greene Virtual Archives have dramatically increased the
number of people who know about the Gamble House—and now see us as
a resource for all things Greene and Greene. Fortunately, the number of
people who find us online also seems to be a factor in increasing the
number of actual visitors to the Gamble House—and the number of
donors.62
The project has exceeded expectations and the virtual archives offers a tremendous
resource to Greene and Greene researchers and a pipeline for future funding.
The Parris Project documents the work of architect Alexander Parris who practiced from
1803 to 1851 primarily in Massachusetts. The virtual archives is a collaboration between
The Boston Athenaeum; The Boston Public Library; Boston National Historical Park,
Charlestown Navy Yard; Massachusetts General Hospital; Massachusetts Historical
Society; and Historic New England (formerly Society for the Preservation of New
England Antiquities). It contains images and transcriptions of more than four hundred
items. Materials reproduced include architectural and mechanical drawings,
specifications, correspondence, and accounts, and span Parris’ career from 1803 to 1851.
60
Greene and Greene Virtual Archives, The Gamble House, University of Southern California,
http://www.usc.edu/dept/architecture/greeneandgreene/ (October 2, 2010).
61
The consultant providing this Yamasaki Collection needs assessment also helped plan the Greene and
Greene Virtual Archives. “Credits,” Greene and Greene Virtual Archives http://www.usc.edu/dept/
architecture/greeneandgreene/aboutcredits.html (December 27, 2010).
62
The Getty Foundation, L.A. Art Online: Learning from the Getty’s Electronic Cataloguing Initiative,
(Los Angeles: CA, The Getty Foundation, 2007), 9.
The Institute of Museum and Library Services (IMLS) provided the major funds for the
project. 63
Both these projects have negotiated the copyright issues allowing for inclusion of the
images on the Internet. The GGVA offers direct links to the repositories holding the
individual records where high resolution copies can be purchased. Similar methodologies
could be used to direct researchers to the Archives of Michigan on-line “Store” where
reproductions can be purchased.64
3. Digitization Planning
a.) Standards
It is likely that portions of the 4 x 5” color negatives and transparencies and the 35 mm
slides will be among the first materials digitized by the Archives of Michigan. The On-
line Archives of California’s digitization methodologies have been widely accepted as a
standard for such work.65 These specifications include creating:
ARCHIVAL MASTER:
TIFF, lossless compression
Usually 600 ppi; less for oversized originals
8-bit grayscale; 24-bit color
Saved with sRGB color profile
ACCESS FILES:
800, 1500, or 3000 pixels across long dimension
JPEG, medium quality compression
8-bit grayscale; 24-bit color
THUMBNAILS
200-400 pixels across the long dimension
GIF
4-bit grayscale, 8-bit color66
Scanning the 4 x 5” color negatives and transparencies will be straightforward except for
making sure their identifying information is not lost during scanning. These images can
be scanned directly on a flat bed scanner and should require little image-tweaking except
for potential color adjustment. Obviously, such changes to the color or other clean up
63
Parris Project Digital Archives, http://parrisproject.org/ (October 2, 2010).
64
“Store,” Seeking Michigan, Archives of Michigan, http://seekingmichigan. myshopify.com/ (December
21, 2010).
65
“Digital Image Format Standards,” California Digital Library, http://chnm.gmu.edu/
digitalhistory/links/pdf/chapter3/3.29b.pdf (December 9, 2010).
66
“Digital Image Format Standards,” California Digital Library, http://chnm.gmu.edu/digitalhistory/
links/pdf/chapter3/3.29b.pdf (December 9, 2010).
may be desired by potential publishers. The Archives of Michigan does not yet have
written policies to cover potential changes to digital images.
The Yamasaki Collection’s 35 mm slides are an example where such a policy is

especially needed. Thousands of the slides have dust or dirt not only on their protective
sleeves but also
directly on the slide
itself. To explore
some of the potential
digitization issues, a
very small number
of slides were
cleaned with an
airbrush and scanned
to deter-mine how
much additional
clean up they would
need. The air brush
did not remove all
the dust and debris
but it did help most
slides to some
degree. Additional
digital clean up and
renaming the image Century Plaza Slide Air-Brushed Above Same Century Plaza
file would require 5- Slide Below Digitally “Cleaned” but Not Color Enhanced
10 minutes for each
image depending on
the amount of clean
up needed. The
sample used was too
small to allow
comprehensive
planning but points
up the logistical and
time factors that
would be required to
scan the images. A
more extensive
sampling project
should be
implemented to help
explore digitization
plan issues and to
evaluate the work
necessary to scan and potentially “clean up” visual materials in the collection with dust,
scratches, or other damage.
The more in-depth sampling will help the Archives weigh the pros and cons of allowing
changes to the digital images. This is a philosophical choice that is rarely black and
white, and the words, “it depends,” inevitably enter the conversation. The Archives of
Michigan may not want to allow any changes to the images but the quality of the images
will affect the quantity of sales to publishers. Further, the policy implemented may want
to allow for potential “clean-up” for in-house exhibition prints. If portions of the
Yamasaki Collection are digitized, such a policy needs to be developed, described in
writing, and mounted on the access source web page.
b.) Capture
Oversized drawings present more difficult capture issues since most of them are too large
to fit on standard flat-bed scanners. Using 35 mm slides is a very poor capture
methodology for oversized materials. It is very difficult to bring them back up to full size
without losing image quality, and it is almost impossible to read the ¼” lettering and
minutia on many of the drawings using 35 mm capture.
There are several options for scanning oversized material:
 4 x 5” Transparencies or color negatives of the drawings used as a capture

intermediary then scanned on a flatbed scanner
 Digital camera
 Oversized flat roller scanner (Océ, KIP, Hewlett-Packard)
 Overhead digital scanner (Cruse)
Each of these methods has its pros and cons with cost differentiation being the biggest
factor. Creating an analog 4 x 5” transparency for each image as a capture intermediary
is costly. The advantages of a digital camera using a vacuum frame to hold an oversized
drawing in place vertically for the capture photography is well known but the resolution
offered for such large images is limited. The report will discuss two of the technologies
listed above: the flat roller scanner and the overhead digital scanner, that give better
resolution for oversized drawing capture.
Flat roller scanners are available from several drawing copying houses such as
Commercial Blueprint in Lansing.67 These scanners can handle very large materials (42”
x 10’) by pulling the drawing underneath the scanning heads. However, since a
convoluted scanning path may damage drawings, the flat roller scanner must have a
67
Commercial Blueprint, “Reproduction Services,” http://www.commblue.com/reproduction/ reproduction-
services.html (December 12, 2010).
straightforward paper path

with the drawings entering and
exiting the machine on the
same plane. In addition, the
chosen vendor should use a
carrier to protect the drawing
edges and surfaces as it moves
through the machine. A
carrier is usually a heavy 4-6
mil piece of polyester folded
over to create a sleeve and
scored on one edge with a
bone folder or a straight edge.
The drawing is inserted into the polyester sleeve to protect it during scanning. The
scored folded end provides a clean edge to help guide the drawing under the rollers
without incurring damage to the drawing support. This is especially important if there
are any rips on the drawing or the leading edge is not pristine.
The flat roller scanner can be very cost effective. In the case of Commercial Blueprint in
Lansing, the charge is $0.15 per sq. foot for black and white and $0.50 per sq. foot for
color. Vendors usually provide several options for output including e-mail, CD or DVD.
Some vendors even can transfer the digital images via a FTP site. Commercial Blueprint
charges $5.00 for e-mail and $10 for CDs, and they do have an FTP site.
One note of caution should be used when contracting for such services. The technicians
who do this work are usually low paid and may not be trained in handling fragile or
unique materials. They are used to speedily scanning drawings brought to them by
architects and engineers. Do not allow any materials to be scanned without a careful
explanation of the nature of the materials, and make sure the work takes place under the
supervision of archives’ staff.
These machines can also be purchased or rented for use on-site which reduces the risk to
the documents by untrained personnel. Océ, Kip and Hewlett-Packard are among the
vendors that have the best flat roller scanner machines with a straightforward paper path.
Another capture method is an oversized overhead, digital scanner. These are less readily
available but offer excellent quality for a price. Scans range from $75-100 each but
sometimes they are the only option for extremely large images. The most well-known
overhead scanner is the Cruse scanner. These scanners can capture 48” x 72” drawings in
a single scan, and larger images can be stitched together. The supporting bed itself
moves the drawing under the scanner so there is no friction involved. The quality is very
high with 10,000 x 13,000 pixels available with some of the scanners. A complete list of
Cruse scanners available from reprographers in the United States is available on the
Cruse web page.68
68
“U.S. Customers,” Cruse, http://www.crusedigital.com/cd_customers_national.asp (December 27, 2010).
There is one overhead Cruse

scanner vendor in Michigan, Tri
Color Photographic. Contact
Bob Koehler at 2605 West 14
Mile Road, Royal Oak, MI
48073, telephone: (248) 280-
2770 for more information.
Cruse Overhead Scanner
c.) Long-Term Preservation

Just as important as scanning and making the images available on the Internet, the images
must be preserved long term. Currently, digital images created at the Archives of
Michigan are stored on a Redundant Array of Independent Disks (RAID) array hard drive
locally which is backed up by another local hard drive. Both hard drives are then backed
up to a storage area network via a T1 Internet connection.69 Over time, other web-based
preservation methodologies will undoubtedly be explored. Meanwhile, the images must
be migrated to new technologies as they become available.
d.) Dublin Core Minimal Metadata

As mentioned earlier, Dublin Core is accepted as the minimum standard for documenting
born-digital information and digital objects. Scanned visual material from a digitization
project would use this same metadata standard as mentioned above.70
4. Fellowships
To help generate use and scholarship, a Fellowship could be created for a researcher to
use the Yamasaki material. Generally, fellowships could start at a low level of $750 to
allow a scholar to travel to Lansing to work on the architectural collections in the
Archives of Michigan for a week with the potential of some definable publication or
project completion in the future. The main focus of the fellowship would be the prestige
of receiving it, not the money actually awarded. Eventually, larger fellowships could be
funded depending on the Archives of Michigan’s ability to obtain adequate donations.
Fellowships would attract high level scholars or postgraduate students who would be
likely to publish their research in the form of an article or a book and provide more
visibility for the collection, the Archives, and the State of Michigan.
69
Mark Harvey to Tawny Ryan Nelb, October 25, 2010.
70
“CDL Guidelines for Digital Objects,” California Digital Library, 13, http://www.cdlib.org/
services/dsc/contribute/docs/GDO.pdf (December 9, 2010).
5. Lecture Series
Create an endowed lecture series about Minoru Yamasaki and any of the other architects
represented by the MichiganModern project in conjunction with the Michigan Historical
Center’s Michigan History Lecture series.71 For further outreach, Wayne State
University is already offering lectures on Yamasaki that provide visibility for the
university, value to its students, and helpful curricula to the faculty. They may welcome
shared funding and collaboration of such a lecture series.72
B. Commercialization
1. Products
With the tremendous interest in Minoru Yamasaki, modernism, and post-modernism, the
dearth of books about Yamasaki’s work other than obituaries about the World Trade
Center and his own biography,73 there is potential to offer products to those interested in
Yamasaki’s work. Of course, publishers will be interested in the Yamasaki images for
books but beyond that there is a prime opportunity to use the commercial value of the
collection to generate some income to help preserve the Yamasaki Collection and to
supplement Archives of Michigan coffers.
The preeminent model for commercial use of their architectural records resources is the
Frank Lloyd Wright Foundation.74 Frank Lloyd Wright first lent his name and endorsed
three licensed product lines in 1955. The Foundation’s Licensing Program now offers
exact product reproductions or adaptations of Frank Lloyd Wright’s designs. They have
successfully partnered with numerous vendors to produce or license all sorts of
decorative items based on Wright’s work.75
Today the program comprises over thirty companies officially authorized

to use the copyrighted designs to produce more than 1500 licensed items
that represent the creative genius of Frank Lloyd Wright. These products
include reproduction furniture, lighting, art glass windows, decorative
accessories, and other adapted items based on the designs of Frank Lloyd
Wright.76
71
“Michigan History Lecture Series,” Department of Natural Resources, http://www.michigan.gov/
dnr/0,1607,7-153-54463_18595_18596_18598-219467--,00.html (December 27, 2010).
72
“Inaugural Minoru Yamasaki Lecture will Highlight Legendary History and Design of Several Wayne
State University Buildings,” Wayne State University Public Relations, <http://www.media.wayne.edu/
2010/11/01/inaugural-minoru-yamasaki-lecture-will-highlight-legendary> (December 27, 2010).
73
Minoru Yamasaki’s biography, A Life in Architecture, is now extremely rare, and although it is available
from on-line booksellers it is priced beyond the reach of most researchers.
74
Frank Lloyd Wright Foundation Store, < http://www.franklloydwright.com/> (October 11, 2010).
75
Whole Sale Licensee Directory, Frank Lloyd Wright Foundation, http://www.franklloydwright.
org/fllwf_web_091104/Wholesale_Licensee_Directory.html (October 11, 2010).
76
Frank Lloyd Wright Collection® Licensing Program, Frank Lloyd Wright Foundation,
<http://www.franklloydwright.org/fllwf_web_091104/Licensing.html> (October 11, 2010).
Reynolds Building
Reynolds Building Grill Work Design

(from the cover of
Architectural Record, May 1957)
Admittedly, the
Yamasaki material
currently has less name
recognition than Frank
Lloyd Wright, but his
design details are
perfect for note cards,
mugs, tee shirts,
blankets, window
glass, and other
objects.
Copyright issues must

be cleared, of course,
with the various
World Trade Center Drawing photographers if their
photographs are used
but there are thousands of presentation drawing images amidst the 4 x 5” color negatives
and transparencies available for calendars, posters, bags, and other larger objects.
The biggest commercial opportunity is reproductions connected to the World Trade

Center, and this would have to be handled carefully due to the horrific nature of its
destruction and copyright ownership issues with the photographers or other rights
owners. The commercial possibilities of this are endless and the Archives may benefit
from a discussion with others such as the National Park Service who has licensed the
reproduction of many reverent symbols of the built environment under their care.
Keyang Proposal
The limiting factor to commercial use may be the lack of diversity of materials in the
Yamasaki Collection. There are many transparencies, negatives and slides, but fewer
actual working drawings from the Minoru Yamasaki-era that could be reproduced. There
are, however, thousands of potential drawing images in the later Yamasaki firm
materials.
2. Architectural Tourism and Education

Local tourism based on tours of Yamasaki structures in the Lansing77 and Detroit areas in
collaboration with visits to the Yamasaki Collection would present a fascinating
opportunity for The Archives of Michigan. Combining a visit to the Yamasaki-designed
Michigan State Medical Society building in Lansing with some time spent looking at the
historical images of documents created to build it would be a perfect draw for groups
such as Road Scholar (formerly Elderhostel) and the Society of Architectural Historians.
The Detroit area has even more structures with McGregor Memorial Conference Center,
77
Lawrence Cosentino and Amanda Harrell-Seyburn, “Hidden in Plain Sight,” City Pulse,
http://www.lansingcitypulse.com/lansing/article-4949-hidden-in-plain-sight.html (October 25, 2010).
The Education Building, Prentis Hall, and DeRoy Auditorium at Wayne State University;
Reynolds Metals Regional Sales Office, Southfield, MI; Birmingham Unitarian Church,
Bloomfield Hills, MI; Michigan Consolidated Gas Co. (One Woodward), Detroit, MI;
and Lincoln Elementary School, Livonia, MI.
Another option is to work with the local Chambers of Commerce in Lansing and Detroit
to generate ideas for uses of the collections in conjunction with local tourism.78 Perhaps
tours could be offered in partnership with the Historical Society of Michigan,79 or the
Society of Architectural Historians,80 both of whom sponsor tours within the state.
Architects often use these study tours to fulfill the continuing education requirements of
their profession.
Road Scholar tours are another good option for offering intellectual information about the
Yamasaki Collection to others.81 These tours offered worldwide since 1975 routinely
combine site tours with expert-led lectures to stimulate and teach retired 55+ audiences.
These tours are quite popular and check of their web-site reveals several other
architectural tours already available around the United States including Mackinac Island,
Michigan.82 These tours are more complicated to organize, however, than standard day
tours since they involve multiple days. Road Scholar requires a detailed program
proposal for consideration for inclusion in their tours.83
The MichiganModern project will also be generating architectural tours with which you
could partner to provide background information, images, and perhaps publications to
promote the use of the Yamasaki Collection.84
In addition, work with the education staff at the Archives of Michigan to develop options
for tours and programs for children using the newly renovated classroom space at the
Michigan Historical Center. The Alden Dow Home and Studio85 in Midland, MI has
partnered with the Midland County Historical Society to offer an architecture and
scientist-based program that focuses on fulfilling Michigan Education Assessment
Program (MEAP) criteria. The grade-school students spend half a day at the modernist
architect, Alden Dow’s, Home and Studio in Midland learning about architecture and
creativity and the other half of the day learning about simple machines, entrepreneurship,
78
Contact the Lansing Chamber at Lansing Regional Chamber, 500 East Michigan, Suite 200, P.O. Box
14030, Lansing, MI 48901, Phone: (517) 487-6340 and the Detroit Chamber at Detroit Regional Chamber,
One Woodward Ave., Suite 1900, P.O. Box 33840, Detroit MI 48232-0840.
79
Historical Society of Michigan, <http://www.hsmichigan.org/contact.php> (December 20, 2010).
80
Society of Architectural Historians Study Tours, <http://www.sah.org/index.php?src
=gendocs&ref=Study_Tours_Home&category=Study%20Tours> (December 20, 2010).
81
Road Scholar Program, (December 20, 2010) <http://www.roadscholar.org/programs/usa.asp>.
82
Mackinac Island Tour, Road Scholars, <http://www.roadscholar.org/programs/programdetail.
asp?rowid=1%2BLY%2B1631> (December 20, 2010).
83
For more information contact Road Scholar, Attention: Program Development, 11 Avenue De Lafayette,
Boston, MA 02111, telephone: (617) 426-7788.
84
Request for Proposal for Michigan Modern, <www.michigan.gov/documents/mshda/
MI_MOD_RFP_Front_320726_7.doc > (December 29, 2010).
85
“Education Programs,” Alden Dow Home and Studio, http://www.abdow.org/ index.php/education
(December 20, 2010).
and simple chemical experiments. Resources from the architectural archives were used
to develop the program aimed at the 4th grade level. The kids love it. They also have
educational programs for older students and adults that actually use the archives materials
and space directly.86
C. Exhibitions
1. Exhibitions
The Michigan Historical Center has many important, interesting collections that have
been highlighted in past exhibitions.87 The Michigan Historical Museum and the
Archives of Michigan can work together to mount an exhibit that would take advantage
of Minoru Yamasaki’s popularity to draw additional visitors to the museum. An Exhibit
based on Yamasaki’s specific design project, the history of the firm, and his impact on
the built environment in general would make a wonderful exhibit for the Museum.
Additional outreach could be achieved with a traveling exhibit of the same material. If
the exhibit was designed in modules that could travel to other venues both within and
outside the State of Michigan, the exhibit would provide visibility for the Archives, bring
prestige to the state, inform historians, students, and the general public about Yamasaki’s
other remarkable work besides the World Trade Center, and open up the potential for the
Archives of Michigan to acquire additional material. There are architectural or design
archives and museums through the United States and the world that would be interested
in such an exhibition. If it is a quality exhibit, it could also generate some rental funds
for the organization.
2. International Confederation of Architectural Museums

With exhibition in mind, the Director should immediately join and become active with
International Confederation of Architectural Museums (ICAM), the international
organization for architectural museums and related institutions. It is dedicated to
fostering links between all those interested in promoting the better understanding of
architecture. ICAM and its members aim to:
 Preserve the architectural record

 Raise the quality and protection of the built environment
 Foster the study of architectural history in the interest of future practice
 Stimulate the public appreciation of architecture
 Promote the exchange of information and professional expertise
86
Contact Craig McDonald, Alden Dow Home and Studio, 315 Post Street, Midland, MI 48640,
989-839-2744, e-mail: mcdonald@abdow.org.
87
“Michigan Historical Center On-line Exhibits,” Department of Natural Resources
http://www.michigan.gov/dnr/0,1607,7-153-54463_54475_56291---,00.html (December 27, 2010).
ICAM is affiliated with the International Council of Museums (ICOM) as an international

specialized body and as a member organization. In addition, ICAM has special links with
the International Council on Archives.88
ICAM is a forum for professionals active in the fields of preserving and exhibiting
architectural records. Members share expertise and information about institutions,
exhibitions, publications, architectural documents, architectural and museum issues, and
other matters of common interest. Links are made at an international, national, and local
level. Information about their most recent conference in Paris in June 2010 is available at
their website.89
Besides sharing information about exhibitions and offering contacts for such exhibits,
ICAM’s world-wide newsletter is a useful forum for sharing information about the
opening of Yamasaki Collection to research and lecture announcements.
88
“About ICAM,” International Confederation of Architectural Museums, http://www.icam-
web.org/about.php (October 25, 2010).
89
“Conferences,” International Confederation of Architectural Museums, http://www.icam-
web.org/conference.php (October 25, 2010).
XIV. PROJECT FUNDING

A. Advisory Board
In order to explore various options for research, commercial, and exhibition use, and to
get buy-in from the architectural and architectural history communities and potential
donors, create an advisory board. This board would be made up of potential major
donors, architecture, art and history department faculty from major university programs,
Lansing and Detroit area leaders, past members of the Yamasaki firm, historic
preservationists, and other archivists. Wayne State University has a similar board but
there should be enough interested individuals who would take part and avoid potential
conflicts of interest.
The Advisory Board should not exceed eleven members or it will become too unwieldy,
and they should only meet twice yearly. The primary function of the board would be to
advance the preservation of the Yamasaki Collection and to help the Archives of
Michigan gain the tools or financial resources to work on the Collection. The Advisory
Board could give valuable feedback to the Director and help focus the priorities for
outreach within the area and at the state and national levels.
Board members should serve three-year terms with three to four members leaving the
board and being replaced each year. Many boards work well when the members have the
option of renewing their board membership for a second three-year term. Obviously,
when a board is created initially, some members will have to agree to shorter terms in
order to get the rotation necessary to get it established. Nominations for new board
members could come from a nominations committee from within the board with input
from the Archives Director.
The Board should have a chair serving two years, a vice-chair who moves into the
chairmanship, and other officers that the board deems necessary depending on whether
the board ends up as a “working board” versus simply an advisory board. “Working
boards” usually require some level of committee structure to divide up the workload.
If another Advisory Board in addition to the already existing Michigan History

Foundation board appears to create too much focus on Yamasaki or it just creates more
work for the Director, then perhaps a subcommittee with external advisors could be
established within the Foundation board itself to focus on the Yamasaki Collection.90
B. Collaborative Funding
The cost for preservation, processing, cataloging, digitizing, and marketing for this
collection will be high. One advantage when seeking outside funding will be the high
profile nature of the material and the collaborative nature of architecture. In addition,
architects often work in several different firms during their careers, and they may design
90
Michigan History Foundation, State of Michigan, http://www.michigan.gov/dnr/0,1607,7-153-
54463_29165---,00.html (October 11, 2010).
projects all over the world. Thus, their archival records are sometimes scattered among
different repositories. All these factors make the Yamasaki Collection a perfect match
for collaborative archival projects and collaborative funding. Although the Archives of
Michigan is a large collection of Yamasaki-specific material, as mentioned above, other
Yamasaki related materials can be found at the Avery Library at Columbia University,
the Library of Congress, Wayne State University, The Smithsonian, and in private
collections. Collaborative preservation and digitization projects are increasingly
attractive to granting and funding organizations and donors.
1. Governmental and Government-Related Grant Funding

Several governmental funding agencies are available at the national and state level.91
a.) Institute Of Museum and Library Services (IMLS)

IMLS National Leadership grants can provide collaborative funding in the following
areas:
 Advancing Digital Resources: Support for the creation, use, presentation, and
preservation of significant digital resources as well as the development of tools to
enhance access, use, and management of digital assets.
 Research: Support for projects that have the potential to improve museum,
archival, and library practice, resource use, programs, and services. Both basic
and applied research projects are encouraged.
 Demonstration: Support for projects that produce a replicable model or practice
that is usable by other institutions for improving services and performance.
 Library-Museum Collaboration Grants: Support for collaborative projects that
address the educational, economic, cultural, and social needs of a community.92
These grants allow for $50,000-$100,000 in planning money and up to $1,000,000 in

implementation money with a 33% match for projects costing under $250,000 and a 1:1
match costing over $250,000. This is a good funding source for collaborative work
between other holders of Yamasaki and Yamasaki related material.
b.) National Endowment for the Humanities (NEH)

NEH has been one of the major federal grant funding agencies for archival programs,
especially for collections of national significance. The pre-1986 Minoru Yamasaki
materials fall into this category and the Yamasaki firm computer aided design
methodology questions may also fall within their area of interest. They have numerous
programs that would be appropriate for funding various projects within a larger Yamasaki
preservation and access plan. The Humanities Collections and Reference Resources
programs fund:
91
The National Endowment for the Arts does not have any applicable grant programs for the Yamasaki
Archives at this time.
92
“National Leadership Grants,” Grant Applications, IMLS, <http://www.imls.gov/applicants/
grants/nationalLeadership.shtm> (October 2, 2010).
 Arranging and describing archival and manuscript collections;

 Cataloging collections of printed works, photographs, recorded sound,
moving images, art, and material culture;
 Providing conservation treatment for collections (including mass
deacidification);
 Digitizing collections;
 Preserving and improving access to born-digital sources;
 Developing databases, virtual collections, or other electronic resources to
codify information on a subject or to provide integrated access to selected
humanities materials;
 Creating encyclopedias;
 Preparing linguistic tools, such as historical and etymological dictionaries,
corpora, and reference grammars (separate funding is available for
endangered language projects in partnership with the National Science
Foundation);
 Developing tools for spatial analysis and representation of humanities
data, such as atlases and geographic information systems (GIS); and
 Designing digital tools to facilitate use of humanities resources.93
Another NEH option is the Preservation and Access Research and Development program
which funds:
 Development of technical standards, best practices, and tools for

preserving and creating access to humanities collections;
 Exploration of more effective scientific and technical methods of
preserving humanities collections;
 Development of automated procedures and computational tools to
integrate, analyze, and repurpose humanities data in disparate online
resources; and
 Investigation and testing of new ways of providing digital access to
humanities materials that are not easily digitized using current methods.
NEH especially encourages applications that address the following topics:
 Digital Preservation: how to preserve digital humanities materials,

including born-digital materials for which there is no analog counterpart;
 Recorded Sound and Moving Image Collections: how to preserve and
increase access to the record of the twentieth century contained in these
formats; and
 Preventive Conservation: how to protect and slow the deterioration of
humanities collections through the use of sustainable preservation
strategies.94
93
“Humanities Funding and Reference Resources,” Grant Funding, National Endowment for the
Humanities, http://www.neh.gov/grants/guidelines/HCRR.html (October 5, 2010).
94
“Preservation and Access Research and Development,” Grant Funding, National Endowment for the
Humanities, http://www.neh.gov/grants/guidelines/PARD.html (October 5, 2010).
This grant program is especially interested in collaboration among humanities

professionals, research scientists, and other technical experts. Projects develop standards
or best practices that are guided by advisers who are representative of the profession.
Grantees are expected to create a white paper that describes the positive and negative
lessons learned during the course of the project. The white paper should also document
any software or techniques developed as part of the project. White papers are posted on
the NEH web site so that others may benefit from the research.95
c.) The National Historical Publications and Records Commission

(NHPRC)
NHPRC Basic Processing Grants have a 50% cost share requirement and offer up to
$200,000 in funding for project grants. This type of grant funds basic processing,
preservation, and collections development.96
Another NHPRC option is the Digitizing Historical Records grant. These grants “use
cost-effective methods to digitize nationally significant historical record collections and
make the digital versions freely available online.” Grantees must demonstrate:
 The national significance of the collections or records series to be

digitized;
 An effective work flow that repurposes existing descriptive material,
rather than creating new metadata about the records;
 Reasonable costs and standards for the project as well as sustainable
preservation plans for the resulting digital records;
 Well-designed plans that evaluate the use of the digitized materials and the
effectiveness of the methods employed in digitizing and displaying the
materials.97
Projects may not create descriptive metadata, create edited transcriptions of the digitized
materials, or develop websites where people will have to pay a fee to view the images.
These have a 50% cost share. New funding cycle information will be available in
January 2011.
A third NHPRC option is Electronic Records Projects.98 These grants “increase the
capacity of archival repositories to create electronic records archives that preserve
records of enduring historical value.” This may also be an especially useful grant to fund
95
“Preservation and Access Research and Development,” Grant Funding, National Endowment for the
Humanities, http://www.neh.gov/grants/guidelines/PARD.html (October 5, 2010).
96
“Basic Processing Projects,” Grant Opportunities, NHRPC, National Archives, http://www.archives.
gov/nhprc/announcement/basic.html (October 5, 2010).
97
“Digitizing Historical Records,” Grant Opportunities, NHRPC, National Archives, http://www.archives.
gov/nhprc/announcement/digitizing.html (October 5, 2010).
98
“Electronic Records Projects,” Grant Opportunities, NHRPC, National Archives,
http://www.archives.gov/nhprc/announcement/electronic.html (October 5, 2010).
a collaborative virtual archives project. These have a 50% cost share and new funding
cycle information will be available in December 2010.
d.) Michigan Humanities Council

The Michigan Humanities Council offers smaller grants of up to $15,000 and might offer
a portion of funding for a larger project in outreach, education, or exhibition. They
require a 120% match for funding over $3,000.
e.) Michigan State Historic Preservation Office (MSHPO)

Populating the MichiganModern website discussed above with information from the
Yamasaki Collection is an important research use of this material. The MSHPO may be a
viable funding partner for some of the matching fund requirements of various grantors.
f.) The Michigan History Foundation

The Michigan History Foundation may be another source for matching funds.99 The
mission of the Michigan History Foundation is “to receive and administer funds for the
betterment of the Michigan Historical Center and other historical facilities and sites
within the museum and archive systems administered by the Michigan Department of
History, Arts and Libraries as deemed appropriate by the Board of Directors, and for
assisting others in the preservation of historically or archaeologically significant
property.”100 Most governmental grant funding requires matching funds from the grantee
to show their commitment to the project. Such matching requirements also allow the
grantor to leverage their own limited funds more widely. The Foundation may be willing
to pledge additional resources for a Yamasaki project financial match where another
group is the major grantor. They have already funded a portion of the needs assessment
analysis and may be amenable to continued support.
2. Private Foundation Funding

Private foundation funding is available in abundance but it is a matter of finding a grantor
whose interest and funding priorities match the Yamasaki Collection’s needs. Funding
could be provided by:
a.) Graham Foundation

Founded in 1956, the Graham Foundation in Chicago “makes project-based grants to
individuals and organizations and produces public programs to foster the development
and exchange of diverse and challenging ideas about architecture and its role in the arts,
culture, and society.” 101 It has the following priorities:
99
“Michigan History Foundation,” http://michiganhistory.org/ (October 2, 2010).
100
“About the Michigan History Foundation,” Department of Natural Resources, <http://www.michigan.
gov/dnr/0,1607,7-153-54463_29165-90991--,00.html> (December 29, 2010).
101
Graham Foundation, http://www.grahamfoundation.org/ (October 2, 2010).
 Assist with the production and presentation of significant programs about

architecture and the designed environment in order to promote dialogue,
raise awareness, and develop new and wider audiences;
 Support efforts to take risks in programming and create opportunities for
experimentation;
 Recognize the vital role organizations play in providing individuals with a
public forum in which to present their work; and
 Help organizations to realize projects that would otherwise not be possible
without our support.
Further, projects should fulfill the following criteria:
 Originality: the project demonstrates an innovative, challenging idea;

critical, independent thinking; advanced scholarship; a new or
experimental approach;
 Potential for impact: the project makes a meaningful contribution to
discourse and/or to the field; expands knowledge; is a catalyst for future
inquiry; raises awareness of an understudied issue; promotes diversity in
subject matter; participants, and audience;
 Feasibility: the project has clear and realistic goals, timeframe, work plan,
and budget; and
 Capacity: applicant possesses strong qualifications and/or knowledge;
demonstrates ability to carry out the project successfully; has access to
necessary resources outside of the grant request.102
The Graham Foundation is a leader in funding for architecture-related projects.
b.) Michigan Architectural Foundation.

The goal of the Michigan Architectural Foundation is to “support a variety of activities
and programs of related organizations that showcase or preserve good architecture and to
develop funds to support the Mission of the Foundation.” Their programs include:
Public Awareness Chapter Grants, Presidents Scholarship, Evans Memorial Preservation
Grant, Silent Auction at AIA Michigan Mid-Summer Conference, “Architecture – It’s
Elementary” Program, and Special Projects.”103 This Foundation was instrumental in the
2008 publication of Great Architecture of Michigan by James Gallagher with photos by
Balthazar Korab. Numerous Michigan donors contributed to the funding for this book
and they could be approached for potential funding.
Contact should be made directly to the Michigan Architectural Foundation, 553 East
Jefferson Avenue, Detroit, Michigan 48226, telephone: 313.965.4100, email:
info@michiganarchitecturalfoundation.org.
102
“Priorities and Criteria,” Grants, Graham Foundation, http://www.grahamfoundation.
org/grant_programs/ (October 2, 2001).
103
Michigan Architectural Foundation, American Institute of Architects-Michigan, http://aiami.com/MAF/
maf_home.htm (October 2, 2010).
c.) Getty Foundation

The Getty Foundation has been a major financial supporter for several architecture
process and digitization projects in the past. The Getty Foundation supports:
individuals and institutions committed to advancing the understanding and

preservation of the visual arts locally and throughout the world. Through
strategic grants and programs, the Foundation strengthens art history as a
global discipline, promotes the interdisciplinary practice of conservation,
increases access to museum and archival collections, and develops current
and future leaders in the visual arts. The Foundation carries out its work
in collaboration with the J. Paul Getty Museum, the Getty Research
Institute, and the Getty Conservation Institute to ensure that the Getty
programs achieve maximum impact.104
Their funding includes “grants that increase access to significant museum and archival
collections, with an emphasis on digital access and on projects that involve collaboration
among multiple institutions.”105 Although they fund primarily in California, The Getty
Foundation may be receptive to an inquiry for the Yamasaki project. Contact them at
The Getty Foundation, 1200 Getty Center Drive, Suite 800, Los Angeles, CA 90049-
1685, and telephone: (310) 440-7320, e-mail: GettyFoundation@getty.edu.
3. Private Individuals or Organizational Funding
a.) Clients
The Yamasaki Collection has already been the recipient of a gift from Michael Rosenfeld
the redeveloper of the Century Plaza Hotel in Los Angeles, CA. His interest is an
indication of the potential for soliciting funding from individuals. Approaching Minoru
Yamasaki’s more famous and wealthy clients might be worthwhile. He designed several
high profile projects in Saudi Arabia including Dhahran Air Terminal, Saudi Arabian
Monetary Agency Head Office in Riyadh, and King Fahd International Airport. His
successor firm continued to work in Saudi Arabia and the Near East after his death
designing or planning the International Bank of Qatar, Qatar Education City Convention
Centre 2009, The National Commercial Bank in Riyadh, Saudi Arabia, Al Chark
Insurance Complex in Cairo, Egypt, Dubai Promenade 2 in Dubai, United Arab Emirates,
and the Dubai Hotel and Residential Tower in Dubai, United Arab Emirates. Not all of
these were completed before the dissolution of the firm in January 2010. The visual
records for some of these projects, especially King Fahd International Airport and
Dhahran Air Terminal, are extensive.
The Saudis sometimes waited years for Yamasaki’s schedule to free-up in order for him
to design their projects and were pleased at his sensitive treatment of their design
problems. “Oil-rich Saudis…continued to hire him, not only as a reflection of their
104
“About the Foundation,” Getty Foundation, http://www.getty.edu/foundation/about/> (October 2, 2010).
105
“Access to Museum Collections,” Funding Priorities, The Getty, http://www.getty.edu/foundation/
funding/access/> (October 2, 2010).
wealth and power, but out of satisfaction with Yamasaki's design tributes to their cultural
heritage.”106 The Saudi royal family or the ruling families in other Near Eastern
countries may be an option for funding. The Saudi’s pride in their work building their air
transportation systems and the opportunity for international status and accolades they
might receive for their patronage of the
Yamasaki firm may be enough
justification to approach them for
funding preservation of the
Collection.107
Yamasaki’s personal connections with

Japan through his Nisei heritage and his
client, the Shinji Shumeikai, may be
another source for potential funding.
His Founder’s Hall, also known as Shiga
Temple, is part of a large international
spiritual complex, the Shumei
International Institute. They also have a
headquarters in the U.S.108 Founder’s Hall Model Image
b.) Colleagues
One of the obvious groups that may support this effort is collaborating architects or past
members of the architectural firm, especially the junior members at the time who were
successful in the field like Gunnar Birkerts and Gopal Mitra. Other well-known living
architects like Cesar Pelli, Frank Gehry, I. M. Pei, Zaha Hadid, Michael Graves, Maya
Lin, Richard Meier, Kenzo Tange, and Toyo Ito could also be approached. One note of
pessimism is the realization that architects have been hard hit by the recent recession and
many are unemployed or underemployed. Since, they are, as a body, among the first to
feel the effects of recession and the last to recover, it may be a while until they can be
approached with any realistic hope of success. Some form of organization-wide funding
that has the backing of AIA-Michigan might more productive.
106
107
“King Fahd International Airport,” http://www.the-saudi.net/kfia/magazine/kfia-english-1.htm
(December 28, 2010).
108
Contact the Shumei International Institute at 3000 East Dream Way Road, P.O. Box 998, Crestone, CO
81131, telephone: (719) 256-5284 Fax: (719) 256-5245, E-mail: info@shumeicrestone.org.
XV. CONCLUSION
The Yamasaki Collection has surpassed the expectations of the consultant in its breadth
and potential for scholarship. Despite initial reports before the accession by the Archives
of Michigan that a significant portion of the firm’s records had been destroyed, the
remaining visual resources are outstanding. And although there will be challenges
preserving the born-digital material, they provide a tremendous leadership opportunity
for the Archives of Michigan in determining cost effective strategies for the preservation
of the material for the long term.
The Yamasaki Collection offers surprising promise for researchers, sources for the
MichiganModern project, and opportunities for collaboration with other repositories
which together will attract potential funds to preserve the collection and make it
accessible to the world.
Since its acquisition by the Archives of Michigan, the clamor of interest in the Yamasaki
material points up that now is the time to push forward on collaboration and funding
initiatives while the interest in Yamasaki is growing. The organization can take
advantage of even greater interest ahead as the architecture schools and historians
reexamine the impact of the modernists and postmodernists on our built environment, the
tenth anniversary of the World Trade Center destruction on September 11, 2001
approaches, and the 9/11 Museum under construction in New York begins to generate
interests from the public and from curators.
As the work of MSHPO’s MichiganModern project ramps up, architecture-based cultural

tourism is becoming a priority for the State of Michigan as part of its economic recovery.
Exciting times are ahead for use of the Yamasaki Collection that will help the Archives
of Michigan grow and continue to fulfill its mission to the people of the state and the
nation.
XVI. APPENDICES
A. Yamasaki Collection Survey.
B. Media/Support Identification and Preservation Chart.
C. Standard Series for Architecture and Landscape Design Records: A Tool for the
Arrangement and Description of Archival Collections by Kelcy Shepherd and Waverly
Lowell with permission of the authors and courtesy the Environmental Design Archives,
University of California Berkeley. SEE: Publications Section on their web site
http://ced.berkeley.edu/cedarchives/publications.html.
D. Oral History Questions.

Needs Assessment Analysis Survey
Appendix A.
APPENDIX A. NEEDS ASSESSMENT ANALYSIS SURVEY

Yamasaki Collection, Archives of Michigan
Appendix A. Yamasaki Collection Survey
Project/ Box Amount Date span/ Series and Media and Storage Condition Arrangement Description and Comments
Subjects Number/ project # Subseries Issues
Groups Recommendation
Since the survey began, some Yamasaki materials have been moved to other locations. The locations noted below were their original survey locations.
THE SURVEY ATTEMPTED TO IDENTIFY INDIVIDUAL PROJECT NAMES WHERE TIME ALLOWED BUT SINCE THIS WOULD HAVE REQUIRED A
FOLDER LEVEL AND SOMETIMES ITEM LEVEL SURVEY, THIS WAS NOT ALWAYS POSSIBLE. DO NOT ASSUME THAT IF A PROJECT NAME IS NOT
LISTED HEREIN THAT INFORMATION IS NOT INCLUDED WITHIN COLLECTION. SERIES RECOMMENDATIONS ARE SUGGESTIONS THAT MAY BE
AMENDED AFTER MORE IN-DEPTH PROCESSING. Note the document size; print on 8 ½ x 14” paper for full size.
Identifications are often taken from package or folder labels but the names are sometimes confused. King Fahd International Airport (KFIA) is a good example. It may
be labeled KFIA but upon close examination during processing it may prove to be a later addition to the airport or even an airport at a different location.
Location:
On the Floor In front of Range 65, Unit 5
Montreal Museum Loose 10 with C 1959 exhibit OFFICE B/W and color Images b/w good; Drawing # on Pre-and Post 1986Yamasaki
of Fine Arts holes for RECORDS: 9 with grommets color faded back of some. Associates
Exhibit: hanging 1950s-1980s Presentation Photographs Support: good to fair Show as high as
Reynolds Metals Materials 40” x 40” Labels are attached #18. Duplicate Post construction photos
Company (1959); 10 on foam with double-stick number on one and Exhibit materials
McGregor core 1 39” x 30” tape and some are
Memorial starting to deteriorate Most have labeled stuck on.
Conference Center 1 empty 5 ~ 39” x 30 and tear or become Some no id
Wayne State (2 of foam core 4~29 ¾ x 45” unglued. Some
same) (1954); extremely dirty
Michigan Photos mounted on (Northwestern
Consolidated Gas heavy but not National Life, Shiga
(Assoc with SHG); completely firm Temple, 2 Towers?).
Lambert St. Louis Masonite Those on foam core
Airport; Oversized. have a decorative
1
Century 21 Weight and size of edge that is coming
Exhibit-Federal Masonite will make off.
Exhibit Buildings- them difficult to
Seattle, 1959; maneuver safely Some of foam core
Northwestern without damaging. edges are deteriorated
National; Temple and crushed.
Beth El; World ½ “ Thickness of
Travel Center foam core on
Detroit, Shiga drawings wastes
Temple, Two space.
Towers?; 2
unidentified; King
Fahd airport
Location:
On Floor in front of range 38, unit 12
Federal Reserve Loose set 6 originals 2007 PROJECT Ink jet 11 x 17” Excellent except for None Post 1986 Yamasaki
Bank, Baltimore of and POST YAMA RECORDS: may have light a few folders in the Associates Security review
drawings 15 ink jet Drawings sensitivity issues. tracing paper Sketch over existing
footprint
Water colors, REVIEW FOR
colored pencil on DEACCESION OR
Mylar, colored ink RESTRICTION. MAY
on tracing paper CAUSE SECURITY
ISSUES
2
World Trade Loose set 95 drawings 1968 PROJECT Black Line Prints 24 x 36 Drawings # Pre-1986 Yamasaki
Center Tower B of RECORDS: Associates
drawings Drawings Were rolled; residual
curl. Plumbing Set
Deteriorated rubber Working drawings
band remnants stuck All floor plans with a few
to top and edge and section details
sticking drawings P-
54 and P-55 together
Title sheet has tear
on right edge.
Otherwise rest are
good condition
Kasle Residence Loose set 20 drawings 1998-1999 PROJECT Photocopy with Excellent By drawings Post-1986 Yamasaki
alterations and of (11 x 17) RECORDS: colored pencil number. Associates
additions #9851 drawings and Drawings annotations. 11 x 17 Transmittal
transmittal; sheets sheets list more Preliminary Architectural Set
drawings not Working Drawings
Two ink and color included in Floor plans, elevations; 2
marker with ink jet packet Presentation Drawings-
copies Perspectives
Title blocks with dates and

but no id of client.
Presentation drawings by
3
DiVito
Kasle Residence Loose set 15 drawings 1999 PROJECT Diazo (Record Set) Excellent By Drawing Post-1986 Yamasaki
alterations and of in Record RECORDS: number Associates
additions drawings Set Drawings 24 x 36”
Preliminary set
RARE RECORD Working drawings marked
SETS (AS- “Record Set.”
BUILTS) ARE IMPORTANT TO
MARKED. UNDERSTAND
INDICATES DIFFERENCE BETWEEN
GOOD PRACTICE WORKING AND DESIGN
DRAWINGS. Not marked
on drawings Title sheet; Title
Blocks with Date but no
client id.
Kasle Residence Loose set 33 drawings 1999 Various PROJECT Photocopies Excellent By Drawing Post-1986 Yamasaki
alterations and of RECORDS: 24 x 36” number Associates
additions drawings Drawings
Various Preliminaries with
different release dates
Title sheet; Title Blocks with
Date but no client id
Kasle Residence Loose 10 drawings 1998 PROJECT Graphite and Excellent None Post-1986 Yamasaki
alterations and drawing RECORDS: colored marker on Associates
additions set Drawings Tracing Paper
4
Design Development (hard
lined). Showing various
scheme proposals
No client id, date, or

architect other than type of
drawing (i.e. North
Elevation)
Kasle Residence Loose 7 drawings 1987 PROJECT Graphite on Mylar Excellent except for Drawing Post-1986 Yamasaki
Original building drawing + RECORDS: sticky backs on few number order Associates
set 35 various Drawings Sepia Mylar Mylar
Ford and Earl at bottom of
Associates project file Graphite on Tracing Working drawings Has title
architect. paper block, date, client, architect,
drawing type
Diazo with colored
marker
Kasle Residence Loose 1 document 1999 Jan PROJECT The important Excellent Post-1986 Yamasaki
Original building item RECORDS: information Associates
Project Files identifying it as
Final Version is on List of Drawings. Marked
a Post It Note. This “Final Version”
will eventually
either cross link Date, architect but no client
5
with the paper or name
fall off depending
on the brand used.
The firm appeared
to adopt using these
in the late 1990s
and continued until
the end of the firm.
They are common
in some files.
Kasle Residence Loose ~ 20 1999 PROJECT Diazo with colored Good to Excellent No order Post-1986 Yamasaki
Original building drawing drawings RECORDS: marker, photocopy, Associates
set Drawings graphite on tracing
paper
1 sketch;
rest Design Development;
Prelim Working.
Some with nothing, some
with date, architect but no
client
Kojaian Residence Tempor- ? 1988 PROJECT Post-1986 Yamasaki
ary Folder RECORDS: Associates
# assigned Drawings
by Nelb
6
Loose
Misc.
Folder 1-
mixed
Kojaian-Olympia Loose ? 1988 PROJECT Post-1986 Yamasaki
Center? Misc. RECORDS: Associates
Folder 1- Drawings
mixed
Kojaian Pergola Loose 24 drawings 2002 PROJECT Marker on TP; Excellent None Post-1986 Yamasaki
Misc. RECORDS: 1 diazo Associates
Folder 1- Drawings
mixed
Sketches and DD
Perlman Sanctuary Loose 2 corres. 2004 PROJECT Marker on TP, ink Excellent None Post-1986Yamasaki
and Religious Misc. 4 sheets RECORDS: jet Associates
School-Family Folder 1- photos; Drawings
Education Center mixed 11 drawings
Ad Chicago PROJECT Correspondence; Photos
RECORDS: Sketches
Project Files
PROJECT
RECORDS:
Photos
7
Kajaian Residence Loose 33 drawings nd PROJECT Ink jet and marker Good. Some of sepia None Post-1986 Yamasaki
Misc. RECORDS: on tracing paper, have rips and TP has Associates
Folder 1- Drawings sepia heavy creases
mixed
DD Floor plans and interior
elevation
Kajaian Residence Loose 6 drawings 1925 PROJECT Positive BP or early Good Sheet numbers Post-1986 Yamasaki
Misc. RECORDS: diazo and sepia but not in order Associates
Wm Kuni Folder 1- Drawings
Architect mixed Used as base documents for
later project.
Date, architect, type of

drawing but no client info
Unidentified Loose ~40 No date PROJECT Ink jet, marker on excellent None Post-1986 Yamasaki
Charter School, Misc. drawings RECORDS: tracing paper Associates
Detroit Folder 1- Drawings
mixed
Lake Park Loose 14 drawings c 1997 PROJECT Marker on tracing Excellent but some None Post-1986 Yamasaki
Residence Ken Misc. RECORDS: paper masking tape on Associates
Kojaian Folder 1- Drawings corners
mixed Sketches
Design Development
8
Lake Park Loose 35 drawings 1997-2002 PROJECT Marker on tracing Excellent None Post-1986 Yamasaki
Residence Kojaian Misc. RECORDS: paper; ink jet, Associates
Folder 1- Drawings
mixed Sketches
Design Development
Some have title blocks, client

id, date, architect ; others
nothing
Central National Loose ~25 pages June 14, 1931 PROJECT Photocopy-recent Excellent Page numbers. Post-1986 Yamasaki
Bank Building, Misc. RECORDS: 18 x 24” No order now Associates
Battle Creek, MI Folder 1- Project Files Battle Creek Enquirer and
mixed Evening News. Full
newspaper with articles and
ads on the Central National
Bank Building
Used as research for later

project
Columbia Center Loose 2 drawings 2008 PROJECT Ink jet clipped to Excellent except for Drawing Post-1986 Yamasaki
Restaurant Misc. RECORDS: foam core. Not indents in foam from number on one. Associates
Folder 1- Drawings attached so foam big clips Design Development
mixed core can be Other is shop
removed. drawing by Floor plan with elevations;
landscape site plan
9
architect
Title block client id, date,
architect, project
Big Beaver Tower Loose 52 drawings C 1973 PROJECT Photocopy Excellent Drawing Pre-1986 Yamasaki
Misc RECORDS: (probably more number order Associates?
Rossetti Associates Folder 2 Drawings recent vintage)
Incorporated mixed Electrical and Mechanical
Architects Sets
Working Drawings
Title block, no date but

project number based on
date, client
Unidentified city Loose 1 poster 2002 OFFICE Poster print Fair, has a few rips None Post-1986 Yamasaki
Misc Copyright RECORDS: Associates
Folder 2 JRRENT Public
mixed (nothing found Relations Aerial view Poster
on Google)
Kojaian Residence Loose ~30 1980s PROJECT Marker on TP Good but some None Pre-1986 Yamasaki
Misc drawings RECORDS: Oversized crease especially in Associates
Folder 2 Drawings TP
mixed Misc. sketches, design
development
Some title blocks but no
10
client id
Adnoc Corporate Loose 1 drawing 2008 PROJECT Color Ink Jet Good; staple rips on ID Post-1986 Yamasaki
Headquarters Misc RECORDS: all four corners Associates
(Abu Dhabi Folder 2 Drawings
National Oil mixed Presentation Drawing
Company)
HOK International
Designers
The Trade Center, Loose ~85 2004 PROJECT Photocopy Excellent In drawing Post-1986 Yamasaki
Portage, MI Misc drawings RECORDS: 24” x 36” order Associates
Folder 2 Drawings
Plans prepared by mixed All current conditions,
Hurley & Stewart architectural, electrical,
mechanical
Title blocks with dates,
client, project, drawing id
National City Bank Loose 55 drawings 2005 PROJECT Marker on tracing Excellent None Post-1986Yamasaki
Signage Misc RECORDS: paper, photocopy, Associates
Folder 3 Drawings ink jet
mixed Correspondence.
PROJECT All small Site photos
RECORDS: Sketches and design
Photographs development, presentation
drawings
11
Adnoc Proposal Loose 2 (1 dup) C 2008 PROJECT Ink jet Good but creases and None Post-1986Yamasaki
Misc drawings RECORDS: 36 x 48 oversized rip Associates
Gary Safety Folder 3 Drawings
Lighting Design mixed Perspective renderings of
Lighting
Hinman Residence Loose 53 drawings 2004 PROJECT photocopy Good Drawing Post-1986 Yamasaki
The Riverbend Misc RECORDS: number order Associates
Ranch Folder 3 Drawings 11 X 17” prelim drawings with field
mixed remarks
Title blocks with archit,

client, drawing number but
no date
Cromie Loose 8 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
Elementary Misc RECORDS: 16 x 24” number order Associates
Warren Folder 3 Drawings Architectural Final Working
Integrated Design mixed Drawings
Systems Full title block
Wilkerson Loose 9 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
Elementary Misc RECORDS: 24 x 36 number order Associates
School, Warren, Folder 3 Drawings Architectural and
MI mixed Mechanical Preliminary
working Drawings
With red marker annotations
12
Full title block
Siersma Loose 10 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
School, Warren, Folder 3 Drawings Architectural Preliminary
MI mixed working Drawings
With red marker annotations
Full title block
GM Proving Loose 4 drawings 1995 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
Ground Misc RECORDS: 24 x 36 number order Associates
Folder 3 Drawings Architectural Preliminary
Mobile Facility mixed working Drawings
engineering With red marker annotations
Full title block
Susick Elementary Loose 10 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
School Misc RECORDS: 24 x 36 number order Associates
Folder 3 Drawings Preliminary Working
mixed Drawings of Conditions,
Schedules
Full title block
Susick Elementary Loose 27 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
School Misc RECORDS: 24 x 36 number order Associates
Folder 4 Drawings Preliminary and Final
mixed Working Drawings of
Architectural Set
Full title block
13
Wilkerson Loose 26 drawings 2003-2004 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
School, Warren, Folder 4 Drawings Architectural and
MI mixed Mechanical Final Working
Drawings
Full title block
Warren Loose 13 drawings 2003 PROJECT Photocopy excellent Drawing Post-1986 Yamasaki
Educational Misc RECORDS: 24 x 36 number order Associates
Service Center Folder 4 Drawings Architectural and
Offices Alterations mixed Mechanical Final Working
Drawings
Full title block
National City Loose 39 drawings 2005 PROJECT Colored marker on excellent Drawing Post-1986 Yamasaki
Signage Misc. RECORDS: tracing paper, ink number order Associates
Folder 4 Drawings jet, color photo on preliminaries Sketches, Preliminary
mixed copy, photo copy ; nothing on working drawings
sketches Full title block on
Small sketches and preliminaries and little on
24 x 36” sketches
Some taped to other

backing sheet
Susick elementary Loose 9 drawings 2003 PROJECT Photocopy excellent None Post-1986 Yamasaki
school Misc. RECORDS: 11 x 17” Associates
Folder 4 Drawings Safety lighting levels
14
Mancini, Alkateeb mixed Full title block
and Assoc (they
are assoc with
project)
Susick elementary Loose 35 drawings C 2003 PROJECT Colored marker on Good, many creases None Post-1986 Yamasaki
school Misc. RECORDS: tracing paper, and Associates
Folder 4 Drawings photo copy Sketches and site plans
mixed Most 12 x 20”
Susick Elementary Loose 88 drawings C 2003 PROJECT Photocopy Good but several Drawing Post-1986 Yamasaki
School Misc. RECORDS: 24 x 36 ripped on right edge. number order Associates
Folder 4 Drawings Looks like they were
mixed caught in something Civil, architectural, structural
when moved since mechanical, electrical
the tear is in the Preliminary working
same place on each Drawings
Full title block
World Trade Loose 1 poster 1972 OFFICE Oversized must be Excellent None Pre-1986 Yamasaki
Center Photo RECORDS: stored rolled Associates
Poster Public 47” x ~ 10’ Poster
Relations estimated only Title
The support is only

paper so it will be
easy to damage if
unrolled by only
15
one person
Removed
restraining rubber
bands and have
replaced
temporarily with
string. Use flat
Velcro (Uline) to
secure for long term
storage
Location On Floor in front of range 38
See project number Loose 19 Binders c 1955-1999 PROJECT 4 x 5” color Good Primarily in Pre- and Post-1986
lists below in Binders of (total 461 RECORDS: negatives, color project number Yamasaki
second column 4x5 pages) Photographs transparencies, order but many
Negatives Color prints inconsistencies Reproductions of models and
and Prints where items presentation drawings; some
~ 5,500 A few black and have fallen out post construction
color white of proper place
negatives and stuck back Visual materials
and ~4,000 Some 2.5 x 3” in randomly
correspon- 35mm negative even into a
ding prints strip, 10 x 4” color different binder
transparency
Binder # assigned
16
by Nelb.
Binder #1 3 pages Dhahran Airport 5806, Jinadriyah 9569, Hawaii Center 8301
Binder #2 6 pages KFIA Airport and Mosque 8220, KFIA Mosque 8220, 5806 Dhahran Airport [see also Binder # 1]
Binder #3 16 pages not all filled No project numbers in book. 5536 Chelsea Schools, unidentified buildings (mostly schools), Oberlin College, Butler University
Library, 5912 Carleton College Men’s Dorm, Arts and Crafts Society 5534, 6006 Pahlavi Master Plan, Michigan State Medical Society, Carleton College
Master Plan, Princeton University Astro-Physics 6214, Harvard University Engineering Lab 5934, Princeton Woodrow Wilson School 6109, Harvard William
James Hall 5928, Franklin and Marshall College Center 6812, Carleton College Men’s Gym 6103, Wayne State University Education Building 5635,
unidentified, Wayne State University McGregor (year 1955), Bill Ku Personal
Binder #4 8 pages not all filled. Few prints. Many glassine sleeves 5913, 6706, Chonbuk Competition 9652, Nanyang, unidentified, Medical College of Toledo,
Michigan Consolidated Gas, Sama Interim Headquarters 7306-x9, Oak Arbor Society Church 9359, Imar Plaza 8944, Sarvar, Brookfield Office Park 8402,
Orange County 6407, Omni Hotel Budapest, Dalian Scheme 9602, Guam Bounty Restaurant 90-NPD x-16, World Trade Center (WTC), unidentified (year
1997), unidentified,
Binder #5 47 pages World Trade Center (WTC) 6211 (~211 images), Manufacturers and Trade Buffalo 6308, Orange City CA Master Plan 6407, Yamasaki Assoc
6410, Eastern Airlines Terminal Logan Airport Boston 6501, Apartment Building Honolulu 6502, Defense Department Office Washington 6601, Basic and
Clinical Science Facility Medical College of Ohio at Toledo 6707, Ala Moana Beach Hotel Honolulu 6801, Temple Beth El Bloomfield Township 6805,
Singapore Sheraton Hotel 6806, Horace Mann Office Building 6809, West End Development Sacramento no date,
Binder #6 62 pages Much glassine, 6812 missing, Century Plaza Towers 6813, Miyako Hotel Tokyo 6815, 6902 Windsor Station, Dillingham Corp Master Plan for
Makiki-Kewalo-Ala Moana Planning Area Honolulu 6907, Montgomery Ward 6908, RCA Office New Canaan CT 7006, Colorado National Bank 7007,
Federal Reserve Bank of Richmond 7008, Yamasaki Home 7101 (includes a Yama watercolor published in My Life in Architecture), [ Detroit Postcard of
Harrington Hotel c 1906 tipped in, Rainier Bank Seattle 7203, 7205 missing, 7206 missing, Bank of Oklahoma Williams Center 7208, 7301 Century Plaza
Addition , 7302 Tulsa Performing Arts Center, Williams Center 7204, Northwestern National Life Insurance 7706
Binder #7 28 PAGES Shiga Temple 7802, Northwestern National Life Insurance Co. (incorrectly marked Shiga Temple), Medical College of Toledo #7902 (not marked
on cover), Aloha Plaza 7903. Corporate Headquarters for Electronic Data Systems Corp. 8020, Hyatt International (Master Plan) Singapore 8022, Hyatt Hotel
Kuala Lumpur Malaysia 8107, Lagoon Development Lagos Nigeria 8108, Monte-Carlo Palace 8202
Binder #8 15 PAGES KFIA Airport and Mosque 8220 (pages 1-13 Meeting Record Photos by Daniel Bartush); pages 15-28 Dan Bartush)
17
Binder #9 42 PAGES KFIA Airport and Mosque 8220 Includes flow model for passenger traffic*
Binder #10 14 PAGES KFIA Airport and Mosque 8220 no prints ; all glassine sleeves
Binder #11 23 PAGES KFIA Airport and Mosque 8220 models, interior finishes. Staggering number of models and level of detail for this project
Binder #12 32 PAGES KFIA Airport and Mosque 8220 models, drawings, interior finishes, lighting, few construction photos. Never seen so many presentation drawings
for one project (100s)
Binder #13 20 PAGES Sama Training Center 8401, Brookfield Office Park Farmington Hills 8402, Tahir Center Cairo Egypt 8405
Binder #14 22 PAGES Wilshire Plaza West 8501, Haw’s Sports Club 8502, Somerset North 8507
Binder #15 19 PAGES Trammell Crow Project 8509, City Bank Honolulu 8510, 111 Long Lake 8513, Wilshire Plaza North 8514
Binder #16 39 PAGES Cambridge Court 8700 x-2, Makkasan 8700 v-21, Ft. Wayne Office Bldg. 8702, Rochester Hills Office Park 8708, Michigan Capital Park Lansing
8714, Mixed Use Rochester 8715, Gazelles Plaza 8716, Amerivest Sterling Heights 8726, Syndeco Office 8734, Oakland County Comp. Center 8738, 8739
missing, Oakland County Comp. Center 8740, 8807 missing, 8809 missing, Summit Project 8802, Frankel Assoc Somerset 2401 8806, Larned/Bates/Kirco
8807, Oakland County Comp. Center 8809, Olympia Center 8813, Brookfield Office Park 8819, Crain Communications Detroit 8823, Sisli Culture and Trade
Center 8824, KIRCO Office South Bend 8826, Detroit Master Plan –Port Atwater 8840, Discovery Center 8852, Royal Oak Master Plan 8854, World Trade
Center (WTC) Commodities Exchange 8860, Kennedy Square 8861, Farmington Community Library 8865, Oakland Community College Hotel 8869, MOT
Grand Circus Theater 8917, Siemens Auto 8921, Pioneer Development 8924, Oakland County Courthouse 8934, 8952 missing, Providence Pain Clinic 8965
Binder #17 26 PAGES Intercontinental Ko Olina Hotel Honolulu 8700 x-29, Saipan Resort Hotel Guam 9000-x6, Jeddah Office Building 8900 x-38, AGBU Mari
Manoogian School Canaga Park California 8926, Farmington Hills Office Park 8935, Wixom Library 8942 (all post construction), Country Club Corporate
Park Farmington Hills 8943, Country Club Corporate Park Parcel #4 Farmington Hills 9005, Tourism and Trade Center Imar Plaza Competition Istanbul
Turkey 8944, Wixom Municipal Facilities 8950- 8952, World Travel Center Metropolitan Airport Competition 8957, Oakland Technology Park 8960,
Kellogg Center 8969, 9005 missing, Sisli Cultural Trade Center Istanbul Turkey 9008, Zahid Arcades Jeddah Saudi Arabia 9014, Macomb Hospital Center
Clinic 9021, Grand
Place East Lansing 9022, Central Soya Headquarters Fort Wayne, IL 8832, World Trade Center (WTC) Commodity Exchange 8860, Boutique Plaza Guam
8900-x34, KIRCO South Bend, IN 9026
Binder #18 35 PAGES Twin Towers Saipan, 9000-x35, Macomb Medical 9021, Singapore Housing 9100-x29, South Bend Office Building 9026, 9229 missing, 9231
missing, 9300-41 missing, 9303 missing ,9026 missing, Imir Menderes Airport Hotel 9035, Congress and Concert Hall (Istanbul Culture and Arts) 9036,
18
Yerevan Cathedral 9100-x39, Zahid Arcade 9106, ANR Tower 9111, Attar Office and Garage 9114, Oakland County Courthouse West Wing Extension
9138, Jamarat Bridge 9143, CREIC 9200-x28, Riyad Competition 9229, Wyandotte Waste Water Treatment 9231, SCECO-Saudi Arabia 9300-x41, Riyad
Bank 9303, Tamilik Tower 9349, Saudi National Commercial Bank Administration Building 9400-x77, Oakland County Courthouse North Lobby 9419,
Shinsung Villas 9428, Zabadini Tourist Village and Marina/Hotel Master Plan 9434 missing, Xenorida Xentury City 9435, Oak Park Municipal Facility 9527,
Hunter Blvd 9763, MBC Il San Broadcasting 9766, National Grand Theater of China 9800 x7, Troy Corporate Center 9807, Etkin-Northfield Great Lakes Gas
Company 9810, Northfield Crossings 9846, Maharishi Tower Sao Paulo Brazil 9930
Binder #19 20 pages Middlebelt Office 8516, Columbia Center 8517, Long Lake Crossing 8519, Columbia University Henry Ford Medical Center 8524
Found later so not
in general chron
run imposed by
inventory
Location On Cart on Floor in front of range 38
Century Plaza Loose 49 C 1963-1965 PROJECT 4 x 6” most two Good but has both Drawing order Pre-1986 Yamasaki
6106 White negatives RECORDS: per 8 ½ x 10 ¾ red and black Some large Associates
envelope 45 Photographs sheet eradicating fluid to enough to take
positives remove dirt or 2 negatives to Copy negatives and positives
irregularities (usually copy the
background clutter) drawing Working Drawings
on the drawings they Structural Set
copied.
Woodrow Wilson Loose 32 images C 1976-1979 OFFICE 11” x 14” color Interleaving tissue No order Pre-1986 Yamasaki
Princeton NJ 6109 Manila RECORDS: prints stuck to labeling info Many Associates
envelope. Photographs 8 x 10 B/W prints on one. duplicates.
These 4 x 5” color Some of the color Post construction photos.
19
may be transparencies prints are yellowed Photographers Balthazar
extra and have color shift Korab and Joseph Molitor
prints for to sepia. May be (Valhalla, NY)
the Korab proximity to acidic
Folios interleaving sheets
with cross-hatching
behind some photos.
Woodrow Wilson Loose 34 images C 1976-1977 OFFICE 11” x 14” color and Excellent No order Pre-1986 Yamasaki
Princeton NJ 6109 Manila RECORDS: B/W prints Many Associates
envelope. Photographs duplicates.
These
may be Post construction photos.
extra Photographers Joseph
prints for Molitor (Valhalla, NY), and
the Korab Lawrence Williams
Folios
Woodrow Wilson Loose 34 images C 1976-1979 OFFICE 11” x 14” B/W Good-Excellent No order Pre-1986 Yamasaki
Princeton NJ 6109 Manila RECORDS: prints Many Associates
envelope. Photographs Some smaller duplicates.
These Some images stuck Post construction photos.
may be together by Photographers Joseph
extra degrading adhesive Molitor (Valhalla, NY), and
prints for tape Lawrence Williams
the Korab
Folios
20
Dhahran Air Loose 34 images C 1974-1982 OFFICE 11” x 14” color Interleaving tissue No order Pre-1986 Yamasaki
Terminal Manila RECORDS: prints stuck to labeling info Many Associates
5817 envelope Photographs 11” x 14” B/W on one. duplicates. Post construction photos.
World Trade prints Some of the color Photographers Balthazar
Center and KFIA 8 x 10 B/W prints prints are yellowed Korab and Daniel Bartush,
also in envelope and have color shift and Rondal Partridge
to sepia. May be
proximity to acidic
interleaving sheets
with cross-hatching
behind some photos
or could be poor
washing.
Some photos stuck
together by adhesive
migration but have
duplicates
Dhahran Air Loose 46 images 1976-1979 OFFICE 11” x 14” color Good-Excellent No order Pre-1986 Yamasaki
Terminal Manila RECORDS: prints Many Associates
5817 envelope Photographs 11” x 14” B/W duplicates. Post construction photos.
prints Photographers Balthazar
Korab and Daniel Bartush,
and Rondal Partridge
Dhahran Air Loose 51 images C 1977 OFFICE 11” x 14” color Good-Excellent No order Pre-1986 Yamasaki
Terminal Manila RECORDS: prints Many Associates
21
5817 envelope Photographs 11” x 14” B/W duplicates. Model and post construction.
prints Photographers Balthazar
8 x 10 B/W prints Korab and Rondal Partridge
various other sizes
IBM 6204. Loose 18 images C 1979 OFFICE 11” x 14” B/W Excellent No order Pre-1986 Yamasaki
Manila RECORDS: prints Many Associates
envelope Photographs 8 x 10 B/W prints duplicates. Model and post construction.
various other sizes Photographers Balthazar
Korab, Hedrich-Blessing,
and Dudley, Hardin & Yang
Royal Reception Loose 27 images 1977 OFFICE 11” x 14” color Excellent No order Pre-1986 Yamasaki
Pavilion 7405 Manila RECORDS: prints Many Associates
envelope Photographs 8 x 14 color prints duplicates. Model and post construction.
Photographers Balthazar
Korab
Tulsa performing Loose 29 images 1979 OFFICE 11 x 14 color prints Excellent No order Pre-1986 Yamasaki
Arts7302 Manila RECORDS: Interleaving tissue Many Associates
envelope Photographs discolored duplicates. Models and post construction
Photographer
Wheeler/Larsen (Oklahoma
City)
IBM 6204 Loose 27 images 1978-1979 OFFICE 11 x 14 color prints Good No order Pre-1986 Yamasaki
Manila RECORDS: 11 x 14 B/W Many Associates
envelope Photographs Interleaving tissue duplicates. Models and post construction
22
discolored and Photographers Hedrich-
smaller Blessing, CameraCraft
(Seattle)
Seattle World’s Loose 27 images 1979 OFFICE 11 x 14 color prints Good No order Pre-1986 Yamasaki
Fair 5922 Manila RECORDS: 11 x 14 B/W Many Associates
envelope Photographs Interleaving tissue duplicates. Model and post construction
discolored and .
smaller Photographers Balthazar
Korab
Harvard 5939 Loose 3 images C 1979 OFFICE 11 x 14 B/W Excellent No order Pre-1986 Yamasaki
Manila RECORDS: duplicates. Associates
envelope Photographs Model .
Photographers Balthazar
Korab
World Trade Loose 107 images 1956-1980 OFFICE 11 x 14” color Most mounted on Many have no Minoru Yamasaki Associates
Center (WTC), Project RECORDS: prints and various acidic card stock. ID. Appears Construction and Post
Century Plaza Folios Photographs Color fading. Some two duplicate Construction Photos
Hotel, Shiga are loose. Edges of books were Julius Shulman (Century
Temple, unknown c Card stock are combined. Center), Hedrich Blessing
1974, Temple yellowing from light Probably had an (Horace Mann Insurance),
Bethal, Lambert exposure order at one Balthazar Korab World
Terminal St. Louis, time. Trade Center (WTC).
100 Washington Folios assembled by Korab.
23
Square, Horace Most destroyed.
Mann Insurance,
unidentified,
McGregor
Memorial
Conference Center,
Unico Rainer Bank
Seattle, Colorado
National Bank,
unidentified
Temple, Queen
Emma Gardens,
Woodrow Wilson,
Tulsa Performing
Arts, Saudi Arabian
Monetary Agency
Riyadh, Michigan
Consolidated Gas,
Dhahran Civil
Airport, Eastern
Province
International
Airport, uniden,
Yamasaki Office,
Century 21 Federal
24
Exposition
Buildings Seattle,
unidentified,
unidentified,
unidentified,
Westin Hotel,
Seattle World’s
Fair, Northwestern
National Life
Insurance
Company, uniden,
Bank of Oklahoma,
Eastern Airlines
Logan
International,
Horace Mann
Insurance, North
Shore
Congregation Israel
Glencoe, IL ,
uniden, Jiddah
Airport and Royal
Reception Pavilion
Uniden, Century Loose 45 pages 1956-1980 OFFICE 11 x 14” color Most mounted on Many have no Pre-1986 Yamasaki
Plaza Towers, Project RECORDS: prints and various acidic card stock. ID. Appears Associates
25
Lambert-St. Louis Folios Photographs Color fading. Some two duplicate Construction and Post
Airport, McGregor are loose. Edges of books were Construction Photos
Center-Wayne Card stock are combined. Julius Shulman (Century
State, Reynolds yellowing from light Probably had an Plaza), Hedrich Blessing
Metals, Michigan exposure order at one (Horace Mann Insurance),
Consolidated Gas, time. Balthazar Korab World
unknown, Dhahran Trade Center (WTC ),
Civil Airport, Assembled by Korab. Most
Century 21 Federal destroyed.
Exposition
Buildings Seattle,
University
Properties-IBM-
Seattle, Woodrow
Wilson,
Manufacturers and
Traders Trust-
Buffalo, Eastern
Airlines Logan
International,
Century Plaza,
Horace Mann
Insurance, uniden,
Montgomery Ward,
Federal Reserve
26
Bank of Richmond,
Unico Ranier Bank,
uniden, Yamasaki
Residence, Bank of
Oklahoma, Tulsa
Performing Arts
Center, Saudi
Arabian Monetary
Agency, Eastern
Province
International
Airport,
Royal Reception Box #s 91 prints 1978, 1983 OFFICE 8 x 10” and 8 x 11” Good. Some None. No Pre-1986 Yamasaki
Pavilion, Jeddah assigned RECORDS: color prints yellowing labels. Many Associates
International by Nelb Photographs duplicates Photos of Presentation
Airport 7405, Saudi Drawings, Models, Interior
Arabian Monetary Box # 1 finishes and Furnishings.
Agency 11 x 8 ½ Many signed by J. Ecel ??
x 1 ½” Photographer Dan Bartush
My Life in Boxes 2-3 48+ 70 1950s-1980s OFFICE Color 4 x 5” Good condition but Check Order Pre-1986 Yamasaki
Architecture RECORDS: transparencies, many missing. compared to Associates
Photographs 35mm slides book. Appears
to be no order. used for A Life in
27
Many in 8 ½ x 11” Many sleeves Architecture
presentation have descriptor
sleeves with labels but no image. Heavily described by project,
Some may have date, photographer. Korab,
been transferred Shulman, Robert Jung,
to the Binder Robert Cleveland, Ralph
Books or used Parsons, Hedrich Blessing
for brochure These are probably the
printing and not original transparencies for
returned. the book
King Fahd Box 4 91 C 1980s OFFICE Color 8 ½ x 11” excellent No order Pre-1986 Yamasaki
International RECORDS: 11 x 14” prints Associates
Airport (KFIA) and Photographs Models, post construction,
unknown many duplicate photo mockups of interiors
Misc Projects Box 5 100 C 1950s-1980s OFFICE Color 8 ½ x 11” excellent No order Pre-1986 Yamasaki
RECORDS: 11 x 14” prints Associates
Photographs many duplicates Models, post construction,
photo mockups of interiors
Toledo Med Center Loose ?? 1980s PROJECT 35 mm slides and excellent No Order Pre-1986 Yamasaki
art work, Long files and FILES: ink jet prints Associates
Lake Crossing, materials Photographs Post construction, models.
King Fahd Balthazar Korab
International
Airport (KFIA),
28
City Bank
Honolulu
Shiga Temple Box 6 26 photos No date, c OFFICE 8 x 10” color prints Excellent except for a No order Pre-1986 Yamasaki
(Founder’s Hall) Binder on 1982 RECORDS: few damaged by the Associates
7802 truck Photographs binder holders. Probably opening ceremony
Photos mostly in for temple, building?
sleeves but should be exteriors and interiors. 5
replaced with new *Wonderful photos of
polyester Yamasaki. Photos by Taro
Yamasaki except one by
Nakatani
King Fahd Box 6 98 prints No date PROJECT 35 mm slides, 4 x Excellent. Photos in No order Pre-1986 Yamasaki
International Binder on 5 slides FILES: 6” color prints polyester sleeves Associates
Airport (KFIA) truck Photographs Post Construction
Various projects Box 6 ? Post 1986? OFFICE Tear sheets Excellent. All in Alpha order R- Post-1986? Yamasaki
Binder on RECORDS: polyester sleeves Z Associates ?
truck Public
Relations Marketing tear sheets.
Valuable to id projects
Film test of Box 6 on 29 35mm Mostly pre PROJECT 4 x 5” color 2 x 2 losing color and No order Pre-1986 and Post-1986
analysis forms truck 14 2x2 1986 FILES: negatives, dirty. Acidic mounts Yamasaki Associates
1988-DISCARD, Small box 18 2x2 of Photographs Anscochrome 2 x 2 getting brittle FILM TEST-DISCARD,
Kobe gardens, within Kobe slides, 16 mm films (developed in *Kobe Gardens, post
29
unidentified, 15 color Tokyo) construction interiors.
Century Plaza negatives Empty envelope says Don
Theme Towers, Hall photographer,
Wascana project presentation drawings 1998,
6107, Blank 16 mm interior finishes
film-discard,
halogen lamp-
discard, uniden,
1998 Yama firm
projects, State
Capital master plan
model
Yamasaki Firm Box 6 on .5 lf 2007-2008 OFFICE Textual Excellent Alpha by Post-1986 Yamasaki
truck RECORDS: subject Associates
Misc Files Public
Relations: Correspondence., reports,
Marketing resumes, marketing
Subject Files brochures
and
Correspon-
dence
King Fahd Box 7 on 65 images 1981 PROJECT 4x 5” color trans Some yellowing Pre-1986 Yamasaki
International truck RECORDS: and negatives, 11 x Associates
Airport (KFIA) Drawings 14 prints, 8 x 10 *Site photos including
8220 also known as And prints hydrologists testing, models,
30
EPIA (Eastern Photographs presentation drawings
Province Intl.
Airport before
naming)
Arts and Crafts Box 8 on 370 films 1954-1970 PROJECT 105 MM black and Good Condition but Project # Order Pre-1986 Yamasaki
School 5534, truck RECORDS: white microfilm Paper sleeves are and drawing Associates
Michigan State Drawings acidic number order These survive only because
Medical Society Label Or the box was not returned to
5729, North Shore other Photographs off-site storage, otherwise
Congregation Israel working they would have been
6019, McGregor drawings destroyed.
Conference Center
5448, Wayne State Working drawings:
University Architectural, electrical,
Classroom structural, full scale details,
Building and Helen furniture, mechanical
DeRoy Hall 6015,
Colorado National REVIEW BANK
Bank 7007 DRAWINGS FOR
DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
ISSUES
6106 Century Box 9 467 films ~1961-1964 PROJECT 105 mm black and Good Condition but Project # Order Post-1986 Yamasaki
Plaza, 6107 Century RECORDS: white microfilm Paper sleeves are and drawing These survive only because
31
Wascana Centre, Plaza Drawings acidic number order the box was not returned to
6410 MYA Office Or off-site storage, otherwise
Building Troy, 151 films Photographs they would have been
others destroyed.
Working drawings
Architectural, electrical,
shop, structural, full scale
details, furniture,
mechanical.
Some duplication
Pazzetta Project Loose 3 orig 2003 PROJECT Water colors, Excellent. Some No order Post-1986 Yamasaki
between 3 copies RECORDS: printed stuck into tape at Associates
cardboard Drawings corners Labeled Mixed Project
in wrapper Renderings
on truck
Federal Reserve Loose on ~300 1975 PROJECT Aperture Cards Excellent. No In order Minoru Yamasaki Associates
Bank of Richmond top of RECORDS: degradation of Security review
slide Drawings adhesive Sketch over existing
cabinet footprint
REVIEW FOR
DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
32
ISSUES
World Trade Box 10 5 images 1969 PROJECT 3 ¼ x 4”” in Color Shift No order. Pre-1986 Yamasaki
Center (WTC) on top of RECORDS: aluminum mounts, Associates
Sculpture file Drawings Presentation Drawings
cabinet Or
Photographs
Minoru Yamasaki Box 10 1 image No date OFFICE 4 x 5 Color Good No order Pre-1986 Yamasaki
neg on top of RECORDS: negative Associates
file Photographs: Portrait
cabinet Staff
KING FAHD Box 10 .01 lf [one 1989-1990 OFFICE textual excellent No order Pre-1986 Yamasaki
INTERNATIONA on top of folder] RECORDS: Associates
L AIRPORT file Public Marketing Correspondence
(KFIA) cabinet Relations
Uniden, Livonia Box 10 118 prints Dates TBD OFFICE 8 x 10 color prints Fair to Excellent. No order Pre-1986 and Post 1986
Public Jr. High on top of RECORDS: 8.5 x 11 bw and Some bw prints Yamasaki Associates
School, Lincoln file Photographs: color prints discolored. Many
Elementary School cabinet duplicates
–Livonia, Pres Drawings, post-
University of construction, models.
Saskatchewan at Bradford –Lariviere (Livonia
Regina Library, Elementary), Akihisa
Wascana Center Masuda (Shiga Temple),
Master Plan,
Harvard
33
Engineering Lab,
Monte-Carlo
Palace, Shiga
Temple, Carleton Need to make thesaurus of
College names based on project list
Gymnasium, with cross ref (i.e. theme
Carleton College Towers See: Century
Swimming Pool, Towers)
Pahlavi Univ.
Proposed Master
Plan, Butler
Library, Harvard
William James Hall
Behavioral Science,
Woodrow Wilson
School-Princeton,
Princeton Charles
Payton Asro-
Physics Lab
Uniden. Hospital- Box 10 13 slides; 1998 OFFICE Color slides in Excellent None Post-1986 Yamasaki
Detroit on top of 13 prints RECORDS: plastic mounts and Associates Post construction
file Photographs color prints interiors , photographer Glen
cabinet Moon
CSU Charles A. Box 10 2 sheets 1984 PROJECT Fixed Line Silver Slightly yellowed None Pre-1986 Yamasaki
Lory Center on top of RECORDS: halide on Mylar Associates
34
file Drawings Furniture Floor plans
cabinet
Fleet Leasing Corp Box 10 5 pages No date OFFICE Printed Excellent All dups Post-1986 Yamasaki
on top of RECORDS: Associates Floor Subject
file Reference Files Vendor marketing
cabinet sheets
Kughn Enterprises- Box 10 2 prints No date OFFICE 8 x 10 color prints Color shift None Post-1986 Yamasaki
Farmington Hills, on top of RECORDS: Associates Post construction
MI file Photographs
cabinet
Unidentified office Box 10 1print 8 x C 1950s OFFICE 8 x 10 b/w Good None Pre-1986 Yamasaki
interior on top of 10 RECORDS: Associates *Post
file Photographs construction of office
cabinet interior with famously
modern Ludwig Mies van
der Rohe 1929-designed
Barcelona chair Photo By
Korab
Livonia Operations Box 10 1 print No date PROJECT 8.5 x 11 ink jet excellent None Yamasaki Associates
Center on top of RECORDS: Adjacency plan
file Drawings
cabinet
Long Lake#2 Box 10 1 print No date PROJECT 8 x 10 color print excellent None Yamasaki Associates Post
on top of RECORDS: construction
file Photographs
35
cabinet
Unidentified school Box 10 21 prints 1988 PROJECT 3 x 5 color prints good None Post-1986 Yamasaki
on top of RECORDS: and corresponding Associates Survey photos
file Photographs negative strips
cabinet
Maharishi-Brazil Box 10 10 C 1998 PROJECT 2.25 x 2.25” color Good but in acidic None Post-1986 Yamasaki
9840 x4 on top of transparenc RECORDS: transparencies with mounts; each in Associates
file ies Photographs strange gray protective sleeve Aerials
cabinet backing
Beijing Air Box 10 ~30 prints C 1995-2008 PROJECT Various size prints, Excellent None Post-1986 Yamasaki
Terminal, , uniden, on top of and slides RECORDS: 4 x 4” color Associates Models, interior
Zahid Arcades, file Photographs negatives and design options
Federal Bank of cabinet prints Photographer Paul Bednarski
Richmond, ITT,
Various Projects Box 10 57 slides pre-1986 PROJECT 35 mm slides Good; most in None. Fell out Pre-1986 Yamasaki
on top of RECORDS: sleeves of slide drawers Associates Models ,
file Photographs during transfer. Presentation drawings, post
cabinet Most have construction, construction
project number. photos
Some nothing
Northshore Box 10 28 slides in C 1960 PROJECT 35 mm slides Most in metal mounts Pre-1986 Yamasaki
Congregation Israel on top of envelope RECORDS: and sleeves Associates Pres drawings,
file Photographs models
cabinet
36
Slide indices top of file 5 binders C 1990s-2000 PROJECT Ink jet and hand Fair to good Alpha numeric Pre-and Post-1986 Yamasaki
cabinets RECORDS: written Associates
Photographs Some pages are
missing in one Alpha and Numeric indices
of the for slides
photocopied Reference for materials
indices
Location On Floor in front of and side of range 49, range 40 section 12, shelves 4, 7, 8, 9, and in front of range 43
Slide Cabinets See below 105 Trays 1949-1998 PROJECT Various 35 mm Fair and Good By project Pre- and Post-1986
Various: See slide 15 drawers RECORDS: slide formats number and no Yamasaki Associates
inventories above Photographs including Ansco, order.
for specific project Ektachrome, Models, presentation
information Kodachrome and Most with drawings, construction, post
unmarked further order by construction, misc.
slide number
Ansco and
Ektachrome need
cold storage
See further refinement of number counts below. The following table does not follow the same format as the rest of the survey
37
Yamasaki Collection 38
Archives of Michigan
Slides Storage Type Pre 1986 Post 1986 Pre 1986 Post 1986 Reference and presentation
originals originals of project duplicates duplicates material
of project slides
slides
Trays 1-49, ~7,250
77-97, 146, 152
Trays 50-76, 110 ~2,800
Trays 149, 150, 152 ~250
Drawers 1-5, 7, 8, 13, 14 ~6,160
Drawer 00 ~660
Drawer 10, 11 ~1,910
Drawer 6, 12 ~1,350
Drawers 8, 9 ~1,500
TOTALS ~7,910 ~4,710 ~6,160 ~1,350 ~1,750
Grand Total Slides in Drawers and Grand Total Slides
Trays In Drawers and Trays ~21,880
38
Yamasaki Collection
Misc Slides Box 11 ?? ?? PROJECT Various 35 mm Good condition No order. Pre- and Post-1986
RECORDS: slide formats Labels falling off. These were Yamasaki Associates
Photographs Most in sleeves slides that fell
holding label on. out of existing Most have project and slide
drawers during numbers
transport or
found on the
floor otherwise.
Can be
interfiled
Location On Floor in front of range 43 section 15
Art Academy Box 12 1 roll C 2006 PROJECT Rolled Good None Post-1986 Yamasaki
RECORDS: Associates
Drawings Site plans and surveys
Dept of Public Ser Box 12 folder C 2006 PROJECT None Excellent Yamasaki Associates
vice RECORDS: Transmittal, supply lists,
Project Files
Unknown Box 12 3 Models No date PROJECT 1 crushed (discard) Excellent None Post-1986 Yamasaki
(Now with RECORDS: Associates Cone-shaped
artifacts) Models model for tower?
Columbia Center Box 12 1 folder 2006 PROJECT Sticky notes on Excellent None Post-1986 Yamasaki
Tower RECORDS: records Associates Correspondence,
Project Files transmittals, drawings,
Champion Box 12 1 binder 2007 PROJECT Sticky notes, some Excellent None Post-1986 Yamasaki
Enterprises 1 folder RECORDS: ink jet on drawing Associates Transmittals,
Project Files reproductions vendor brochures,
39
Yamasaki Collection
correspondence, drawings,
program information
Telecom Credit Box 12 1 folder , 2002 PROJECT Tracing paper Excellent None Post-1986 Yamasaki
Union 1 envelope RECORDS: sketches, textual Associates Program
Project Files information, organization
charts, contact info,
PROJECT drawings, transmittals
RECORDS:
Drawings
Neuro Health Box 12 1 folder 2007 PROJECT Excellent None Post-1986 Yamasaki
RECORDS: Associates Correspondence,
Project Files transmittals, vendor
information, sketches
Discovery Channel Box 12 1 folder 2005 PROJECT Excellent None Post-1986 Yamasaki
Give Back Space RECORDS: Associates Transmittals,
Project Files correspondence, drawings
PROJECT
RECORDS:
Drawings
Dr. Schenden Suite Box 12 1 folder 2004-2005 PROJECT Excellent None Post-1986 Yamasaki
Expansion RECORDS: Associates Transmittals,
Project Files correspondence, contract
addendum, drawings,
PROJECT
40
Yamasaki Collection
RECORDS:
Drawings
Cantor Colburn Box 12 1 folder 2006 PROJECT Excellent None Post-1986 Yamasaki
RECORDS: Associates Transmittals,
PROJECT
RECORDS:
Drawings
CT Services Box 12 1 folder 2005 PROJECT Excellent None Post-1986 Yamasaki

PROJECT
RECORDS:
Drawings
Cherry Hill Village Box 12 1 folder 2006 PROJECT Binder clips Excellent Reverse chron Post-1986 Yamasaki
Project Files correspondence,
St. Joe’s M.O.B. Box 12 1 folder 2000 PROJECT Excellent Post-1986 Yamasaki
RECORDS: Associates Time
Project Files computations,
correspondence
41
Yamasaki Collection
Harvard Business Box 12 1 folder 2005 PROJECT Excellent Post-1986 Yamasaki
Services RECORDS: Associates Transmittals,
Project Files Correspondence, drawings
PROJECT
RECORDS:
Drawings
Heritage Bank Box 12 1 folder 2006 PROJECT Excellent Reverse chron Post-1986 Yamasaki
Project Files correspondence, drawings,
budgets
PROJECT
RECORDS: REVIEW DRAWINGS FOR
Drawings DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
ISSUES
Kerr Russell, Box 12 1 folder 2006-2007 PROJECT Excellent Post-1986 Yamasaki
Webber Suite RECORDS: Associates Transmittals,
Project Files drawings, condition cost
estimates
PROJECT
RECORDS:
Drawings
42
Yamasaki Collection
Research Federal Box 12 1 folder 2006 PROJECT Excellent Post-1986 Yamasaki

Credit Union RECORDS: Associates Transmittals,
Project Files drawings, correspondence,
PROJECT
RECORDS:
Drawings
Hearing Clinic Box 12 1 folder 2005 PROJECT Excellent Post-1986 Yamasaki

photos, contact info
PROJECT
RECORDS:
Drawings
GST Autoleather Box 12 1 folder 2007 PROJECT Excellent Post-1986 Yamasaki

contract
Interior Vendor Box 12 1 folder 2004 OFFICE Excellent None Post-1986 Yamasaki
Information RECORDS: Associates Supplier info
Reference
City of Rochester Box 12 1 binder 2004 PROJECT Photos are bent Excellent None Post-1986 Yamasaki
Hills, MI RECORDS: hand have some Associates Photographs,
Project Files color shift; some contact information, check
43
Yamasaki Collection
post it notes lists, transmittals, meeting
PROJECT minutes, schedules, values
RECORDS: schedules, proposals,
Drawings technical data, presentation
drawings
BCBS at Brewery Boxes 12 1 folder 2006 PROJECT Excellent None Post-1986 Yamasaki
Park RECORDS: Associates Drawings,
Project Files correspondence, transmittals
PROJECT
RECORDS:
Drawings
Unidentified Loose 1 large 2004 PROJECT Folded, creases Good to excellent None Post-1986 Yamasaki
material manila RECORDS: Marker, ink jet, Associates Sketches and
envelope Drawings graphite, presentation drawings
Piazetta Italiana, Loose 33 No date PROJECT Ink jet, original Excellent None. Many Post-1986 Yamasaki
Sheffield Complex, material drawings RECORDS: water color duplicates of Associates Sketches and
New Cairo Drawings ink jet prints presentation drawings.
Some labeled DiVito
Unidentified Loose 20 pages 2005 OFFICE Ink jet Excellent None Post-1986 Yamasaki
research materials material RECORDS: Associates Prints of photos
Reference for various non-Yamasaki
structures and extraneous
44
Yamasaki Collection
files [discard one on pink
eye]. May be related to
Exclusive Villa project
Exclusive Villa Loose 3 drawings C 2005 PROJECT Ink jet Excellent None Post-1986 Yamasaki
material RECORDS: Associates Presentation
Drawings drawings
Trade Center Loose 5 drawings 2004 PROJECT Ink jet of original Excellent None Post-1986 Yamasaki
Office Buildings materials RECORDS: Associates Presentation
Drawings drawings
Location On Floor in front of range 42, section 14
Exclusive Villa Loose 33 C 2005 PROJECT Ink jet Good but attached to None Post-1986 Yamasaki
material drawings RECORDS: foam core with Associates Design
Drawings Magic tape Development Drawings,
Presentation
New Cairo Loose 2 drawings C 2009 PROJECT Ink jet and colored Good but attached to None Post-1986 Yamasaki
material RECORDS: marker foam core with Associates Presentation and
Drawings scotch tape (sticky) Site
Adnoc Corporation Loose 13 C 2009 PROJECT Marker and colored Good but attached None Post-1986 Yamasaki
material drawings RECORDS: marker on trace and with tape, creases, Associates Preliminary
Drawings paper rips. Attached to Studies
foam core
45
Yamasaki Collection
Natl City Bank, Box 13 .25 lf 2003,2004, OFFICE Printed, ink jet, Excellent None Post-1986 Yamasaki
Wilkerson 2005, 2009 RECORDS: photos Associates Vendor
Elementary, Reference brochures, design journals,
uniden, Battle site photos, corres, specs, site
Creek Tower photo
misc. mail
Weed mail and vendor

publications
Biography Box 14 .5 lf 1956-2006 OFFICE Published, photos Good None except Pre- and Post-1986 Minoru
RECORDS: subject files in Yamasaki Associates
Clippings and alpha order Yamasaki Associates
Articles Journals, correspondence,
reports, newspapers
World Trade Box 14 .1 lf 2001 OFFICE Textual Good Post-1986 Yamasaki
Center (WTC) RECORDS: Associates Condolences, and
Correspon- press contacts re: World
dence Trade Center (WTC)
destruction,
International Box 14 1 lf 1960s-2003 PROJECT Ink Jet Excellent None Pre-and Post-1986
Monetary Fund RECORDS: CDs Yamasaki Associates
Dalian Institute, Project Files Project photography
Detroit River Walk, including CDs,
Columbia Center, PROJECT Project Proposals, RFP,
Meadowbrook RECORDS: Drawings, research-historic
Corporate, Collins Drawings preservation certification
and Aikman, David
46
Yamasaki Collection
Whitney Building, OFFICE
World Trade RECORDS:
Center (WTC), Correspon-
Century Towers, dence: RFP
unidentified,
Pahlavi Univ,
Haw’A Islamic
Center, Detroit
Airport, Alcindo
Dell’Agnese
Various projects Box 14 .6 lf ? OFFICE Post-1986 Yamasaki
RECORDS: Associates Qualification
Public Information, firm portfolios,
Relations Brochure Photos, logo files
on CD, photo prints from
OFFICE projects, 50 year info
RECORDS:
Photographs
ARUP Box 14 .2 lf Post 2000 OFFICE Published Excellent None Post-1986 Yamasaki
RECORDS: Associates brochures
Public
Relations:
Marketing
Brochures
KVCC (Kalamazoo Box 15 .1 lf C 1990s PROJECT Color prints Good None Post-1986 Yamasaki
Community RECORDS: In acetate?? Associates Site review
47
Yamasaki Collection
College?) Photographs Sleeves taped to photos
pages
Re-house
Book Box 15 .1 lf 2007 OFFICE Excellent None Post-1986 Yamasaki
RECORDS: Associates
Reference Title. Bridge of Hope: The
road Traveled by Japanese-
Store with other Americans
Yamasaki books
and make cross-
reference to this
series and sub-
series
Probably projects Box 15 1.2 lf 1988-2004 OFFICE Excellent Alpha by Post-1986 Yamasaki
not won. Various RECORDS: project or client Associates Proposals
Public name Marketing correspondence
Relations
Various recent Box 15 .2 lf C 2009 OFFICE Some on CD: Excellent photo prints Post-1986 Yamasaki
RECORDS: Large 25 MB tiffs, Associates Projects and staff
Photographs post it notes on by Laszlo Regos, Carlson
photo prints Productions
World Trade Box 15 .1 lf 2001 OFFICE Excellent Post-1986 Yamasaki
Center (WTC) RECORDS: Associates Newspaper
Clippings and articles (on-line) re collapse
Articles of building; marketing letters
in reaction to World Trade
Center (WTC) include WTC
48
Yamasaki Collection
Building Basic Facts
Location On Floor in front of range 47-48, section 15
Various projects Box 16 1.2 lf 1973 [1986- OFFICE Early photocopies Gives a good sense of By building Pre-1986 Yamasaki
1988] RECORDS: (heat developed) in types of questions the function type, Associates
Public files. In United firm had to address i.e. religious, Correspondence, drawings,
Relations Hebrew and also an idea of arts centers, photos, publications,
congregation. the time=money libraries and clippings, transmittals,
Discolored spent before they alpha by project meeting notes, program info,
(darkening) and were ever awarded a name telephone messages,
losing image; contract. qualification info, telegrams,
clippings are clippings
discoloring. The
firm used Post-it Client Prospect Data
Note fax sheets
pressed directly on
to the document to
be sent. These will
fall off eventually
and should be
copied during
processing to
maintain
relationship to the
document
Varied projects Box 16 .4 lf C 1990-2010 OFFICE Labels falling off good Were arranged Post-1986 Yamasaki
RECORDS: folders. Acidic by function Associates
49
Yamasaki Collection
Public cardboard between structure type Brochure indices and master
Relations sheets but labels laser sheets for projects
falling off
Misc info Box 16 .4 lf 1989-1996 OFFICE good None Post-1986 Yamasaki
RECORDS: Associates
Public Slide cabinet info [discard],
Relations correspondence to be filed,
slide index explanation,
project proposals from others
Various projects Box 17 1 lf 1999-2004 OFFICE All digital files. unknown Approximately Post-1986 Yamasaki
RECORDS: CDs project number Associates
Project Files order but some Project numbers and names
out of order on folders.
Some ids on CDS. Must be
careful when these are
processed to avoid losing
folder context otherwise will
add time to processing if
have to load each disc just to
figure out what it is.
Various projects Box 17 .6 lf 2004-2006 OFFICE Include CD with Excellent Chronological Post-1986 Yamasaki
RECORDS: images of World Order then by Associates
Public Trade Center Nomination Subject Files
Relations: (WTC) submittal form AIA Honor Awards
Marketing requirements Submissions
Subject Files AIA 25 year nomination
award with correspondence
50
Yamasaki Collection
and forms, photos
Various projects Box 17 .8 lf 2005-2006 OFFICE Some post it notes Excellent Alpha by Post-1986 Yamasaki
RECORDS: in files project name Associates
Public Correspondence, portfolio
Relations tear sheets, contracts,
program info, credentials
Projects 5534-8520 Box 18 1.4 lf 1950-1990 OFFICE Folder labels have Excellent Project number Pre-1986 Yamasaki
and misc later RECORDS: detached for some order; others no Associates
projects Public order Yamasaki Associates
Relations Brochure master pages, draft
summaries, a few
photographs; some folders
empty
Various and Box 18 .4 lf 2002 OFFICE Good No order Post-1986 Yamasaki
Greektown Casino RECORDS: Associates Folder Credential
Correspon- portfolios and project
dence: proposals titles or project ids
RFPs
Staff Box 18 .05 lf C 1980s OFFICE Good Folders in staff Post-1986 Yamasaki
RECORDS: name alpha Associates
Photographs order Folder titles
Reference Box 18 .1 lf 1986 OFFICE N/A Good By occupancy Post-1986Yamasaki
RECORDS: type Associates *Marshall
Reference Valuation Service Book used
to determine cost per sq. ft.
of each building type
51
Yamasaki Collection
Projects 5625- Box 19 .6 lf 1956-1990 OFFICE Good By project Pre-1986 Yamasaki
8944, various by RECORDS: number and Associates
project name Public later ones by Yamasaki Associates
Relations project name Marketing:
master summary sheets for
projects
Summaries, correspondence,
published information,
sometimes photos
Troy Development Box 19 .08 lf- c early 1980s OFFICE VHS Video tape Good N/A Pre-1986 Minoru Yamasaki
RECORDS: Sound slow at Associates
10 minutes Public beginning. Some Marketing: What will Troy
Relations color shift but be tomorrow by M.
tracked well. Yamasaki and Associates.
Narration by Ruth Pudists
and filmed and edited by
Modris
Pudists about making Big
Beaver area in Troy a
pedestrian mall
Exhibit poster Box 19 .08 lf 1974 Dec 22 OFFICE Acidic paper Good N/A Pre-1986 Yamasaki
RECORDS: ~50 dups Associates
Public Weed or use for Marketing
Relations other purposes Exhibit poster “Minoru
Yamasaki Retrospective,”
Meadowbrook Hall, Oakland
University
52
Yamasaki Collection
Various projects Box 19 .7 lf 1986-2001 OFFICE Some of 1980s Good-Excellent Project alpha Pre-1986 Yamasaki
8519-8714, some RECORDS: prints are order Associates and Yamasaki
alpha only Photographs discolored probably Associates
from inadequate Project names
washing
Misc Box 19 .2 lf 1967-2001 OFFICE Slides in file in Good None Pre- and Post-1986
Various projects RECORDS: PVC enclosure and Yamasaki Associates
Public sticking to Correspondence, lists,
Relations emulsion Project files, staff birthday
dates, Yama resume, Gift list
and correspondence
Various projects Box 19 .4 lf 1980s-late OFFICE Textual Good None Post-1986 Yamasaki
2000s RECORDS: Associates
Public Book on Detroit, articles,
Relations brochures, post cards,
proposals
OFFICE
RECORDS:
Correspon-
dence:
RFPs
Potential projects Box 20 1.5 lf 1979, 1980s OFFICE Textual Good Is order but Pre-1986 Yamasaki
RECORDS: confused during Associates Administrative
Project move Development files D100-
Development D260 files
correspondence, reports, lists
of current projects, client
53
Yamasaki Collection
prospect data sheets,
drawings.
*includes Report on Trip to
People’s Republic of China,
1979 by Ying/Portman
Group summarizes
construction requirements,
methods, observations on
contractors and their
employees. Must have been
shared with Yama firm.
Quite enlightening at time
when firms are getting into
China.
Various projects Box 20 .3 lf 1986-2001 OFFICE Some of 1980s Good-Excellent Project alpha Post-1986 Yamasaki
8607-8813 some RECORDS: prints are order Associates
alpha only Photographs discolored probably By Project names and
from inadequate numbers
washing Marketing
Project photo files
Various projects Box 21 15 rolls 2001-2009 PROJECT Most can be stored Good-excellent Drawing Post-1986 Yamasaki
some flat RECORDS: flat number order Associates
(2 lf) Drawings Title blocks and project
names on most
Reference Box 22 2 lf 1986, 1990s, OFFICE Good None Post 1986 Yamasaki
54
Yamasaki Collection
2003 RECORDS: Associates Reference files:
Reference Sampling done to see if
Yamasaki firm mentioned.
Discard all in box but two
books on Kohn Pedersen Fox
firm. Evaluate for retention
in light of rest of library.
They are marked with post it
notes for use. Make note in
collection description that
Korean language tapes found
in collection presumably to
prepare staff for Korean-
based projects
Various projects Box 23 22 Rolls 2003-2005 PROJECT Some crushed; Good Drawing order Post-1986 Yamasaki
drawings RECORD: creases and crushed Associates
3 rolls Drawings ends due to vertical Project names and title
blank storage. Discard blocks describe projects.
tracing blank acidic (as Preliminary and working
paper tested) tracing drawings
(3 lf) paper
Artifacts Loose 3 helmets c 2003 ART AND Bulky. Yamasaki Excellent None Post-1986 Yamasaki firm
material (1 lf) ARTIFACTS: ID sticker will helmets
Artifacts eventually degrade
and fall off
Willow Woods Loose ~500 2003-2005 PROJECT Some original Excellent Drawing Post-1986 Yamasaki
School 03-069, material drawings RECORD: water colors; number order Associates
55
Yamasaki Collection
Angus School 03- 11 x 17” Drawings mostly electrostatic Projects, dates, architect on
070, Black size and ink jet. title blocks. Preliminary,
Elementary School Discard duplicate presentation, site surveys,
03-085, Sakura 2 lf Piazza Italiana multiple schemes
Development, project
Piazza Italiana
project
Northwest Loose 3 large 2002-2003 PROJECT Electrostatic, ink Excellent Some in Post-1986 Yamasaki
Commons 2003- material rolls RECORD: jet, water color. drawing order. Associates
038, Jeddah includes Drawings Some of vellum is Others no order Title blocks on prelims but
Complex 01-109, some 11 x leaching oil or resin little id on some sketches
various misc Gui- 17”, and 24 (see outside of scheme, specifications
Yeng Center, x 36” wrapping in
Willow Woods ~100+100+ Northwest
School 03-069 100+ Commons roll.
Some creasing.
8.5” x 11” Specs
wrapped up into
ball, too
SAMA Loose 38 4 x 6” c 1990s PROJECT excellent None Post-1986 Yamasaki
material prints and RECORD: Associates
negatives Photographs Photos showing maintenance
problems with marble
cladding
Willow Woods Loose 2 sets 2004 PROJECT N/A excellent N/A Post-1986 Yamasaki
School 03-069 material RECORDS: Associates
Project Files Project specifications for
56
Yamasaki Collection
kitchen renovation
Equipment Box 24 1 speaker c early 1980s ART AND Discard or add to good N/A Pre-1986 Yamasaki
l lf ARTIFACT: obsolete formats Associates
Artifacts collection Elmo ES-650 Portable Audio
Extension speaker for
projectors
Equipment Box 25 1 speaker c early 1980s ART AND discard good Pre-1986 Yamasaki
l lf ARTIFACT: Associates
Artifacts Elmo ES-650 Portable Audio
Extension speaker projectors
Various Box 26 2 lf 2007-2009 OFFICE N/A excellent No order Post-1986 Yamasaki
Al Rayyan Hills RECORDS: Associates
Sana’a Yemen, Correspon- RFP and RFQ. Some project
BARWA New dence: proposals especially Al
Cairo, ADNOC RFPs Rayyan and ADNOC
BOXES 27-29 SAMPLED ONLY. ALL CDS WERE NOT EXAMINED INDIVIDUALLY.
Sampled various Box 27 3 lf total 1994-1996 PROJECT CDs with zip files Excellent By project Post-1986 Yamasaki
CDs below in box with 235 box RECORDS: of dwg, dxf and number Associates
27 including CDs Project Files word. Will need to Digital storage media of
Archived Projects 1994-1996 purchase dwg to drawings, project
1994-1996-one CD archived PROJECT pdf converter. correspondence See below
more than 1800 projects RECORDS: None as pdfs (see
files 634 MB Drawings digital files)
57
Yamasaki Collection
CAD [work Box 27 1 CD 2.57 2008 PROJECT CD with pdf, rtf, Excellent No project Post-1986 Yamasaki
stations] 21-44-49 GB RECORDS: dwf files, pst numbers Associates
full Project Files Digital storage media of
drawings, project
PROJECT correspondence
RECORDS: Very few descriptors or way
Drawings to tie to project.
CAD [work Box 27 1 CD 2 GB 2007-2009 PROJECT Can not open pdf, No project Post-1986 Yamasaki
stations] 26 and RECORDS: rtf, dwf files, pst numbers. Associates
CAD 31 plus pst Project Files Tied to files by individual
files for Barry creators Digital storage
Johnston, Kelli PROJECT media of drawings, project
Johnson RECORDS: correspondence, photos,
Photographs correspondence
PROJECT
RECORDS:
Drawings
Email back up Box 27 1 CD 680 Dates 2008 PROJECT All password Folders titled to Post-1986 Digital storage
Folders SHG- mb This date is the RECORDS: protected. Can not and from Henry, media of correspondence
Henry [Smith, save date. Not Project Files? open etc. Outlook files
Hinchman, Grylls?] sure of real No last names, All .msg
Folder SHG- Ted dates since can Arranged
& Robert not open alphabetically
by file name
subject.
58
Yamasaki Collection
Most are
mnemonic but
some broad
names like
Release on
AutoCad
Change
QECCC Shop Box 27 1 CD 680 2007 is save PROJECT Some of these are Cryptic nature Post-1986 Yamasaki
Drawings mb date. Dates RECORDS: extremely large of the file names Associates
are not always Project Files? files and had to be 1843-SD-05- CD labeled QECCC shop
creation date compressed and 22300-002-003 drawings in Dwg, pdf, dwf,
for all files PROJECT compressed again ctb includes correspondence
RECORDS: and administration
Drawings
Asia Asia FTP Box 27 1 CD 680 2008 is save PROJECT Pdf, jpg Some folders Post-1986 Yamasaki
Files MB date RECORDS: empty Associates Cryptic file
Drawings names
Drawings site photos
Project files but project not
always evident
Quick EWO Box 27 1 CD 14 2004, 2005 OFFICE Can not appraise ? Post-1986 Installation disc
Application MB RECORDS: without installing
software Correspon- new software on
Shield Wizard dence? computer
03005 Project Box 27 1 CD 181 2006 save date PROJECT Can not open some Folders say arch Post-1986 Yamasaki
(Federal Reserve MB RECORDS: files. (plt), civil (pdf), Associates Security review
59
Yamasaki Collection
Bank of Richmond Drawings Very slow to scroll electrical (pdf) Sketch over existing
Charlotte Office down into the tiffs mech (pdf), footprint
Building Additions even though they security (plt), REVIEW FOR
and Security are only 300-600 structural (tif) DEACCESION OR
Enhancements KB files RESTRICTION. MAY
Plt files, pdf, tif CAUSE SECURITY
ISSUES
Backup Executive Box 27 1 CD 2009 EMPTY Completely blank Post-1986 Yamasaki
and General on Associates
D:\\Yama ø\\
LawSuit Software Box 27 1 CD 680 2009 save date OFFICE Pdf, Plt files, pdf, Post-1986 Yamasaki
mb RECORDS: tif Associates
Correspon- Can not open msg, AuditPC folder has 2009
dence? secondary zip List of all workstations with
users, domain, model, serial
number, networks shared
etc. with software installed.
Mostly used Adobe,
Autodesk, Broadcom,
BlackBerry, Microsoft .NET
Other folders have licenses,
photos of computer serial
numbers, list of software
keys
YMS Video 1-4 Box 27 4 cds 2008 OFFICE No order Post-1986 Yamasaki
made for marketing RECORDS: Associates
Public Video files
60
Yamasaki Collection
Relations .avi * Wonderful video tour
of office, interviews (see
Vol 2 Joe’s interview). Will
be wonderful for
documentary on architecture
function, what is architecture
(Video 3 Nick Interview)
culture of the office but it
appears that staff were given
no warning. There is some
duplication. Unedited.
Some have multiple takes.
Get a sense of tremendous
diversity in the office. Vol 4
Mike Pudists on Yama’s
approach reading from text.
Said Yama’s approach was
one of “serenity, surprise,
and delight.”
Records Box 27 1 CD 2006-7 OFFICE Access Files None Post-1986 Yamasaki
Management RECORDS: Some Associates
Software for Correspon- correspondence Correspondence files
Detroit Water and dence files but one folder
Sewerage Dept. can not be read This is the only cd with
unless the file is access backup so this may
converted. have been a test.
Accounting Backup Box 27 1 CD 2000 OFFICE prn, tti, ttm, , ctl, Alpha by file Post-1986 Yamasaki
Fiscal Year 2000 RECORDS: apt, cmt, glt, prt, ttt, name Associates
61
Yamasaki Collection
Axium, MYA Data, Financial dll, exe TBD
MYA Timetrax Records
Can not read any of
these
MYA Transmittals Box 27 1 CD Projects 1985- PROJECT .doc, .dot, LH, RB File names are Post-1986 Yamasaki
and specifications, 1996 RECORD: cryptic. Some Associates
correspondence for Back-up 1999- Project Files Can not open many correspondence
many projects 2000 of the files files based on Yamasaki Associates
8517-960007 date ie. 120994 Project files but not
is Dec 9, 1994 complete. Includes
but only id is correspondence,
based on folder spreadsheets, reports, specs
location
Communications 1- Box 27 1 DVD-R 2004-5 OFFICE doc, jpg, pdf, pmd, File alpha Post-1986 Yamasaki
Primarily RECORDS: tif folders not Associates
marketing files Correspon- Can not read some based on project Marketing correspondence,
dence: RFPs files. number or personal photos and files
Appraisal issues of name. Cryptic (i.e. summer camp options,
OFFICE data dumps (ie Files sent to resumes), proposals,
RECORDS: Beijing are drawings. Appears to be a
Photographs actually data dump
marketing
OFFICE sheets from
RECORDS: various Yama
Drawings firm projects
FTP files from all Box 27 1 DVD-R 2006 PROJECT CAD drawing Folders from Post-1986 Yamasaki
consultant firms RECORDS: saved in pdf firms then by Associates
62
Yamasaki Collection
worldwide on EC Drawings project number Project drawings
BP#4A Convention APF (Auerbach-
Centre for Qatar Pollock-
Foundation Friedlander)
SHG (Syska
Hennessy
Group), TTG
(Thorton
Tomasetti), and
Yamasaki
Minoru Yamaski. Box 27 DVD-R 2007 OFFICE Jpg, png, js, ir, gif, , Post-1986 Yamasaki
Com, .net, .org RECORDS htm, net Associates
Administration Files re: Yamasaki web
Can not open some page (private page).
of the files Concern someone may
contact it for architectural
services
FTP Server for Box 27 DVD-R 2008 PROJECT Mpg, jpg, dwg. Post-1986 Various files:
Qatar project (note RECORDS: Shx, pc3, ctb, txt, movie, photos, mostly
says moving files Project Files pdf drawings some in pdf, some
from QECCC FTP in dwg
PROJECT Can not open some
RECORDS: files
Drawings
PROJECT
RECORDS:
Photographs
63
Yamasaki Collection
Labeled QECCC Box 27 Fantom 2009 PROJECT Bkf Unknown Folders in alpha Post-1986 TBD
backup full project Exterior RECORDS: order. Subfiles
Some files labeled Drive Project Files Appeared to be in alpha order.
ADNOC, Mena, 925 GB most pc3, ctb, bak, All files have
QECCC 5,727 files PROJECT txt, dwg mnemonic
RECORDS: unique identifier
Drawings Was able to open to
see list of file
names but unable to
open files on
exterior drive itself
Data dump from Box 27 Vox 2007-2009 PROJECT Pc3, txt, dwg, jpg, TBD Files labeled Post-1986 Yamasaki
individual staff external RECORDS: psd, ppt, dll, bak, only at folder Associates
drive Project Files fmp, ctb, xlg, xls, and subfolder CAD32/ 01-shared/2007-
186 GB oab, shx, v2I level by name of 0914 Presentation has staff
creator or photos
project.
Little mnemonic Little info on project names
TBD labeling at file or numbers but includes
level project files,
correspondence, calendars,
personal info. FTP server is
all QECCC
TBD Box 27 Buffalo C 1990s TBD TBD TBD TBD Post-1986 Yamasaki
Could not get external Associates
access due to lack Do not have usb to usb cable
of usb to usb to connect to computer
connection
64
Yamasaki Collection
TBD Box 27 Link C 1990s TBD TBD TBD TBD Post-1986 Yamasaki
Could not get Station Associates
access due to lack external Do not have usb to usb cable
of usb to usb to connect to computer
connection
Server and Box 27 56 DDS-4 1997-2009 TBD Can not read on TBD TBD Post-1986 Yamasaki
workstation (DGD150P existing equipment Associates
backups ) tapes; 7 at archives Some daily backups, full
Ditto tapes; monthly and yearly
79 Sony Gave Mark Harvey
AIT3, 5 3 samples to test all Most likely to be data dumps
tapes from Box 27
(SDX3- Friday 4b-27 May
100) 2005 of SDX3-100
(small); Monthly
backup May 2006
of SDX3-100
(medium); Server
full 3-3-98 ditto
(medium)
Ramez Taleb Box 28 2 lf 1999-2003 OFFICE Ayoub was later Alpha by NON YAMASAKI FILES
Ayoub RECORDS: Exec Vice-President subject file title Subject files including
Trans Seas Correspon- of Yamasaki Assocs. correspondence with
subject Files dence suppliers, administrative
DISCARD RECOMMEND records, contracts, etc.
DISCARD or contact Not clear why these records
Trans Seas to are here. According to
determine if they website they provide
65
Yamasaki Collection
want them back. services for commercial,
(248) 562-7066 government, educational,
healthcare, hospitality, and
industrial facilities. They
appear to be distributor
furniture, library and records
storage and records
management mainly in the
middle east. Yamasaki firm
may have used them to
facilitate some mid-eastern
projects ADNOC etc. but
these records do not reflect
that relationship.
2 T-shirts photo album 2003
one uniden family member
DISCARD
Project Files Boxes 29 137 CD-R 1985-[2004- PROJECT Dwg, bak, dbf, ldb, Each volume Mostly Post-1986 Minoru
various and DVDs 2007] RECORDS: jpg represents a Yamasaki Associates and
of archived Drawings different project Yamasaki Associates
project files Can not read dwg or two Mostly 2004-2007 but also
PROJECT or bak includes some 1985 projects
RECORDS: 8521 Columbia Parking
Project Files Some volumes taken from “old Streamer
missing numbers cassettes”. Photos, design
PROJECT development and working
RECORDS: drawings
Photographs
66
Yamasaki Collection
Project files various Box 29 188 CDs 1997-c 2007 Max (animation File named in Post-1986 Yamasaki
of project images), jpg, dwg numerical order Associates
files But project
Can not read .max number not on Marketing files
animation files or outside. Project Photos, presentation
dwg name only. drawings,
Folders named
with alpha and
numeric project
id
Various Projects Box 29 14 CD-Rs 1999-2005 OFFICE ppt, jpg Chron order Post-1986 Yamasaki
RECORDS: Volume Associates
Public Some very large numbers Proposal presentations to
Relations files 135 mb clients, and Yama brochure
images from web site. Very
OFFICE interesting from marketing.
RECORDS: Includes “The Legacy of NY
Photographs World Trade Center (WTC)”
lecture by Henry Guthard to
high rise conference in
Dubai 2005 (vol 13). This
has some amazing photos
including Yama with models
and destruction photos;
Various projects Box 29 5 cd-Rs 1949-1999 OFFICE jpgs Genre Type: Pre- and Post-1986 Minoru
RECORDS: Quality of scans negatives, Yamasaki Associates and
67
Yamasaki Collection
Photographs varies since slides slides, pictures Yamasaki Associates
were not cleaned Project number Scans of 4 x 5 negatives and
ahead. Good size order but vol # 35 mm slides, and photos.
files (10-12 MB does not Not complete. Only some
average). Some necessarily images for some projects
scanned upside reflect project Vols 1-5.
down and order
backwards (see St.
Louis 4908). At
least one askew in
scan. See also MO
1.
Misc equipment Box 30 l lf 1990s-2009 OFFICE Includes 3 ¼ and 5 TBD None Post-1986 Yamasaki
RECORDS: ¼” floppies. Associates
Administra- Floppies tbd Equipment and software
tive: Autocad 2i needs Digital files on floppies
Software windows 2000, or DAT tape drive
windows 98, Ditto tape drive
ART AND windows 95., Autocad Architectural
ARTIFACT: windows MT4.0 Desktop 2i, Autocad 2009
Equipment Also need (book only)
authorization code Emerald Systems Backup
software on floppies
Unidentified drive
Various connector cords
2 circuit boards
Samsung AF-333
35 mm camera
68
Yamasaki Collection
Vendor samples Box 31 1 lf 2002 PROJECT excellent None Post-1986 Yamasaki

Mostly for project RECORDS: Associates
9742 Vendor Vendor samples are
Samples ubiquitous in design firms.
These include samples of
tile, brick, stone, metal
work, ceiling tile, etc. These
are usually discarded after
project completion
Range 54, Section 12
St. Louis airport, Flat Photo ~55 1949-1986. OFFICE Photographs Fair to good Numbered by Pre-1986 Yamasaki
McGregor, Box RECORDS: Color prints 10 x 13 order but Associates
Woodrow Wilson, Photographs ½” and various sizes meaning of Model and post construction
US Exhibition Some wear, and order Photos assembled together
Pavilion, Reynolds bent corners. undetermined. for unidentified marketing
Metals, Dhahran Photographer’s Some numbers project?
Civil Airport, names on some missing
North Shore (mostly Korab,
congregation, Parsons, Hedrich
unidentified, Blessing, Rondal
Michigan Con Gas, Partridge, Glenn
NW Mutual Life, Christiansen, R
Century Plaza, Wenkam, Camera
MYA Office, Craft, Joseph
Manufacturers and Molitor ,Julius
69
Yamasaki Collection
Traders Trust, Shulman, Dan
Eastern Airlines Bartush). Paperclip
Terminal, World crimp in bottom of
Trade Center all
(WTC)
Yama Biographical Flat Box 14 articles 1955-2009 OFFICE Newsprint is acidic Fair to excellent None Pre-1986 Yamasaki
and oral RECORDS: and discoloring Associates
history Clippings and *Various original articles on
interview Articles Yama “Big Dreams,” The
MetroTimes, Sept 25-Oct 1,
1985, “Yama: The People’s
Architect,” Michigan : The
Magazine of the Detroit
News, October 24, 1982 (two
copies), “Visual Delight in
Architecture by Minoru
Yamasaki in Perspective,
1955 while with Yamasaki,
Leinweber and Assocs. and
copies of on-line articles
including Time Magazine
1963 Jan 18, transcript of
Interview with Virginia
Harriman August 1959
Unidentified Flat Box 57 photos 1980s, 1993 OFFICE 11 x 14” color photo Good to Excellent None Pre- and Post-1986
Hilton, World RECORDS: ink jet prints of Yamasaki and Yamasaki
Trade Center 37 drawings Photographs drawings Associates Yamasaki
(WTC), etc. Ink jet is poor Associates
70
Yamasaki Collection
PROJECT quality copy. A set of presentation
RECORDS: drawings for a Hilton Hotel
Drawings Many duplicates with various schemes or
among photographic unidentified projects, 1993.
prints of
presentation Various copies of Yama
drawings projects from slides
including models, post
construction, Yamasaki with
World Trade Center (WTC)
project models.
Location Range 54 Section 13
Award Loose 1 sheet 1956 PROFESSION- Descriptive Fair to good None Pre-1986 Yamasaki *Award
folder AL PAPERS: statement quite from Japanese Society of
Awards discolored due to Architects May 30 1956 for
(came acidity in paper. the enhancement of
originally architectural technique in
framed. Edge of award on Japanese. Close up of
Removed front and entire back discoloration on edge from
from is discolored from light exposure of acidic
frame adjacency to acidic paper
during backing board when
filming) framed.
Awards for Loose 7 pieces 1958, 1971, PROFESSION- Most still framed. good None Pre-1986 Yamasaki
Benjamin Franklin framed 2008 AL PAPERS: Remove and store Thompson’s Products award
High School, certificate Awards Yamasaki, Leinweber and
71
Yamasaki Collection
World Trade s or in Assocs Jan 13, 1958, AIA
Center (WTC), presentati Awards of Merit 1959
on folio (Benjamin Franklin Jr. HS) 2
copies, 1956 (Feld Clinic)
Yamasaki, Leinweber and
Assocs; National Insti of
Arts and Letters Award
1955, Consulting Engineers
Council Award 1971 World
Trade Center (WTC),
Garfield Golden Graduate
Award Class of 1929 in 2008
Project Records Loose 18 prints No date, c PROJECT Color photos good None Pre-1986 Yamasaki
uniden binder 1980s RECORDS: 11 x 14” photograph Vendor photo of various
Photographs prints chandeliers
Appear slight color
shift. Remove from
binder and re-sleeve
Awards Loose 13 awards, C 1948-1950s PROFESSION- Many stored good None Pre-1986 Yamasaki
1 AL PAPERS: between acidic card AIA Awards Great Lakes
membership Awards board in acidic Sales Detroit
wrappers. Others Headquarters1961, AIA
framed. One Detroit 1959, AIA
extremely heavy. Membership 1948,
Progressive Architecture
Award Yamasaki, Leinweber
and Assocs for American
Concrete office 1957, AD
72
Yamasaki Collection
Club Metal 1963
Photography Show,
Architectural League of NY
for McGregor Center 1960,
Engineering News Record
1966, Portland Cement
Award for Manufacturers
Trust 1967, Key to City
Award Springfield, IL 1972
Personal Loose 1 C 1973 PERSONAL Drawing is colored Fair None Pre-1986 *Cartoon of
PAPERS: marker on tracing Yamasaki in car accident
Not dated, but Personal paper attached to a with ambulance wishing
date comes Ephemera backing board on speedy recovery and signed
from which additional by some staff
newspaper annotations were
reports at added. Rip in lower
AIA- left corner. Rubber
Michigan cement has
offices degraded and entire
drawing will come
away from backing
without much effort.
Light sensitive if
exhibited
Location: Range 54, Section 14
Michigan State Loose 1 spiral 1987 May 15 OFFICE Good Post-1986 Yamasaki
73
Yamasaki Collection
Capitol bound book, RECORDS: Associates
Preservation 248 page Reference offset plan with Governor
Master Plan Blanchard’s name on front.
This may have Minoru Yamasaki also
been sent to the worked on the state capital
firm as a project in the 1940s for
courtesy. Smith, Hinchman, and Grylls
Project Tear Sheets Loose 1binder with c 1990s OFFICE Ink jet pages with Good Arranged by Post-1986 Yamasaki
~400 pages RECORDS: post it notes Building type Associates
.2 lf Public throughout edges Summaries of projects used
Relations: for marketing. Appropriate
Marketing sheets copied and pulled
subject files together for client-
appropriate marketing
brochure
Award Loose 2 Binders 2004 OFFICE Ink jet pages Excellent None Post-1986 Yamasaki Photos,
Nominations .2 lf RECORDS: drawings, narratives for
For Small Business Public award nominations
Center Korea, Relations:
Urban Riverfront Marketing
Master Plan subject files
Imar Plaza Loose 1 spiral C 1990 OFFICE Some color shift in Good No order Post-1986 Yamasaki
Gayrettepe Istanbul binder RECORDS: photos Associates
Turkey 30 pages Photographs Photos of presentation
and drawings and newspaper
duplicate set articles for the project
printed on May have been something
74
Yamasaki Collection
ink jet used in waiting room like a
inside portfolio
.1 lf
Misc project photos Loose 54 photos; 1960-1978 OFFICE Good None Pre-1986 Yamasaki
Yama Residence, 14slides RECORDS: 11 x 14” and 8 x Associates
Interlochen, North Photographs 14”, one larger, set Photos of models and post
Shore of slides construction of projects
Congregation Black and white and
Israel, Dhahran color Some by Balthazar Korab,
Airport, Century 21 Many duplicates
Federal Expo
Seattle Many are warped
Loose 2 binders C 1970s OFFICE 8x 10” and 11 x 14” Good None Pre-1986 Yamasaki
Various Projects .2 lf RECORDS: project photos Associates Market Project
Photographs Some of the labels Photos
are degrading
*Marketing binders
presenting various projects.
1 oversized is duplicate of
binders created by Balthazar
Korab. See: earlier
inventory
World Trade Loose 2 binders 1972, 1984 OFFICE 8 x 10 color photos Good Pre-1986 Yamasaki
Center Thailand RECORDS: adjacent to acidic Associates
8306, Tokyo 32 pages Photographs backing paper. Not Presentation binders
Miyako Hotel 6815 .1 lf attached Photos of models of the
but includes World Thailand project and
75
Yamasaki Collection
Trade Center 11 x 14” color drawings of Tokyo with
(WTC), Shiga, photos photos of other projects
Rainer Square
Bank Tower, Photo Daniel Bartush,
Federal Reserve
Richmond, Defense
Office Building,
uniden
Awards Loose 6 binders 1960-1990 OFFICE 8 x 10 photos Good None Pre-and Post-1986 Yamasaki
Nominations .4 lf RECORDS: Most in non archival Associates Award
Dhahran Public binder. Nominations sent to AIA and
International, Relations: Reynolds Metals containing
Shiga, Marketing Page identifying models post construction
Consolidated Gas, Subject Files labels coming off photos and drawings. The
2 McGregor, one of the majority of these awards
Century Plaza McGregor binders nominations are blind
submissions. Each is
assigned a number instead of
the firm name.
Bartush and Korab
represented.
Minoru Yamasaki signature

on identification sheet in
envelope taped into back of
Century Plaza nomination
for Reynolds Award
Project Proposal Loose 1 oversized 1994 PROJECT 14 x 20” Good Drawing Post-1986 Yamasaki
76
Yamasaki Collection
Riyad Bank RECORDS: photographic prints number order Associates Presentation
Drawings drawings for project
Airport Project Loose 3 oversized 1977 OFFICE 20 x 26” Black line good Drawing order Non Yamasaki project
NON Yama project binders RECORDS: prints starting to Presentation drawings for
Reference deteriorate Skidmore Owings and
Merrill
Labeled schematics but this

is just another term for
drawings.
Review for deaccession
unless find direct connection
Various Projects Box 32 19 1998-2000 PROJECT Conversion Good Discs were out Post-1986 Yamasaki
including 3.5” floppy RECORDS: problems of order within Associates Although the
9964 Brownell, disks Project Files Includes dwg, Word sections but individual discs are
0040 Travelers 2000.doc, unknown have been identified there is little or no
tower, 9860 5- PROJECT MS:Dos Electr file. resorted for identification within the disc
points med, 9953 RECORDS: inventory regarding project ids.
Top of Troy, 9858 Drawings One disk in sample
Corporate Drive, could not be read Includes correspondence and
9926 Wellington, said “Error drawings. Not all projects
9856 Investment Message” are included on the box
Drive, 9959 Airport labels
Bus., 9846
Northfield Disks have project number
Crossing, 9841
Meadowbrook, Correspondence and
0016 Farmington drawings
77
Yamasaki Collection
Hills, 8710 David
Whitney Building Inconsistent labeling over
Hotel all. Illegible handwriting or
numbers, multiple numbers
confusing id, abbreviations
Projects Box 33 69 1997-1999 PROJECT Dwg, .doc., .MS dos good Discs were out Post-1986 Yamasaki
9758 Columbia B, 3.5” floppy RECORDS: elect of order within Associates Although the
9831 Springfield, disks Project Files sections but individual discs are
9740 Federal All zipped with have been identified there is little or no
Reserve Bank, PROJECT Aladdin Stuff It resorted for identification within the disc
9813 Northfield Pt., RECORDS: Archive. Unzipped inventory. Sine with file names regarding
9813 Northfield Pt., Drawings on desk top since disks not listed project ids.
9810 Great Lakes not enough room on on box title.
Gas, 9807 Troy disk Some correspondence only
Corporate Center, identifiable due to headers in
9760 Troy Conversion issues the MS Word document.
Automotive, Example 9831
General Info, Springfield MS Dos Disks have project number
Collins and ?, electrical could not or name
Brown and Sharpe, be opened.
9816 with no id, Correspondence and
9700 Michigan drawings, specs
Hall of Justice,
9515 x 2Wellness Not all project numbers
Plan match. Troy Corporation has
both 9807 and 98016
Inconsistent labeling over
78
Yamasaki Collection
all. Illegible handwriting or
numbers, multiple numbers
confusing id, abbreviations
REVIEW BANK
DRAWINGS FOR
DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
ISSUES
Back up tapes Box 34 48 tapes 1988-1995, OFFICE Variety of DAT tape TBD TBD Post-1986 Yamasaki
1999 RECORDS?: 3M DC 2060 Unable to read. Associates AE back up,
To be Thetamat, DC 1000, State Archives sent Lotus; accounting back up
determined SonyTR-4 samples to outside
vendor for analysis
but not report
received by end of
survey
Back up tapes Box 35 66 tapes 1997-1998 OFFICE Variety of DAT TBD TBD Post-1986 Yamasaki
RECORDS?: tapes, DDS 3, DDS Unable to read. Associates Incremental and
To be 90, DG-90 NO IN- State Archives sent Complete backups
determined HOUSE samples to outside Probably accounting FOR
EQUIPMENT TO vendor for analysis VARIOUS SERVERS ie C
Probably READ but not report DEFH
Financial received by end of
Records survey
Range 55 Section 14, shelves 5, 6, 7
79
Yamasaki Collection
8814 Michael Shelf 5 ~209 1985-1989 PROJECT Varied media sepia, Poor to Excellent Some of rolls Post-1986 Yamasaki
Kojaian Residence 7 Rolls drawings RECORDS: diazo. are numbered. Associates
addition and May be an Drawings Off-gassing.
renovation earlier Pencil and marker Some rolls no Copies of original house,
including pool Kojaian and colored pencil order. Some Wm. Kuni architect 1926
house project on tracing paper, with drawing Land surveys, Sketches,
pencil on Mylar number order design development,
drafting film. working drawings
Electrostatic
Vellum. Some Very little CAD. Mostly
crushing hand drawn
Some of vellum is
ripped at fold. Land surveys, Architectural,
Some sticky back Electrical,
used on Mylar for
drawing numbers.
Some of earlier
diazo were edged
with tape and then
pushed into tube
box where they
were crushed (see
tube box 8814-3
Most 24 x 36” some
oversized
03074 Gull Rd Shelf 5 5 drawings C 2003 PROJECT Small tracing paper. Good None Post-1986 Yamasaki
Lobby renovation 1 roll RECORDS: Some tears and Associates
80
Yamasaki Collection
Drawings crushes sketches
Prestige Shelf 6 14 drawings 1989-1990 PROJECT May want to restrict excellent Drawing Post-1986 Yamasaki
Development 1 roll RECORDS: due to security number order Associates?
(not found on Drawings
project list) Electrostatic
30 x 36”
Unidentified Shelf 6 43 drawings C 2005 PROJECT excellent None Post-1986 Yamasaki
amphitheater 1 roll RECORDS: Associates Presentation
Drawings drawings, sketches, working
drawings, site maps, aerial
photos from various project
as reference including
Sevinc-M Tower Baku
Azerbaijan
Fillmore Shelf 6 97 drawings 2004 PROJECT Electrostatic or ink excellent Drawing Post-1986 Yamasaki
Elementary School 1 roll RECORDS: jet number order Associates Preliminary
04-011 Drawings 24 x 36 drawings
Removal plan, Architectural,
mechanical, electrical sets
All CAD
ISIS Center New Shelf 6 28 drawings 2008 PROJECT Various sizes excellent No order Post-1986 Yamasaki
Cairo Master Plan 1 roll RECORDS: Max 36 x 48 Associates
Drawings TP, colored marker Sketches and design
development of site plans
Farmington Hills Shelf 6 74 2001-2003 PROJECT Post it notes Excellent Drawing order Post-1986 Yamasaki
Corporate Center 1 roll RECORDS: throughout with Associates with consultant
01-004 Drawings annotations landscape and survey
81
Yamasaki Collection
drawings
Electrostatic, diazo,
electrostatic on
Mylar may pull off-
interleave
30 x 42”
metal clips at ends

Sterling Town Shelf 6 91 1988- PROJECT 24 x 36 Excellent Drawing order Post-1986 Yamasaki
Center 8726 1 roll RECORDS: Pen plotter or silver Associates
Drawings halide on Mylar. Working drawings
Pen plotter on paper. Schedules and Architectural
sets
Some sticky backs
for title and
composite drawings
with smaller
drawing stuck for
verso. Some of the
adhesive is
degrading
Fillmore Shelf 7 116 2004 PROJECT Electrostatic and excellent Drawing Post-1986 Yamasaki
Elementary School 1 roll drawings RECORDS: diazo number order Associates
04-011 Drawings 24 x 36 Preliminary design
development drawings
Compare to other Removal plan, structural
set of Fillmore and Architectural, mechanical,
82
Yamasaki Collection
keep most recent electrical sets
sets. Discard All CAD
remaining
Black Elementary Shelf 7 110 2003 PROJECT Electrostatic excellent Drawings Post-1986 Yamasaki
School 03-085 1 roll drawings RECORDS: 24 x 36 number order Associates
Drawings Preliminary design
development drawings.
Architectural and site work
2 sketches
All design development in

CAD
Portage Trade Shelf 7 199 2004 PROJECT Ink jet and colored excellent No order Post-1986 Yamasaki
Center (Lifestyle 1 roll drawings RECORDS: marker Associates
Center and Hotel Drawings 8 ½ x 11
Resort) 03-038 and 11 x 14 Sketches
04-002 24 x 36 Presentation drawings
6 x 36 Design development
4 x 36 Reference material
Multiple schemes
Crittenton Hospital Shelf 7 12 drawings 1995 PROJECT Electrostatic excellent Drawings order Post-1986 Yamasaki
9378.01? 1 roll RECORDS: 24 x 26” Associates
Yamasaki firm Drawings Roy French Assocs
designed this but Architects
this may not be Architec, Mechanical, elec
83
Yamasaki Collection
their project
number
Angus Elementary Shelf 7 120 2003 PROJECT Electrostatic excellent Drawings order Post-1986 Yamasaki
03-069, Willow 1 roll drawings RECORDS: and marker on trace except the two Associates
Woods School 03- Drawings 24 x 36 projects are Working drawings owner
070 intermingled review set. Architect,
demolition, site, electrical,
mechanical
Ko Olina Hotel Shelf 7 17 drawings C 1987-2007 PROJECT Ink jet and colored excellent None Post-1986 Yamasaki
Farmington Hills 1 roll RECORDS: marker Associates
Corp Campus Drawings 30 x 40 Presentation drawings
Master Plan, 24 x 36 Sketches, design
Uniden Mosque, 8 x 36 development, site plans,
Uniden Project maps
Harwood Shelf 7 27 drawings 2004 PROJECT Electrostatic excellent Drawings order Post-1986 Yamasaki
Elementary 04-013 1 roll RECORDS: 24 x 36” Multiple Associates
Drawings duplicate sets Working drawings owner
review
Architectural, mechanical,
electrical sets, food service
missing
Black Elementary Shelf 7 109 2004 PROJECT Electrostatic excellent Drawings order Post-1986 Yamasaki
School 1 roll drawings RECORDS: 24 x 36” Associates
Drawings Working drawings owner
review
Architectural,
Site, food service, electrical,
84
Yamasaki Collection
mechanical, structural,
grading, paving, demolition
Troy Marriott Shelf 8 312 1987-1989 PROJECT Sepia vellum and Good Drawings order Post-1986 Yamasaki Assocs.
8717 12 rolls drawings RECORDS: sepia Mylar. Few and consultant Victor Huff
and related Liberty Drawings diazo
Center Master Plan Working drawings
86004 Many small edge Master plan, architectural,
tears and crush structural, electrical, land
damage, other larger surveys, irrigation,
tears. Some landscape, plumbing,
deteriorating tape signage
damage, many
duplicates. Brittle
vellum.
24 x 36
36 x 48 (most)
Michigan State Shelf 9 108 1959, 1996 PROJECT Graphite on linen, e- Good Drawing order Pre- and Post-1986
Medical Society 2 rolls drawings RECORDS: lead on Mylar, Yamasaki Associates Site
5729, 9339, 9402 Drawings marker on tracing plan, landscape,
paper, few architectural, mechanical,
electrostatic on structural, electrical working
vellum and sepia. drawings. Some missing
Some sticky backs,
ink-jet of photos Between original drawings
taped together, few and alterations shows
post it notes and transition of firm from on-
85
Yamasaki Collection
clips, minor tears the-boards to CAD and
24 x 36, most 42 x change of drawing media use
50
Saudi Arabian Shelf 9 143 1980 PROJECT Graphite on linen, Fair to good Drawing Pre-1986 Yamasaki
Monetary Agency 5 rolls drawings RECORDS: E-lead on Mylar, number order Associates architectural,
SAMA 7306 Drawings sticky backs. mechanical, electrical
Primarily linens. working drawings.
Some tape repairs
and resulting
damage, numerous
edge tears, some
edges crushed
42 x 50
Wilshire Plaza Shelf 9 71 drawings 1985 PROJECT Diazo with tape Poor to Fair Drawing Pre-1986 Yamasaki
West 8501 1 roll RECORDS: edge binding. number order Associates Mechanical
Drawings Discolored; working drawings
significant rips
Brittle
North Shore Shelf 10 12 drawings 1961 PROJECT Diazo discolored Fair Drawing Pre-1986 Yamasaki
Congregation Israel 1 roll RECORDS: 30 x 42” number order Associates Mechanical. May
5909 Drawings be working drawings but
have no revision dates
World Trade Shelf 10 29 drawings 1968, 1990, PROJECT Electrostatic on Fair to excellent None Pre- and Post-1986
Center (WTC) 1 roll 2002 RECORDS: vellum, sepia on Yamasaki Associates
6211, 9046, 02-069 Drawings vellum, marker on Mixture of various World
vellum, ink-jet. Trade Center (WTC) projects
86
Yamasaki Collection
Some folded including copies of original
vellums building's electrical
36 x 48 substation structural steel,
24 x 36 sketches for alterations to the
16 x 22 plaza (including two
originals), and post
destruction documentation of
property easements and
gravitational loads
Yamasaki office Shelf 10 3 drawings Post 1986 PROJECT Electrostatic, diazo, Excellent None Post-1986 Yamasaki
1 roll RECORDS: ink jet Associates
Drawings 30 x 42 Foot prints and assignment
24 x 36 plans
Federal Reserve Shelf 11 129 1975 PROJECT Electrostatic on Poor to Good Drawings Pre-1986 Yamasaki
Bank Richmond 1 roll drawings RECORDS: vellum and Diazo number order Associates Working
7008 Drawings discolored at light drawings and Record set [as
exposed corners 38 built] architectural,
x 48 structural, electrical
30 x 40
REVIEW BANK
DRAWINGS FOR
DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
ISSUES
Henry Ford Shelf 11 97 drawings 1987-1988 PROJECT Graphite on Mylars, good Drawings in Post-1986 Yamasaki
Medical 8524 2 rolls RECORDS: Sepia vellum, sepia number order Associates Interior details for
87
Yamasaki Collection
Drawings Mylar, electrostatic tenant spaces, architect, civil,
on vellum, structural, electrical,
stickybacks landscape working sets
Office Building Big Shelf 11 4 drawings C 1986 PROJECT Diazo good No order NOT A YAMASAKI
Beaver 1 roll RECORDS: Few creases and PROJECT?
Drawings tears Presentation drawings
Henry Ford Shelf 11 241 1987-1988, PROJECT Marker on Tracing Good to excellent Drawing Pre- and Post-1986
Medical Center 6 rolls drawings 1992 RECORDS: paper, diazo, number order; Yamasaki Associates Study
8524 Drawings electrostatic. Diazo some no order sketches and preliminaries ,
with edge tape finish schedules, tenant
binder. Diazo interiors
discolored
Range 55; Section 13
Harwood Shelf 5 67 drawings 2002 PROJECT Electrostatic excellent Drawings Post-1986 Is this a Yamasaki
Elementary RECORDS: 15 x 24” number order Associates project?
Drawings Drawings by Dickmente
Siegel Design
Bids with Electrical,
mechanical, architectural,
civic, structural sets
Review further for possible
deaccession
Orion Township Shelf 5 42 drawings 2002 PROJECT Ink jet excellent No order Post-1986 Yamasaki
Public Library, RECORDS: Marker on tracing Associates Sketches,
#02--032 Drawings paper presentation drawings for
88
Yamasaki Collection
24 x 36” planning, site plans,
perspective renderings
Akebono Brake Co. Shelf 5 18 drawings 1996, 2004 PROJECT Ink jet excellent Drawings Post-1986 NOT
RECORDS: 11 x 17” number order YAMASAKI FIRM BUT
Drawings 24 x 36” APPEARS TO HAVE A
RELATIONSHIOP
Design Development
Trade Center 1 Shelf 5 22 drawings 2004-2005 PROJECT Electrostatic and ink excellent No order Post-1986 Yamasaki
Kalamazoo, MI RECORDS: jet Associates Presentation
Drawings 24 x 36” Drawing and reproductions
11 x 17” of models
Ruth Chris Shelf 5 8 drawings Post 1986 PROJECT Ink jet excellent No order Post-1986 Yamasaki
Steakhouse RECORDS: Magic marker Associates Presentation
Drawings 14 x 24” drawings for re-cladding
8 ½ x 11” project
Federal Reserve Shelf 5 30 drawings 2002 PROJECT Electrostatic excellent Drawing Post-1986 Yamasaki
Bank of Richmond, RECORDS: 24 X 36” number order Associates Security Guard
#02-039 Drawings Post #19 Record Set (as-
builts)
REVIEW BANK
DRAWINGS FOR
DEACCESION OR
RESTRICTION. MAY
CAUSE SECURITY
ISSUES
89
Yamasaki Collection
Royal Oak Condos, Shelf 5 16 drawings 2004 PROJECT Electrostatic excellent Drawings Post-1986 Yamasaki
#04-063 RECORDS: 24 x 36” number order Associates Design
Drawings Development
Pokely Residence, Shelf 5 7 drawings 1991-2004 PROJECT Electrostatic excellent Drawings Post-1986 Yamasaki
#9105 RECORDS: 24 x 36” number order Associates Working
Drawings drawings
Architectural Set
Uniroyal Master Shelf 5 1 drawing No date PROJECT diazo Probably Post-1986
Plan RECORDS: Yamasaki Associates?
Drawings Master site plan
Travelers Tower 1 Shelf 5 16 drawings 2002 PROJECT Electrostatic and good Drawing Post-1986 Yamasaki
Southfield #02-065 RECORDS: colored marker number order Associates Design
Drawings development
24 x 36” Architectural set
Edge tears
Unidentified Shelf 5 1 drawing 2004 PROJECT Significant edge Extremely Poor Post-1986 Yamasaki
residential property RECORDS: tears and losses. 1/3 DISCARD DUE TO Associates?
survey Drawings drawing missing CONDITION NO YAMASAKI LABEL
Survey drawing
Maharishi Tower Shelf 6 46 drawings c 1998 PROJECT Ink jet Excellent No order Post-1986 Yamasaki
Sao Paolo Brazil RECORDS: 24 x 36” Associates Presentation
9840 x 4 Drawings most 11 x 17” many drawings of perspective
duplicates renderings and models
Qatar Convention Shelf 6 8 drawings 2006-007 PROJECT Electrostatic excellent Drawing Post-1986 Yamasaki
Center RECORDS: 36 x 48” number order Associates Design
90
Yamasaki Collection
Drawings development
Ameritech Shelf 6 42 drawings 1990 PROJECT Graphite on Mylar excellent Drawings Post-1986 Yamasaki
Publishing #8947 RECORDS: Sticky Backs number order Associates Architectural,
Drawings 8 ½ x 11” in a mechanical and electrical
binder book details
Sticky backs will

degrade and fall off
eventually
Parc Vert for Barra Shelf 6 13 drawing 2002 PROJECT Ink jet excellent No order Post-1986 Yamasaki
Funda Property Sao RECORDS: 36 x 48” Associates Presentation
Paulo Brazil Drawings 11 x 17” drawings and site plans
Many duplicates
Fillmore Shelf 6 136 2004 PROJECT Electrostatic Good Drawings Post-1986 Yamasaki
Elementary #04- drawings RECORDS: number order Associates Construction
011 Drawings Tape on edges Documents (Working
Drawings)
Civil, architectural,
mechanical, structural,
electrical sets, assignment
plans; some sketches
Fitzgerald High Shelf 6 112 2004 PROJECT Electrostatic Good Drawing Post-1986 Yamasaki
School 04-009 drawings RECORDS: 24 x 36” number order Associates Construction
Drawings Significant Documents (working
annotations in drawing) of architectural and
marker engineering sets
91
Yamasaki Collection
Some edges crushed
and folder; post it
notes crushed ends
Pinnacle Shelf 6 12 drawings 1942, 1999- PROJECT Electrostatic Fair to good Post-1986 Yamasaki
2000 RECORDS: Diazo Associates Site Plans ,
Drawings Ink jet Richard Marr floor plans of
22 x 30” 1942 building
26 x 36”
Edge tears
Many duplicates
Qatar Convention Shelf 6 204 2006-2009 PROJECT Electrostatic Fair to Excellent Drawing Post-1986 Yamasaki
Center drawings RECORDS: 24 x 36” number order Associates Design
Drawings 18 x 24” development
Some drawings Architectural set
stuck together with
tape; ripped and
crushed edges
Piazzeta Italiana Shelf 6 17 drawings No date PROJECT Inkjet excellent None Post-1986 Yamasaki
Concepts, RECORDS: 24 x 36” Associates Presentation
Brazilinvest Drawings drawings
Henry Ford Health Shelf 7 17 drawings 2008 PROJECT Electrostatic excellent Drawing Post-1986 Yamasaki
Care System RECORDS: 18 x 24” number order Associates Preliminary
Drawings architectural set
Annotated by hand “old set”
Orion Township Shelf 7 52 drawing 1987-1988 PROJECT Electrostatic and excellent Drawing Post-1986 Yamasaki
Public Library RECORDS: diazo on bond and number order Associates Preliminaries,
Drawings vellum working drawings, record
92
Yamasaki Collection
36 x 48” sets for some
architectural, mechanical,
site, landscaping, electrical,
civic (water and grading)
Henry Ford Shelf 7 27 drawings 2008 PROJECT Pencil on tracing Excellent None Post-1986 Yamasaki
Wellness Center RECORDS: paper Associates Sketches and
Drawings ink jet design development
electrostatic
24 x 36”
22 x 15”
many smaller
Henry Guthard Shelf 7 1 poster 2002 OFFICE Ink jet Excellent None Post-1986 Yamasaki
Lecture poster RECORDS: 24 x 36 Associates Lecture poster on
Public World
Relations: Trade Center and Minoru
Posters Yamasaki
Henry Ford Shelf 7 100 drawing 2008 PROJECT Electrostatic Excellent Drawings Post-1986 Yamasaki
Wellness Center RECORDS: 30 x 42” number order Associates Preliminaries
*2008-08-020 Drawings architectural, structural,
mechanical, electrical. Can
be weeded to reflect most
recent product or all kept to
show minute changes as a
project progresses
Sahil Hotel, Shelf 7 4 drawing C 2009 PROJECT Ink jet Excellent None Post-1986 Yamasaki
Azerbaijan RECORDS: 24 x 36” Associates Presentation
Drawings Drawings
93
Yamasaki Collection
Gui-Yang Shelf 7 14 drawings Late 2000s PROJECT Ink jet Fair to Excellent None Post-1986 Yamasaki
Administration RECORDS: colored marker Associates Sketches and
Center, China Drawings 32 x 42” presentation drawings
18 x 12”
Some of the
drawings re pieced
together with tape
that will degrade
over time.
Some with crushed

edges
WJR Winter Shelf 7 14 drawing 2005 PROJECT Electrostatic Excellent Drawings Post-1986 NOT
Garden Studio RECORDS: 24 x 36” number order YAMASAKI ASSOC
Detroit Drawings PROJECT
Ford Earl Design architects
Or OFFICE How was this related to
RECORDS: Yamasaki work? Yamasaki
Reference did Kasle Residence with
Ford Earl in 1987. Review
for potential deaccession
since not Yamasaki. May
present copyright issues.
Empty Shelf 8
Troy Marriott Hotel Shelf 9 17 drawings 1988 PROJECT Sepia Mylar Good Drawing Post-1986 Yamasaki
RECORDS: 30 x 40” number order Associates
Drawings Reformat or do not Construction Drawings
store next to original Kitchen plans
94
Yamasaki Collection
materials by James McFarland
Associates consulting
architects
Urban Connection Shelf 9 1 map 2006 OFFICE Ink jet Excellent None Post-1986 Yamasaki
Between Airport RECORDS: 36 x 85” Associates Aerial map of
and Downtown, Reference OVERSIZED countryside
Baku, Azerbaijan STORE ROLLED includes Russian and
English text (Russian would
not have been the official
language in 2006 but may
have been the language used
in the base documents from
an earlier time
Troy Marriott Shelf 9 19 drawings 1988 PROJECT Sepia Mylar Good Drawing Post-1986 Yamasaki
Hotel, 8617 RECORDS: 34 x 40” number order Associates Part of
Drawings Reformat or do not Architectural set
store next to original
materials Sikes, Jennings, Kelly,
Brewer consultant
Not clear what input they
provided
Lectron Products Shelf 9 11 pages 1980 OFFICE Electrostatic Good None Pre-1986 Yamasaki
FILES: 8 ½ x 11” Associates Insurance
Correspon- Edge tears Correspondence
dence
Kojaian Residence Shelf 9 22 drawings 1988 PROJECT Electrostatic, Fair to Good None Post-1986 Yamasaki
8814 RECORDS: marker, diazo Associates Sketches and
95
Yamasaki Collection
Drawings 24 x 36” Design Development
Many smaller
Some crushed and
many folds
Piazzeta Italiana Shelf 9 11 drawings nd, 2003 PROJECT Ink jet Excellent None Post-1986 Yamasaki
Concepts, RECORDS: 24 x 36” Associates Presentation
Brazilinvest Drawings 29 x 36” Drawings
and Barra Funda
Property Probably some duplication
Brazilinvest, San with above Shelf 6
Paolo Brazil
Kresge Building Shelf 9 1 drawing C 1914 PROJECT Electrostatic Excellent None NOT YAMASAKI
Detroit? RECORDS: 27 x 44” Working Drawing Finish
Drawings (copy of original Details
linen) Probably Albert Kahn
May have been for reference
for an unknown Yamasaki
project.
Federal Reserve of Shelf 9 2 drawings C post 1978 PROJECT Diazo Fair None Post-1986 Yamasaki
Richmond RECORDS: Marker on tracing Associates Security review
Drawings paper Sketch over existing
34 x 48” footprint
with 22 x 18” REVIEW FOR
overlay DEACCESION OR
Attached with RESTRICTION. MAY
adhesive stickers CAUSE SECURITY
that have degraded ISSUES
96
Yamasaki Collection
and paper fibers
have pulled away
from the footprint.
Small edge tears
Troy Marriott Shelf 9 24 drawings 1988 PROJECT Sepia Mylar Good Drawing Post-1986 Yamasaki
Hotel, 8617 RECORDS: 34 x 40” number order Associates Sikes, Jennings,
Drawings Reformat or do not Kelly, Brewer consultant
store next to original Construction Drawings
materials electrical set
Some fire alarm plans may
cause security issues
Location: Section 55 Range 13
World Trade Shelf 10 22 drawings 1968-1972 PROJECT Electrostatic 36 x Good Drawing Pre-1986 Yamasaki Working
Center (WTC) 1 roll RECORDS: 48” number order drawings
6211 Drawings Sub grade working drawings
Copies of copies. plans and finish schedules
Many are illegible
for ¼” detail
World Trade Shelf 10 124 1968 PROJECT Electrostatic 36 x Good Drawing order Pre-1986 Yamasaki
Center (WTC) 1 roll drawings RECORDS: 49” Working drawings by
6211 Drawings Emery Roth and Sons
Copies of copies engineers. Framing and
Some title blocks structural sets
are illegible but
drawing text ok
World Trade Shelf 10 10 drawings C 1968 PROJECT Electrostatic 36 x Good Drawing order Pre-1986 Yamasaki
97
Yamasaki Collection
Center (WTC) RECORDS: 49” Working drawings by
6211 Drawings Emery Roth and Sons
Copies of copies engineers. Structural details
Some title blocks
are illegible but
drawing text ok
Troy Marriott 8617 Shelf 10 16 drawings 1988 PROJECT Reverse sepia on Fair to Good Drawing Post-1986 Yamasaki
RECORDS: vellum 34” x 44” number order Associates Working
Drawings Edge tears and Drawings
crushing Partial Plumbing set
vellum will including fire protection
embrittle over time
Troy Marriott 8617 Shelf 10 14 drawings 1988-1989 PROJECT Reverse sepia on Fair to Good Drawing Post-1986 Yamasaki
RECORDS: vellum 34” x 44” number order Associates Working
Drawings Edge tears. Drawings
vellum will Partial Electrical set
embrittle over time
Troy Marriott 8617 Shelf 10 4 drawings C 1988 PROJECT Sepia with marker Poor to Good None Post-1986 Yamasaki
RECORDS: 30 x 41” Associates Rich and
Drawings Appear to have Associates
spray adhesive on Presentation drawings for
verso. parking
Some rips
Troy Marriott 8617 Shelf 10 14 drawings 1988 PROJECT Reverse Sepia on Good Drawing Post-1986 Yamasaki
RECORDS: Mylar number order Associates Construction
Drawings 34 x 44” drawings
Partial set of structural
98
Yamasaki Collection
details
Troy Marriott 8617 Shelf 10 20 drawings 1988 PROJECT Reverse Sepia on Good Drawing Yamasaki Associates
RECORDS: Mylar number order Construction drawings
Drawings 34 x 44” Partial set of plumbing
Columbia Center Shelf 11 66 drawings 1987, 1997 PROJECT Electrostatic Excellent Drawing Post-1986 Yamasaki and
8521, 9758 RECORDS: 11 x 17” number order Yamasaki Associates
Drawings Tightly rolled Probably preliminaries
Can be flattened and Architectural set for original
stored flat building and alterations
Columbia Parking Shelf 11 49 drawings 1998 PROJECT Diazo Poor to excellent Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 x 36” number order Associates Construction
Drawings drawings
Schedules, architectural,
mechanical, electrical,
structural
Columbia Parking Shelf 11 47 drawings 1990 PROJECT Diazo Excellent Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 x 36” number order Associates Preliminaries
Drawings duplicates [although labeled
Compare to later set construction]
and weed if Schedules, architectural,
appropriate mechanical, structural
Drawings architectural, structural
Columbia Parking Shelf 11 10 drawings 1989 PROJECT Electrostatic Excellent Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 36” number order Associates Preliminaries
99
Yamasaki Collection
Drawings Weed if have later structural
version
Drawings Weed if have later Electrical
version marked VOID SET
Drawings Weed if have later Structural
version
Columbia Parking Shelf 11 16 drawings 1989 PROJECT Fixed-line silver Good to Excellent Drawing Post-1986 Yamasaki
Structure 8521, RECORDS: halide on polyester number order Associates Preliminaries
8523 Drawings architectural, mechanical,
24 x 36” paving
marked VOID
Some sticky backs
used
Weed if have later

version
Columbia Tower Shelf 11 63 drawings 1992 PROJECT Diazo Excellent Drawing Post-1986 Yamasaki
8521 RECORDS: 24 x 36” number order Associates Preliminaries
Drawings Weed if have later Architectural
version
Columbia Parking Shelf 11 101 1989 PROJECT Diazo Good Drawing Post-1986 Yamasaki
Structure 8520, drawings RECORDS: 24 x 36” number order Associates Preliminaries
8522, 8523 Drawings Some discoloration Architectural, structural,
100
Yamasaki Collection
from light exposure. schedules, mechanical,
Weed if have later electrical
version
Structure 8523 RECORDS: 24 x 36” number order Associates May be final
Drawings Weed if have later construction drawings
version Architectural
Columbia Parking Shelf 11 20 drawings 1989 PROJECT Diazo Good Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 x 36” number order Associates Misc.
Drawings some tracing paper Preliminaries
Weed if have later Architectural
version
Columbia Parking Shelf 11 155 1989 PROJECT Diazo, sepia, Good Drawing Post-1986 Yamasaki
Structure 8523 drawings RECORDS: electrostatic number order Associates Misc.
Drawings 24 x 36” Preliminaries
some smaller Architectural structural,
some tracing paper schedules, mechanical,
Weed if have later electrical
version
Columbia Parking Shelf 11 33 drawings 1987-1990 PROJECT Sepia Mylar Good Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 x 36” number order Associates Misc.
Drawings Preliminaries
Weed if have later Architectural, structural,
version mechanical
missing numbers
some stickyback
101
Yamasaki Collection
Columbia Parking Shelf 11 27 drawings 1989 PROJECT diazo Good Drawing Post-1986 Yamasaki
Structure 8523 RECORDS: 24 x 36” number order Associates Nowak and Fraus
Drawings Misc. Preliminaries
Weed if have later Paving
version
Columbia Parking Shelf 11 75 drawings 1990 PROJECT diazo Good Drawing Post-1986 Yamasaki
Drawings Some marked Architectural, schedules,
superseded and structural
Weed if have later
version
Range 55 Section 12
Travelers Tower Shelf 6 72 drawings 1981 PROJECT Sepia Very Poor Drawing Pre-1986 Yamasaki
Expansion in folder RECORDS: Many rips and number order Associates Rosetti
Drawings scotch tape Associates
30 X 48” site surveys
demolition plan
framing, schedules, structure
Yamasaki Associates did the
project in 2000
Trade Center Shelf 7 2 drawings 2003 PROJECT Electrostatic Excellent Drawing Post-1986 Yamasaki
Office Portage RECORDS: 24 x 36” number order Associates Site and signage
Michigan Drawings
Columbia Center Shelf 7 2 drawings 1998 PROJECT Diazo23 x 36” Excellent Drawing Post-1986 Yamasaki
102
Yamasaki Collection
9758 RECORDS: number order Associates Preliminary
Drawings architectural
Unidentified Shelf 7 1 drawing No date PROJECT On small part of Excellent None Floor plan
RECORDS: whole roll tracing Discard
Drawings paper
discard
Discard
Royal Oak Shelf 7 4 drawings 2004 PROJECT Electrostatic Excellent None Post-1986 Yamasaki
Condominiums RECORDS: 18 24” Associates Preliminary
Drawings architectural
Lectron Products Shelf 7 12 drawings 1995 PROJECT Electrostatic and Good None Post-1986 Yamasaki
RECORDS: diazo 36 x 48” Associates Working
Drawings 30 x 40 fire protection
World Trade Shelf 7 62 drawings 1968-1974 PROJECT Diazo, sepia Excellent None Post-1986 Yamasaki
Center (WTC) RECORDS: electrostatic Associates Working
Other Plaza Drawings 11 x 17” electrical, architectural
buildings 18 x 24”
Various Projects Shelf 8 In 4 rolls: 2000s PROJECT Post-1986 Yamasaki

including Fillmore, 39 RECORDS: Associates
Warren Schools 120 Drawings
86
145
Location Range 56 Section 11
Barwa Master Plan Shelf 7 1 drawing C 2007 PROJECT Ink Jet 72 x 106” Excellent None Post-1986 Yamasaki
Isis Center RECORDS: Associates Presentation
Drawings drawing
103
Yamasaki Collection
Location: Range 56, Section 13
Eastern Airlines Shelf 6 1 photo No date OFFICE Photo on Foam Core good None Pre-1986 Yamasaki
Terminal RECORDS: Associates Post construction
Presentation photo
Materials
Shiga Temple, Shelf 7 11 items c 2000s OFFICE Ink jet on 24 x 36” excellent None Post-1986 Yamasaki
Incheon District RECORDS: foam core Associates Presentation
Kyeyang Town Presentation drawings and marketing
Hall Korea, Trinity Materials photos
Health Offices,
Motorola, Wixon,
Seattle World’s
Fair, Bally’s
Interior, World
Trade Center
(WTC)
Tokyo Miyako Shelf 7 1 folio C 1970 PROJECT Photos attached to good None Pre-1986Yamasaki
Hotel binder RECORDS: acidic black backing Associates Presentation
Drawings paper Drawings and models
16 x 18” pages
Century Plaza Shelf 7 51 drawings No date PROJECT Ink jet excellent None Pre-1986 Yamasaki
RECORDS: 11 x 17” Presentation and working
Drawings drawings
Unidentified Shelf 7 1 drawing No date PROJECT Ink jet excellent None Post-1986 Yamasaki
project RECORDS: 11 x 17” Associates Google map print
Drawings
104
Yamasaki Collection
Unidentified Shelf 7 1 drawing No date PROJECT Ink jet excellent None Post-1986 Yamasaki
project in Saudi RECORDS: 11 x 17” Associates Presentation
Arabia? Drawings drawing
North Shore Shelf 7 80 drawings 2004 OFFICE Ink jet good None Post-1986 Yamasaki
Congregation Israel RECORDS: Electrostatic Associates Presentation
Expansion Presentation Photos on foam core drawings and
Materials 11 x 17” correspondence
18 x 24”
Range 56 Section 14
World Trade Shelf 5 2 drawings c 1960s PROJECT Pen and Ink Good None Pre-1986 Yamasaki
Center (WTC) RECORDS: sketches Associates Presentation
Drawings 18 x 24” Drawings. Or could be post
by Carlos Aziz construction
Abrasion damage
but no in image area
World Trade Shelf 6 1 drawing 1988 PROJECT Sepia Good None Post-1986 Yamasaki
Center (WTC) RECORDS: 24 x 36” Associates Canopy Plaza
#6211 Drawings level
Project List Shelf 7 700 pages 1992 PROJECT Photocopy Good 1.) List of Pre- and Post-1986
RECORDS: inactive projects Yamasaki Associates
Project List or closed Project list from 1949-1992
2.) List of Includes 4902 (General
active projects Office St. Louis and Detroit
1992 to 9237 Gassen-
3.) List of Luckenbach/Ziegelman
account #s
105
Yamasaki Collection
Negatives for misc. Shelf 7 3 negatives c 1979 OFFICE Negatives poor None Pre-1986 Yamasaki
pages in A Life in RECORDS: Damaged by tape Associates Negatives for A
Architecture Photographs: used to mask images Life in Architecture
A Life in
Architecture
Rihad Bank, Shelf 7 25 photos in C 1950s OFFICE Photos and good By project Pre-1986 Yamasaki
Thompson folder RECORDS: negatives Associates includes
Products Photographs various sizes Hellmuth, Yamasaki,
(Hellmuth, Leinweber; Leinweber
Yamasaki, Yamasaki Associates;
Leinweber), Minoru Yamasaki Associates
Chatham Village Project photo files includes
(Leinweber various photographers Lens
Yamasaki Art (Thompson Products and
Associates) Federal Weisberg Clinic), Balthazar
Reserve Bank Korab (Chatham Village),
Detroit Ezra Stoller (Federal Reserve
Bank)
Artifacts Shelf 7 7 items nd, c 1963 ART AND Good None Pre-1986 Yamasaki
ARTIFACTS: Associates
Drafting Artifacts Compass set for
equipment drawings, two electric
erasing machines, recording
device, laser pen pointer,
compensating polar
planimeter
Box of drafting curves
World Trade Shelf 8 7 folios c. 1967-75 PROJECT Diazo and sepia Fair to good By drawings Pre-1986 Yamasaki
106
Yamasaki Collection
Center (WTC) containing RECORDS: media with some sets and Associates Project drawings
6211 423 Drawings discoloration, some drawing # order of assignment plans,
drawings sets with many edge electrical working drawings,
tears misc plans and details,
Non standard sizes: architectural preliminaries,
24 x 17 index, architectural working
13 x 28” drawings.
19” x 27”
Tokyo Miyako Shelf 8 69 drawings 1972-1975 PROJECT Diazo and diazo Fair Drawing #order Pre-1986 Yamasaki
Hotel 6815 RECORDS: with marker Associates Architectural
Drawings discolored Design Development
World Trade Shelf 8 7 folios of 1962-1973 PROJECT Diazo Good to Very good By drawings Pre-1986 Yamasaki
Center (WTC) 519 RECORDS: sets and Associates Project drawings
6211 drawings Drawings drawing # order of architectural working,
plumbing, and mechanical
drawings. Many of these are
for specific areas of the
buildings (i.e. NE Plaza, SE
Plaza, Tower A, Tower B)
Century Plaza 6106 Shelf 8 1 folio of 70 c 1962 PROJECT Diazo Good Drawing # Pre-1986 Yamasaki
drawings RECORDS: 28 x 14” order Associates
Drawings Not standard size
Some lettering Architectural Working
barely legible drawings
(1/32”) since these
are copies of copies
107
Yamasaki Collection
Location: On floor by Ranges 54 and 55
Michigan Capitol Loose 11 drawings c 1987 PROJECT Sepia and black line Images good; None. No sheet Presentation Drawings:
Park #8714 Drawings RECORDS: prints on foam core Support: fair in numbers
Drawings with colored marker several Site plan, various levels,
Mounted on foam sections
32” x 40” core; Many are bent
and crushed at the
edges. At least one
broken at side from
carrying (handhold
break); Still strong
diazo smell; diazo
and colored marker
very light sensitive.
Two section
drawings are made
of cut outs glued on
top of the drawing.
No adhesive
problems yet, but
may over time.
Maharishi Tower, Loose 21 drawings 1999 PROJECT Ink jet on foam Excellent None Post-1986 Yamasaki
Sao Paulo Brazil on foam RECORDS: core. Light Associates Presentation
9930 x 1 core Drawings sensitive and extra boards with floor plans,
space elevations, perspectives,
Most 37 x 25 some schedules
smaller
108
Yamasaki Collection
No id; Culture and Loose 6 on foam C 1980s OFFICE Media ? Image: good None Post-1986 Yamasaki
Trade Center core RECORDS: Support: Edge Associates Exhibit Photos
Istanbul; Presentation 24” x 36” attached to foam and Presentation Drawings
Unidentified Materials 30” x 40” core coming and color photos
Courthouse; Port unglued. Wall Presentation Photos of
Atwater, City mounting adhesive models.
Center Detroit of one label has
stuck together two Some have title blocks;
drawings and one is others no id
ripped.
Troy Marriott Loose 10 on foam No date PROJECT Diazo drawings with Image: good No order set Post-1986 Yamasaki
Hotel, core RECORDS: colored marker Support: good. Associates Title blocks for
Drawings LIGHT SENSITIVE Some of the architect and project title but
drawings are no dates or drawings
collages with cut numbers Presentation
outs. Adhesive may Drawings:
come lose over time Elevations, sections, plans,
perspective
Chunbuk Loose 1 on foam 2000s OFFICE Probably ink jet Image: excellent Post-1986 Yamasaki
Provincial Office core RECORDS: Support: excellent Associates Presentation
Korea Presentation drawings
Materials
King Abdulaziz Loose 1 on foam No date OFFICE Color photos Image excellent Post-1986 Yamasaki
Airport core RECORDS: Support good Associates Post construction
Presentation Photos
Materials
USA Federal Loose 4 matted POST YAMA OFFICE Ink jet 32 x 24 Image excellent No order Post-1986 Yamasaki
109
Yamasaki Collection
Credit, Package onto foam RECORDS: Support good- Associates Drawings have
2 Siemens Auto, core but not Presentation excellent. Some title block but no date or
Sanwa Leasing attached Materials adhesive has leached drawings numbers
at corners but these
were never fully
attached and can be
removed
Shelby township Loose 4 mounted POST YAMA OFFICE Ink jet on foam core Image excellent No order Post-1986 Yamasaki
DPW, Oakland Package on foam RECORDS: Support excellent Associates Only name of
County Library, core Presentation architect. No project, no
Orion Township Materials date.
Library, Waterford
Township Architects did not document
their process well with dates
or ids
World Trade Loose 3 on foam C 1960s, 2001 OFFICE Ink jet and photo Good No order Pre- and Post-1986
Center (WTC) core RECORDS: On foam core Yamasaki and Yamasaki
Presentation Associates World Trade
Materials Center (WTC) post
construction photo
Photo of tower pieces after
9/11
Photo Yama with tower
model and staff, all identified
McGregor Hall, Loose 1 photo No date OFFICE Photo on Masonite Poor None Pre-1986 Yamasaki
Wayne State RECORDS: Photo is detaching Associates Post construction
University Photo Presentation and getting damaged color photo of McGregor
110
Yamasaki Collection
Materials along bottom Interior
Size? Labeled Balthazar Korab on
back
King Fahd Airport Loose 1 board No date PROJECT Photos attached with Good None Pre-1986 Yamasaki
but 6 photos RECORDS: adhesive. Will Associates Photos of models
Drawings eventually come off
30 x 40
American National Loose 1 board C 1980s OFFICE Attached to foam Fair None Pre-1986 Yamasaki
Resources Building A better circa RECORDS: core 28 x 39” Associates
Detroit [Originally date depends Presentation Some damage on Post construction
Michigan on when Materials front
Consolidated Gas named
and now One American
Woodward] National
Resources
Century Plaza Loose 1 board No date OFFICE Attached to Fair None Pre-1986 Yamasaki
RECORDS: Masonite 30 x 40” Associates Photo of
Presentation Elevation of building
Materials Minor edge damage
Incheon District, Loose 2 boards No date OFFICE Attached to form Good None Post-1986 Yamasaki
Kyeyang Town RECORDS: core Associates Presentation
Hall, China Presentation 30 x 40” and in Drawings for this First Place
Materials frame competition winner
Yamasaki Legacy Loose 1 board No date OFFICE Attached to form Fair None Pre-1986 Yamasaki
Panel RECORDS: core Associates One of several
111
Yamasaki Collection
Presentation 24 x 54” panels from a set for a show.
Materials Minor foam damage The rest sold at auction 2010
before it became Archives of
Michigan property.
Unidentified Saudi Loose 1 board No date OFFICE Attached to form Good None Not sure date
pavilion RECORDS: core 30 x 45” Not sure time frame
Presentation Photo of model
Materials
Astoria Hospital Loose 1 board No date OFFICE Attached to foam Good None Post-1986 Yamasaki
RECORDS: core Associates
Presentation Photo new and old hospital
Materials
Location: On Floor By Ranges 56
Shiga Temple Loose 1 board 1982 OFFICE Photo on Masonite fair None Pre-1986 Yamasaki
[Founder’s Hall] RECORDS: 30 x 40” minor Associates Post construction
Presentation surface damage photo used for marketing
Materials
North Shore Loose 1 board C 1964 OFFICE Photo on Masonite fair None Pre-1986 Yamasaki
Congregation Israel RECORDS: 30 x 40” Associates Post construction
Presentation minor surface photo used for marketing
Materials damage
Texas Addition Loose 6 boards No date OFFICE Maps on foam core excellent None Post-1986 Yamasaki
Airport RECORDS: 24 x 36” Associates Topographical
Presentation Tape and glue on maps with aerial navigation
112
Yamasaki Collection
Materials titles changes
Dhahran Air Loose 1 board C 1961 OFFICE Photo on foam core Good None Pre-1986 Yamasaki
Terminal RECORDS: Label glued to front Associates Post construction
Presentation degrading photo used for marketing
Materials 29 1/2 x 39”
GDX Springfield Loose 1 board No date OFFICE Ink jet on foam core excellent None Post-1986 Yamasaki
Motorola RECORDS: 24 x 36 Associates Presentation
Automotive Presentation drawing
Materials
Wixom Municipal Loose 1 board No date OFFICE Ink jet of color excellent None Post-1986 Yamasaki
Facility RECORDS: photo attached to Associates Post construction
Presentation foam core 24 x 35” photo used for marketing
Materials
Springfield Loose 1 board No date OFFICE Ink jet on foam core excellent None Post-1986 Yamasaki
Township Public RECORDS: 24 x 32” Associates Presentation
Library Presentation drawing
Materials
Palm Restaurant, Loose 1 board No date OFFICE Ink jet on foam core excellent None Post-1986 Yamasaki
Troy, MI RECORDS: 24 x 32” Associates Presentation
Presentation drawing
Materials
Auburn Research Loose 1 board No date OFFICE Ink jet on foam core excellent None Post-1986 Yamasaki
Opdyke Rd. RECORDS: 24 x 32” Associates Presentation
Presentation material: map
Materials
Sheffield Office Loose 6 boards No date OFFICE Photos and drawing Good None Post-1986 Yamasaki
Exterior RECORDS: on 20 x 32 and 24 x Associates Presentation
113
Yamasaki Collection
Renovation Presentation 36 foam core materials: photos of existing
Materials Some duplication conditions and presentation
Attached with drawings
double sided tape so
can be removed
fairly easily.
University Center Loose 1 board No date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
and I-75 Office RECORDS: 24 x 36” Associates Presentation
Complex, Troy, MI Presentation drawing
Materials
Location: On Floor By Ranges 57
National Grand Loose 1 board No date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
Theater, Beijing RECORDS: 30 x 40” Associates Invitational
China Presentation design competition. Finalist
Materials
New Cairo Loose 1 board No date PROJECT Magic marker on 4 Good Screen order. Post-1986 Yamasaki
Development RECORDS: x 6” sheets attached Associates Story Board for
Project Files to 30x 40” foam Important stay animation on the project
core. Should be in order or will
Despite able to remove but lose context
attachment to keep order.
board this does
not belong with
Presentation
materials. It is
part of
114
Yamasaki Collection
preparation for
a project
animation.
Unidentified Loose 1 board No date OFFICE Ink jet pages 8 ½ x Excellent None Post-1986 Yamasaki
RECORDS: 11” attached to 30 x Associates Presentation
Presentation 40” foam core Drawings
Materials
Barwa International Loose 1 board No date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
RECORDS: 24 x 36” Associates Master Site Plan
Presentation Presentation Drawing
Materials
Barwa Isis Center Loose 1 board No date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
RECORDS: 24 x 36” Associates Presentation
Presentation Drawing
Materials
Tech Commons, Loose 1 board No Date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
Kirco Development RECORDS: 24 x 36” Associates Presentation
Materials
Bella Verde- Loose 1 board No Date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
Atlanta RECORDS: 24 x 36” Associates Presentation
Materials
King Fahd Loose 1 board c 1988 OFFICE Ink jet on foam core Excellent None Pre-1986 Yamasaki
International RECORDS: 30 x 45” Associates Master Plan
Airport Presentation Presentation Drawing
Materials
115
Yamasaki Collection
Saudi Consolidated Loose 12 boards No Date OFFICE Ink jet on foam core Excellent None Post-1986 Yamasaki
Electric Company RECORDS: 24 x 36” Associates Presentation
SCECO Head Presentation Drawing
Office, Saudi Materials
Arabia
University Road, I- Loose 33 drawings 2000 OFFICE Diazo and Ink jet Excellent None Post-1986 Yamasaki
75 RECORDS: some on foam core Associates Maps, Sketches,
Presentation 24 x 36” some Surveys, Presentation
Materials smaller Drawings
Some duplicates
GDX Automotive, Loose 3 boards 2001 OFFICE Ink jet drawings Fair None Post-1986 Yamasaki
Farmington Hills RECORDS: attached to foam Associates Presentation
Presentation core with tape. Drawings
Materials
Could be removed.
One is crushed and
corners of others
crushed.
Brasilwest Condos Loose 4 boards No Date OFFICE Multiple 4 x 6” Good None Post-1986 Yamasaki
multiple RECORDS: photos. Drawings Associates Presentation
photos Presentation attached to foam Drawings, photos
Materials core
Maharishi Tower, Loose 2 boards No Date OFFICE Drawing attached to Excellent None Post-1986 Yamasaki
Sao Paulo, Brazil RECORDS: foam core Associates Presentation
Presentation 30 x 36” drawings plans and
Materials renderings
Location: On floor next to Range 58-59
116
Yamasaki Collection
World Trade Box 36 1.0 lf 1955-2004 OFFICE Newspaper articles Fair to Excellent Inconsistent. Pre-1986 Yamasaki and
Center (WTC) NY, RECORDS: need reformatting. Sometimes Yamasaki Associates
World Trade Clippings and alpha by project Publications regarding
Center (WTC) Articles Some folders empty. name, Yamasaki firm and projects.
Lagoon city, Shiga Some duplication sometimes by
Temple, MYA journal name Includes many articles on
office, US Science Includes full World Trade Center New
Pavilion, Sisli magazines and tear York 9/11 and engineering
Culture and Trade sheets. of ruins.
Center, Michigan
State Capital, Could reduce some Some stamped “Library of
unidentified, bulk by keeping Minoru Yamasaki”
Northwest only Yamasaki –
Insurance, Mikayo related articles
Hotel, Michigan instead of bull
Consolidated Gas, magazines
Yamasaki firm,
Pruitt-Igoe, Eastern
Province
International
Airport, Century
Plaza Hotel,
Century City, Beth-
el Temple, North
Shore
Congregational,
Carlton College,
117
Yamasaki Collection
Minoru Yamasaki
writing in
Perspective
Magazine
Somerset North, Box 36 .5 lf 2002 OFFICE Excellent None Post-1986 Yamasaki
Wayne State RECORD: Associates Requests for
University Correspon- proposals and Requests for
Housing, World dence: qualifications
Trade Center RFPs
(WTC) site study
2002, Waterford
Library, Sanilac
County Higher
Education, Troy
Baptist Church,
Twist Think
Campus, etc.
Firm portfolios and Box 36 .5 lf 1970s-2000s OFFICE Good None Pre-1986 Yamasaki and
brochure include RECORDS: Yamasaki Associates
various projects Photographs Portfolio books for MYA,
Portfolios various versions. Some
include photos and
summaries based on A Life in
Architecture Book
Basrah Sport City, Box 37 .8 lf c 2007-2008 OFFICE Excellent None Post-1986 Yamasaki
Lusail RECORD: Associates Requests for
Development, Abu Correspon- proposals and Requests for
118
Yamasaki Collection
Dhabi, Dubai, dence: qualifications, project
QECCC, Masdar RFPs research, presentation
Development, drawings and various
Trump Tower, PROJECT presentation materials
Dubai Water Front RECORDS:
Project Drawings Includes qualifications and
letter of agreement for HOK
PROJECT for Basrah Sport City project
RECORDS: and qualifications of various
Photographs architects,
IBZ Headquarters, Box 38 2 lf 2001-2007 OFFICE Ink jet Excellent By project Post-1986 Yamasaki
Qatar, Abu Dhabi (180 RECORD: 8 ½ x 10” Associates RFPs,
Villages and drawings) Correspon- and 11 x 14” Presentation drawings,
Project proposals dence: sketches, design
that firm did not RFPs development
win
PROJECT
RECORDS:
Drawings
Various projects Box 39 1.8 lf 1980s-2003 PROJECT Photos Good Alpha by Pre- and Post-1986
including Wayne RECORDS: project name Yamasaki and Yamasaki
State University Photographs Associates
Prentis Building, Project photos
Maple Corporation,
US Federal Credit
Location: Archives Cold Storage Vault
119
Yamasaki Collection
Minoru Yamasaki’s Loose 418 books c late 1940s- PERSONAL No mold. Some Fair to Excellent No order Pre-1986Yamaski’s library
library 2005, a few PAPERS: shelf wear. Most of currently but A few post-1986
added post Minoru the books are previously in
Minoru Yamasaki printed on acidic book number See subjects summary
Yamasaki’s Books paper order. Not all following
death numbered but
Some duplication. most say
Leave post-1986 “Library of
with books but Books are numbered Minoru
make cross- to 603a so Yamasaki”
reference to approximately 186
OFFICE books are missing
RECORDS:
Reference
Book subjects:
Modern architecture from all over the world
Various artists, Antonio Gaudi (Spain), Giacomo Manzu, Masayuki Nagare, European and American art, Indian art, Turkish art, Japanese art
Architectural styles
Other architects: Eero Saarinen, Eric Mendelsohn, Alvar Aalto, Skidmore Owings Merrill, Oscar Niemeyer, Mies van der Rohe, Marcel Breuer, Philip Johnson, Kevin Roche,
Walter Gropius, Richard Neutra, Louis Kahn, Mitchell/Girgola, Edward Larabee Barnes, Le Corbusier (but not Vers Une Architecture)
World architecture: Japan, United States
Architectural Practice: compensation, perspective drawings, lettering, legal aspects, metric construction, business management, graphic standards, group practice
Architecture design for specific built environment functions: theater, auditorium, industrial, airports, research buildings, cathedrals, elevators, commercial, apartments and dorms,
correctional, courthouses, synagogues, libraries, barrier-free, bridges, vets, railway stations, airports, mosques, corporate headquarters, hotels, museums, churches, motels,
fountains, hospitals, schools, university, bridges, shopping centers, industrial, for aged, swimming pools, medical, gardens, high buildings, solar control and shading
Crafts and materials: stained glass, traditional crafts, metals, textiles, bamboo, Italian marble and granite, concrete, natural stone, aluminum, lighting
Journals: run of Daedalus (Academy of Arts and Sciences) from 1978-1986, own article in Perspective (1955)
120
Yamasaki Collection
Literature: Ralph Waldo Emerson. One of the books doesn’t even look like it has been opened. Yamasaki quoted Emerson. See: Russell Lynes, “The Architect was Told ‘World
Trade’ so he Planned Big,” Smithsonian (January 1978), 48.
Only one of Minoru Yamasaki’s writings: “Visual Delight in Architecture,” Perspective, (1955). There is no copy of A Life in Architecture
Post 1986 books added into library include HOK, Kohn Pedersen Fox, Zaha Hadid, Eames Primer and 2005 Construction Guide
121
Appendix B: Media/Support Identification and Preservation Chart
APPENDIX B. MEDIA/SUPPORT IDENTIFICATION AND

PRESERVATION CHART
Appendix B: Media/Support Identification and Preservation Chart
Appendix C. Standard Series for Architecture and Landscape Design Records: A Tool
for the Arrangement and Description of Archival Collections
APPENDIX C. STANDARD SERIES FOR ARCHITECTURE AND

LANDSCAPE DESIGN RECORDS
Appendix D
APPENDIX D. ORAL HISTORY QUESTIONS
Yamasaki Oral History Interview Questions
The following list of questions was prepared directly as a result of the needs assessment
analysis conducted from May through October 2010. These questions apply to both
Yamasaki’s life and work and to gather information useful for the historical
underpinnings for the Yamasaki Collection.
How did you meet Minoru Yamasaki? What was your personal or professional
interaction with him?
Talk me through the Yamasaki firm’s process of working with clients from beginning to
end. Did this change over time? How did this change for the firm after Yama’s death?
What was Yama’s philosophy of architecture?
What was Yama’s process of design? What was the firm’s process of design after his
death? Was the process different for each project manager?
How did Yamasaki interact with clients?
How did he interact with staff?
How much collaboration existed with staff on project design and implementation?
What was the approval process for designs?
What media/supports were used for presentation?
Did the firm hire out renderings or do them in-house? Who?
Did you have a model maker on staff?
Explain how models are used? Are they simply for presentation or used in design? If
used in design, explain to what extent?
How long were models kept at the firm after completion of the project?
Were they routinely cannibalized? WTC 100+ model schemes as example.
What do the models teach us about the design approach of Yama and the firm over time?
What happened to all the models. Were they scavenged for new projects?
Appendix D
How did such extensive use of models impact the profit margin? Were these paid for by
clients?
The King Fahd International Airport passenger flow model is an amazing document.
How was it made? Compare the production costs vs. the information it provided to the
firm or the client?
Who ran the business side of the office?
How were the photo files generated? Did you have an in-house person? Who?
How was Balthazar Korab involved in your design/and or photography?
Explain the Korab photograph portfolio marketing project.
How did Korab’s relationship with Yamasaki change over time?
Describe and identify his relationship with other photographers?
What was the arrangement with photographers for use of images? Who owns the
copyright?
There are several examples of records of other firms in your files. These were sometimes
used as base documents for alterations to building. Were these borrowed or given? Were
the copyrights signed over to the Yamasaki firm?
Did the Yamasaki firm ever register its drawings with the U. S. Copyright Office?
How did the firm track project charges?
Yama worked all over the world. How did he secure these projects?
What percent of your work was from RFPs?
What percent of RFPs did you win?
What were the costs to office of RFPs?
List the firm’s staff, their roles, and appropriate years of employment.
Describe the apprentice system at the firm if there was one. Why were young architects
attracted to him? When did they decide to move on?
Appendix D
Who were the major architects who apprenticed with the firm? What is their contact
information?
Did Yama hire staff based on certain skills like model making, working drawings,
sketching or did everyone do everything?
Many of the KFIA presentation drawings have a sepia-focused color palette. Why was
this choice made? Did the firm prefer a certain color or media for drawings?
What was your process for making these drawing?
Did everyone make presentation drawings? Did you use a hired delineator? Who was
DiVito?
Did Yama do presentation drawings? What about sketches? At what point did he stop
making sketches?
How were projects assigned to the staff?
How did the Yamasaki firm manage oversees projects? Did you partner with local firm?
How did you overcome language barrier of spoken and written communication for these
overseas ventures?
What percentage of proposed projects were never realized
Do you have a list of projects actually completed after 1992 (job list goes through 1992).
KFIA and Central Province Airport had over 300 presentation drawings. This is unusual
even for a project of this size. Were these required of the Saudi government for
documentation? Did you have to go through numerous levels of approvals that required
such detailed representation of your ideas? Was this standard practice for the firm?
Describe the firm’s marketing process? How were the Korab folio books used?
Describe the”D” Files (Project Development Files). Why were these created?
Historians say often that one of the reasons for the narrow windows at WTC is Yama’s
fear of heights. What is the story behind this? Where was he quoted saying this?
It appears the proposals that were not won were kept with marketing files. Why?
What is the reason the limited Yama documentation survives?
How was the decision made to destroy the Yama material in off-site storage?
Appendix D
What was the reason behind My Life in Architecture? Was he already ill at this time?
At what point was Yama no longer actively involved in the firm? Was this due to his
illness?
What relationship did Yamasaki have to area firms like Eero Saarinen both personally
and professionally?
What was the illness in the 1960s that caused 4 operations in a few months and caused
his temporary addition to morphine re refers to in A Life in Architecture? Did the ulcer
from the 1950s return?
Tell us about Yama’s final illness and his reaction to treatment. What type of cancer did
he have?
Was he optimistic about treating the cancer?
What kind of support system did he have during his illness?
What was the relationship between Yama and his first wife, second, children?
Is second wife Peggy Watty still alive? Where can she be contacted?
What is the name of the third wife and where can she be contacted?
What were Teruko (Teri) Yamasaki’s life pursuits in addition to teaching piano to gifted
students? Tell us about her life including after Minoru Yamasaki’s death in 1986 until
her death on November 10, 1997. Was she also known as a poet and translator?
How did Yama react to criticism of his work for example in St. Louis (Pruitt-Igoe) and
WTC?
What impact did Yamasaki have on the built and environment?
Why have there not been many books on Yama since his death other than on his
connection to WTC?
Did you know anything about the Yamasaki siblings?
What happened to his parents after the war? Did they return to the Seattle area? Where
are they buried?
Has a Yamasaki family genealogy been prepared?

Appendix D
Do you have a copy of one of the three published Minoru Yamasaki bibliographies?
Would you be willing to donate it to the Archives of Michigan?
Yama was in a car accident in 1973. What happened?
What happened to missing Yama books in his collection?
Charles Jencks, author of The Language of Post-Modern Architecture singled out the
exact moment of Pruit-Igoe’s destruction at 3:32 PM on July 15, 1972 as the “death of
modern architecture.” Why is this true or false?
How did Yamasaki use his firm-based library: for reference, inspiration, what?
Were other books added to his library after death?
Did others use his library before/after his death?
What were his ten favorite books?
There is almost no literature among library except for Emerson which doesn’t look used.
Where these kinds of materials in his home library?
What happened to the records of Yama’s work with other firms (ie. Smith, Hinchman,
and Grylls, etc.). What about the Hellmuth, Yamasaki, Leinweber materials. There are
about 1500 slides and a few photographic prints but not much else. Are these records
extant?
Did the firm routinely dispose of records according to Michigan Statute of Repose or
were they generally kept until space ran out?
Did Yama speak Japanese with family, colleagues? What did he do to maintain his Nisei
culture?
Did Yama engage in any leisure activities besides doing watercolors?
Where are his personal watercolors?
Describe his process of making watercolors and when that would occur?
Describe Yama’s detailed control of projects.
Describe the cult of adoration about Yama.
In July 1960, Yama was selected of the ten “Most Exciting Men in Detroit,” by the
Detroit Sunday Times. His life was often discussed in the society columns and he
Appendix D
received much international acclaim and recognition. How did this adoration affect him
personally?
Explain how the adoration around him affected his personal family life?
Did Yamasaki have any behaviors that caused him problems with his family or
colleagues?
During the late 1950s and again after Terry and Yama remarried, they appeared to be the
darlings of Detroit society. They received a lot of newspaper coverage. Why?
How did Terry continue her work as a pianist after marriage? She commented in an
article in 1959 that Yama had asked her to reduce her teaching load. How did she react
to this and to his other expectations about her time and role?
The 1963 article in Time magazine says Yamasaki split with Leinweber in 1954 only
months after his near-death experience with a bleeding ulcer. Is this correct? The AIA
Architecture Directory places this change in 1959.
What is the legacy of the post-1986 Yamasaki firm?
Architectural Records Roundtable questions
The architectural record roundtable of the Society of American Archivist was solicited
for oral history questions in October 2010. These questions are as follows:
1. Yama worked himself up out of poverty, lived the pain of racial

discrimination, and spoke out against the Vietnam War in deep support
for his son. What do you know about this and his feelings about the Vietnam war?
2.) Did he ever lose sight of himself in the swirl of adoration around him?
3.) His co-workers seemed to remain very loyal to him – was that for the
man as well as the great architect?
4.) What was one quality about Yama that separated him from the other,
many talented architects of the time?
5. Did Yama ever get “writers block”? If so, how did he overcome that
under the constant pressure of deadlines?
6. What was Yama like to work with under high pressure – i.e. did he
lean on his employees for support, did he retreat and solve the
problems himself?
Appendix D
7. Was there a colleague or friend that Yama truly confided in?
8. In the end, what of his work projects was he most proud?
9. I've wondered if Yamasaki was interested in the industrial fabrication of architectural

elements. His Japanese background would have made him familiar with the modular
structure of traditional Japanese life with buildings being determined by the 6 X 3 tatami
mat and the 14" width of looms that determined clothing construction--which pre-
supposes a tightly organized society.
10. I am struck by the "pre-fab modular" look of his World Trade Center and Michigan
Gas Company buildings with the facades being made of seemingly identical panels. That
pre-fab concept would increase efficiency and decrease costs of construction allowing for
the option of more building within the budget (taller, like the World Trade Center) or
more luxe details (marble panels a la the Michigan Gas Company building). Just
wondering how much that concept was discussed or was implicit in Yamasaki's group.
11.) Why did Yamasaki and Joseph Leinweber’s partnership end in 1958? Is this the
correct date?

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THE YAMASAKI COLLECTION

December 30, 2010

©Tawny Ryan Nelb

IX. CONSERVATION ISSUES....................................................................................... 47

Tawny Ryan Nelb

After shipping the material to

MSHPO and Archives of Michigan Staff

III. MINORU YAMASAKI BRIEF BIOGRAPHY

Those summers in Alaska left an indelible mark. He experienced drudgery, harshness,

On December 5, 1941, he married Teruko (Terry) Hirashiki, a Juilliard piano student

In 1949, he established an independent partnership with George Hellmuth and Joseph

Meanwhile, Yamasaki’s constant commute to St. Louis, occurrence of near-fatal stomach

Urban Redevelopment Plan, St. Louis, MO, 1952

World Trade Center, New York, NY, 1962-1976

Architecture is a fascinating and unique profession that, in its ideal,

He wanted his building designs to evoke “serenity, surprise, and delight.”42

His most famous building is arguably the World

The module is so small, and the 22-inch-wide windows so narrow, that

Many look to the World Trade Center as

IV. MINORU YAMASAKI LEGACY

In addition, “The Port Authority is

Jürgen Joedicke. A History of Modern Architecture, (NY, NY: Frederick A.

John Jacobus. Twentieth-Century Architecture: The Middle Years 1940-65, (NY,

Wolf Van Eckardt, ed. Mid-Century Architecture in America: Honor Awards of

Arthur Drexler. Transformations in Modern Architecture (NY, NY: Museum of

 The firm’s change after Hellmuth’s

 Popular versus critical acclaim. Noted

 Provincialism in architecture. His firm’s Midwestern location presents

 Critics’ impact on architectural practice and credibility. Charles Jencks, author of

 Firm survival after the death of its principal;

 Successor firm credibility;

 Change in successor firms design focus;

 Impact of recessions on architectural practice;

 Impact of management change; and

 Individual design projects

V. PRE-1986 YAMASAKI VERSUS LATER YAMASAKI

 The nature of the firm’s recordkeeping;

 The collaborative nature of architecture;

 After Hellmuth’s departure, Yamasaki and Leinweber continued together until

 Yamasaki-designed projects were often renovated by the successor firm and

A. Summary of Record Types/Percentages Based on May-October 2010 Survey

MATERIAL YAMASAKI YAMASAKI TOTALS YAMASAKI YAMASAKI

(of these 1,211 are for the (more drawings in

MATERIAL YAMASAKI YAMASAKI TOTALS YAMASAKI YAMASAKI

VI. FULL SURVEY

As requested, an attempt was made to identify specific building projects represented in

VII. SURVEY ANALYSIS

Following is an analysis of the materials in the Yamasaki Collection.

a.) 4 x 5” Color Negatives, Transparencies, and Prints

For identification purposes, the

second two the order in which the

As mentioned, images of project 4 x 5” Color Transparency Labels

Some of the photo documentation of

Presentation drawings are labor-

b.) 105 mm Microfilm

Slide Trays and Slide Drawers

The slide tray numbers begin with the oldest

Slide labels are composed of two sets of numbers:

1000: Drawings and plans,

There is a slide inventory for both the trays and drawers

Although there is some duplication of what the images

Minoru Yamasaki in His Office in Troy, MI

Yamasaki Model Maker

World Trade Center