In this thread I hope to shed light on the legacy of the architect selected by the Port Authority to design the World Trade Center, and to show his
selection was likely thanks to his being a compliant government asset specifically selected to design towers that were built to be destroyed.
Yamasaki’s history supports this premise:
1. During a time when other Japanese-Americans were being rounded up and put in cages, Yamasaki moved freely throughout the country.
2. Shortly after the war he designed buildings for the government and the CIA among others. Yep, he even designed a Federal Reserve Bank Building.
3. He had a reputation for designing buildings to the specifications of the client, whether or not they made sense. He was discreet and compliant.
The WTC’s history supports this premise as well:
4. The WTC appears to have been built to make a statement rather than to provide office space. That statement provided a pretext for another CIA
asset, Osama bin Laden to publicly declare war against the USA; which in turn gave the USA the pretext to invade the world.
Much has been written about Minoru Yamasaki, the architect for the World Trade Center; and much of it is not flattering.
BLAST FROM THE PAST
Minoru Yamasaki will forever be remembered alongside America’s most profound architectural disaster. Whatever he was before 2001—which was
dead, maligned, and mainly sliding away into obscurity—he is forever after the designer of the most ambitious modern structure ever to end up as a
During WWII, when most Japanese-Americans were being rounded up and put in cages, Minoru Yamasaki was able to roam freely. Details are few as to why
Yamasaki was granted freedom over so many others, but it seems he can thank the firm he worked for at the time:
In 1945, Yamasaki moved to Detroit, where he was hired by Smith, Hinchman and Grylls. The firm helped Yamasaki avoid internment as a
Japanese-American during World War II. He also sheltered his parents in New York City during this time. Yamasaki left the Detroit firm in 1949 and
started his own partnership.”
The accounts don’t explain HOW Smith, Hinchman and Grylls “helped Yamasaki avoid internment”, but perhaps a glimpse into the firm’s work will
give us a clue:
“The New (CIA) Headquarters Building was designed in the early 1980s by the Detroit architectural and engineering firm of Smith, Hinchman &
So Yamasaki was spared WWII internment with the help of an architectural firm that went on to design the headquarters of the CIA. It pays to have
friends in high places.
After the war he abandoned the firm that “helped” him avoid incarceration and started “Yamasaki and Associates” in 1949; how’s that for
gratitude? He went on to design the U.S. Consulate in Kobe, Japan and in 1961 the Dhahran Air Terminal in Saudi Arabia, but don’t mistake Saudi
Arabia for the United States:
“If postwar America became, in the words of Harvard anthropologist Enseng Ho, “an empire without colonies,” then Arabia was certainly part
of that invisible empire. We Americans built Aramco, built the company towns of the Eastern Provence, built the Dhahran air base…
…The Saudi intelligence apparatus is modeled after our CIA – and for decades American intelligence officers, often embedded inside Aramco, were
the closest of advisers to the king.
…We aligned ourselves with Wahhabi royalists and against secular Arab nationalists, and when the House of Saud was threatened by Saddam Hussein’s
occupation of Kuwait in 1990, we sent an army of half a million Americans to defend the Kingdom. All of this was done because of our desire to
control Arabian black gold.”
When Yamasaki was selected as architect for the WTC, Yamasaki and Associates was a relatively unknown firm which once selected raised eyebrows, and
not just because of his lack of notoriety. The firm’s experience was called into question:
Carol Willis, Historian: Yamasaki was a very strange choice for the architect of the world's tallest buildings, because he had never been a
commercial architect, and especially of skyscrapers or of high-rises -- his previous buildings had been mid-rises of 20 or so stories. He was not one
of those architects who was particularly emphatic about a structural engineering solution. One thinks of his earlier work more in a decorative vein.
He was interested in the play of light and shadow on the surface of a building. So that his previous buildings seemed almost delicate in scale, and
wholly out of proportion to the ambition of the commission of the Trade Center.”
“Paul Goldberger, Architecture Critic: He felt that sort-of standard issue modern architecture was harsh and unwelcoming and cold. And he wanted to
make architecture warm. So he kept doing these buildings that were sort of delicate. A lot of his stuff had these funny little gothic arches and it
looked kind of cute, in a weird way.”
“Paul Goldberger, Architecture Critic: They thought they were actually making kind of a leap to a sort of "high art" architect. Yamasaki was
actually a kind of low-end "high art" architect. He was not one of the more admired ones by architectural historians and critics, but he was
nonetheless sort of somewhere in the bottom of that group. And this was of course for him the opportunity of a lifetime.”
Out of the 12 firms considered, it was Yamasaki’s that was awarded the gig, and it doesn’t take much digging to find out why; because he would do
as he was told:
Eric Lipton, New York Times Reporter: They also wanted someone who was not so old and established and also set in his ways that they couldn't, you
know, twist his arm and get him to agree to do what they wanted to do. They wanted someone who was creative, but they also wanted someone that was
going to listen to Guy Tozzoli and to Austin Tobin. And they got that in Minoru Yamasaki.
“Yamasaki’s designs, a sort of corporate gothic, articulated the will of the institutions that commissioned them. It was an honor to have IBM,
Consolidated Gas, the Defense Department, and the Port Authority of New York and New Jersey as his clients, even if they wanted their buildings with
no fire sprinklers, or in a no man’s land, or too tall. “Since they were the client,” he said of the Records Building in St. Louis, “we went
along with their option.” Yamasaki’s firm was selected for the design of the World Trade Center precisely because he could be counted on to be
agreeable, to accommodate the developer’s demands. It gave him ulcers, but Yamasaki made real the visions of America’s leaders—and left everyone
else to suffer the consequences.”
edit on 3-1-2012 by comprehension because: (no reason given)