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Until now, however, that house has not been looked at in the context of Johnson's many other house projects. This book, the first to comprehensively survey Johnson's residential work, not only brings to light a largely neglected side of Johnson's achievement, but freshly illuminates his entire career."--BOOK JACKET.
A "smoothly written and fair-minded" (Wall Street Journal) biography of architect Philip Johnson -- a finalist for the National Book Critic's Circle Award. When Philip Johnson died in 2005 at the age of 98, he was still one of the most recognizable and influential figures on the American cultural landscape. The first recipient of the Pritzker Prize and MoMA's founding architectural curator, Johnson made his mark as one of America's leading architects with his famous Glass House in New Caanan, CT, and his controversial AT&T Building in NYC, among many others in nearly every city in the country -- but his most natural role was as a consummate power broker and shaper of public opinion. Johnson introduced European modernism -- the sleek, glass-and-steel architecture that now dominates our cities -- to America, and mentored generations of architects, designers, and artists to follow. He defined the era of "starchitecture" with its flamboyant buildings and celebrity designers who esteemed aesthetics and style above all other concerns. But Johnson was also a man of deep paradoxes: he was a Nazi sympathizer, a designer of synagogues, an enfant terrible into his old age, a populist, and a snob. His clients ranged from the Rockefellers to televangelists to Donald Trump. Award-winning architectural critic and biographer Mark Lamster's The Man in the Glass House lifts the veil on Johnson's controversial and endlessly contradictory life to tell the story of a charming yet deeply flawed man. A rollercoaster tale of the perils of wealth, privilege, and ambition, this book probes the dynamics of American culture that made him so powerful, and tells the story of the built environment in modern America.
The first authoritative book on the history of the Glass House property—Philip Johnson’s fifty-year project of iconic modernist design, encompassing the remarkable buildings, landscape, and follies. From its completion in 1949 to the present day, Philip Johnson’s Glass House has drawn cognoscenti and the curious from around the world to New Canaan, Connecticut, to experience what might be the most photographed modernist residence in America. The property—an architectural playground on forty-seven acres with eleven Johnsonian follies dating from 1949 to 1995—is an icon of twentieth-century architectural and landscape design. The book chronicles how Philip Johnson and David Whitney, the architect and the plantsman, lived on the property for decades and used the landscape as an ever-changing canvas for their designs—the result of a unique synthesis of influences and ideas from across history and geography. New research reveals Johnson’s and Whitney’s interaction with the landscape and the evolution of the site from a five-acre parcel to a world-renowned gentlemanly estate for modern times. The Philip Johnson Glass House—beautifully illustrated with vintage and commissioned photography—will be a must-have for connoisseurs of architecture, landscape design, photography, and social history.
In architectural terms, the twentieth century can be largely summed up with two names: Frank Lloyd Wright and Philip Johnson. Wright (1867–1959) began it with his romantic prairie style; Johnson (1906–2005) brought down the curtain with his spare postmodernist experiments. Between them, they built some of the most admired and discussed buildings in American history. Differing radically in their views on architecture, Wright and Johnson shared a restless creativity, enormous charisma, and an outspokenness that made each man irresistible to the media. Often publicly at odds, they were the twentieth century's flint and steel; their repeated encounters consistently set off sparks. Yet as acclaimed historian Hugh Howard shows, their rivalry was also a fruitful artistic conversation, one that yielded new directions for both men. It was not despite but rather because of their contentious--and not always admiring--relationship that they were able so powerfully to influence history. In Architecture's Odd Couple, Howard deftly traces the historical threads connecting the two men and offers readers a distinct perspective on the era they so enlivened with their designs. Featuring many of the structures that defined modern space--from Fallingwater to the Guggenheim, from the Glass House to the Seagram Building--this book presents an arresting portrait of modern architecture's odd couple and how they shaped the American landscape by shaping each other.
Philip Johnson designed some of America’s greatest modern architectural landmarks—most notably the Glass House. This new publication, with a foreword by Paul Goldberger and essay by Philip Johnson, presents an exclusive tour of the Glass House, its grounds, treasures, and patrons, and honors the legacy of one of modern architecture’s most famous creations. Johnson’s private residence on forty-seven acres in New Canaan, Connecticut, which opened to the public in 2007, preserves some of the most exciting innovations in the fields of architecture, art, and landscape design, executed under the tutelage of Johnson and partner David Whitney over the course of nearly fifty years. This book serves as a virtual visit to the modern masterpiece and its grounds. Included are photographs of the interiors and exterior facades, as well as snapshots of Johnson and guests on the premises. An introduction to the work of Philip Johnson, The Glass House appeals to visitors of the house and enthusiasts of modern architecture and design.
Architects Philip Johnson, Marcel Breuer, Landis Gores, Eliot Noyes, Edward Durell Stone, and others created an extraordinary collection of modern houses in New Canaan, Connecticut, in the 1940s and 1950s. The bucolic New England town—a suburb of Manhattan—became the site of fervent experimentation by some of the leading lights of the movement in the United States, the architects known as the Harvard Five, whose modern aesthetic could be traced to the Bauhaus school of design. There they promoted their core principles: simplicity, openness, and sensitivity to site and nature, and built glass, wood, steel, and fieldstone houses that established architectural modernism as the ideal of domesticity in the twentieth century. Architects Jeffrey Matz and Cristina A. Ross, photographer Michael Biondo, and graphic designer Lorenzo Ottaviani present this vanishing generation of iconic American houses as more than an issue of restoration or preservation, but as an evolving legacy that adapts to contemporary life. Selecting a representative group of sixteen houses covering the period between the 1950s and 1978, they portray each one in great detail, with floor plans, timelines, and both archival and luminous new photography—from the clean, minimalist look of the initial construction, to subsequent additions by some of the most significant architects of our time including Toshiko Mori, Roger Ferris, and Joeb Moore. Voices of the architects and builders, original owners and current occupants combine to describe how the houses are enjoyed and lived in today, and how the modernist residence is more than just a philosophy of design and construction, but also a philosophy of living.
Famous for its transparency, the Philip Johnson Glass House--the icon of modernism that Vincent Scully called "the most conceptually important house of the century"--has nonetheless proven vexingly opaque to interpretation. Its architect, Philip Cortelyou Johnson, has been equally elusive, a polarizing and influential cultural figure on whom no psychological character study yet exists. In her new book, Adele Tutter addresses both enigmas. Dream House: An Intimate Portrait of the Philip Johnson Glass House reveals how this superficially nonrepresentational physical structure encodes aspects of its architect's aspirations, motivations, and conflicts--how it acts as a veritable self-portrait of his inner world. An envious, vulnerable man emerges from this intimate synthesis. Fearing he lacked talent or genius and possessing a character prone to fragmentation, Johnson perpetually searched for a dominating mentor or style to bolster his sense of self and help organize his chaotic inner world, while concealing the forbidden sense of greatness with which he justified his desire for power and influence. Tutter's analysis reconciles the contradictory forces in a man who was both a one-time advocate of Hitler and a humanist homosexual, a dogmatic modernist and an errant postmodernist.Through its rigorous, radical reappraisal of the Glass House, this book paints a fresh and psychologically revealing portrait of the man who built it.
The most influential work of architectural criticism and history of the twentieth century, now available in a handsomely designed new edition.
The past decade has witnessed the realization of Philip Johnson and John Burgee's most innovative buildings in their eighteen-year professional collaboration. No single architectural team has had a stronger impact on the shape of the American skyline. Their impressive output makes an updated volume on their work timely and welcome, both to the architectural community and to the interested public. The twenty-five projects featured in this volume include high-rise office buildings and urban complexes, colleges and cultural centers, commercial and religious monuments. A distinctive and highly varied repertory emerges: the Romanesque ensemble of the New Cleveland PlayHouse; the neoclassical AT&T building in NewYork City; a mansard-roofed skyscraper in San Francisco (adorned with classical statues); the Dutch-gabled Republic Bank Center in Houston; Boston's "village of skyscrapers," International Place at Fort Hill; and that major twentieth century space in Garden Grove, California- the steel and glass Crystal Cathedral. The volume also features buildings currently in production and under construction, such as the triple-tiered, oval-shaped office building on Fifty-third Street and Third Avenue in New York, a very creative manipulation of the New York City zoning laws and the new home of John Burgee Architects with Philip Johnson.The illustrated main text is supplemented by a chronological index providing in capsule form a history of their major built projects -- from dust jacket.