In his new book, Minnesota Modern: Architecture and Life at Midcentury, author Larry Millett reminds readers: “Midcentury modernism was more than just a style. At its heart, it offered the prospect of a world unchained from the past. Behind the movement lay a whole way of thinking about how to live, work, and play in the new suburban communities that sprang up after World War II.”
Perhaps never more so than in Minnesota, where a burgeoning, postwar population in the Twin Cities of Minneapolis and St. Paul began to sprawl beyond city boundaries across the fields and prairies, in large part because of the tract houses built quickly and inexpensively by Orrin Thompson Homes. Young couples could afford to marry and raise families in the new ramblers and drive their new cars on new highways connecting their cookie-cutter suburbs with new shopping malls and office buildings.
In fact, Millett opens his book with a 1953 image of Minnesota’s first cloverleaf highway interchange, built in 1937 just outside of Minneapolis in a soon-to-be first-ring suburb. There’s an argument to be made here: that midcentury modern—the good, the bad, and the ugly—is suburban. In his book, however, he covers not only modest suburban ramblers, but also how the reach of midcentury modern encompassed a remarkable array of architectural typologies in locations (rural, suburban, and urban) throughout the state—consider Marcel Breuer’s church at Saint John’s Abbey and University (Collegeville); Eliel Saarinen’s Christ Church Lutheran (Minneapolis); Eero Saarinen’s IBM Building (Rochester); the Northwestern National Life Insurance Building by Minoru Yamasaki (Minneapolis); and Victor Gruen’s Southdale Center (Edina), the first enclosed shopping mall in the United States. Midcentury modern also encompasses Ralph Rapson’s Guthrie Theater (razed), along with such no-less-venerated venues as the Terrace Theatre in Robbinsdale (mothballed), the now-iconic Dairy Queen in Roseville (still dishing up soft serve), and St. Paul’s Porky’s Drive-In (razed).
In addition to the square, affordable rambler, midcentury modern birthed other housing types, from the long, one-level ranch house, to compact metal Lustron homes, to the flat-roofed, glass-walled, open-plan, architect-designed residence. Millett includes 12 such “high-style” homes throughout Minnesota—by Frank Lloyd Wright and Twin Cities’ architects Elizabeth Close, Ralph Rapson, and Gerald Buetow, among others. But his investigation goes even deeper.
As Millett also points out, midcentury modern, which dominated architecture and design from about 1945 to the late-1960s, “penetrated like oil into the social, political, and cultural machinery of the times.” So while delving into these projects and more in a nearly 400-page book rich with photography and illustration, Millett also places Minnesota’s love of midcentury modernism in a broader context.
He traces Minnesota’s development and practice of midcentury modernism to three sources or “strains.” One was the work of such European architects like Adolf Loos, Ludwig Mies van der Rohe, Walter Gropius, Marcel Breuer, Rudolph Schindler, Richard Neutra, the Saarinens, Alvar Aalto, and Le Corbusier (“who was very fond of American concrete grain elevators, a building type invented in Minnesota in 1989”). Millett describes how these architects’ work and influences, combined with elements of art deco and art moderne, produced such Minnesota architects as Rapson—a proponent and practitioner of the International Style.
California’s ranch houses (even though their emphasis on outdoor living didn’t translate well in Minnesota’s tough winter climate) and the corresponding commercial version (affectionately named Googie) were the second source of influence. A third strain apparent in Minnesota’s midcentury modernism was the work of Frank Lloyd Wright, particularly his Usonian houses. Millett goes on to add that materials developed during World War II—laminated wood trusses that were used instead of steel, as well as prefabricated structures and prestressed concrete—also influenced the design and construction in midcentury modernism in Minnesota and elsewhere.
Despite these influences, Millett stresses that, “midcentury architecture in Minnesota was mostly a homegrown product.” Today, many of buildings designed by local and regional architects are sorely in need of preservation. The former architecture critic for the St. Paul Pioneer Press, Millett is an architectural historian whose previous books include Lost Twin Cities and Once There Were Castles: Lost Mansions and Estates of the Twin Cities. Both books, as their titles suggest, discuss the architectural treasures Minnesota has lost to the wrecking ball.
Millett’s new book concludes with a call to action. Though the “architectural legacy of the midcentury era in Minnesota is decidedly mixed,” he writes, citing instances of “drably utilitarian” public buildings, “excesses of urban renewal” in Minneapolis and St. Paul, and ill-planned suburbs, “the time has come to look at ways to protect significant works of the period.” Many of these works are now eligible for National Register of Historic Places designation.
What need to be saved, Millett continues, are not just individual “high-style homes” and the churches that have become “masterpieces of American architecture,” but entire neighborhoods of midcentury residences. The problem, he continues, is that “architectural modernism, especially in its high-style manifestations, has always had an elitist aura, and the general public has never really warmed to it.”
Minnesotans, with their no-nonsense approach, nonetheless cultivated a singular midcentury sensibility worth saving.