Christa Carr, Glass House communications director, told ArchiExpo e-Magazine the story behind its creation. Listen to the Soundcloud clip below for the exclusive interview.
Glass House by American architect Philip Johnson
Interview by journalist Vanessa Liwanag for ArchiExpo e-Magazine
Soundcloud image credit: Photo by Michael Biondo
Source by Erin Tallman
Recorded: February 2, 1995
Featuring Philip Johnson, I.M. Pei, and David Rockefeller, moderated by Jonathan Barnett
In February 1995, the Architectural League presented three panel discussions to mark the occasion of the publication of New York 1960: Architecture and Urbanism from the Second World War to the Bicentennial (Robert A.M. Stern, Thomas Mellins, and David Fishman). This is an excerpt one of those discussions.
More information is available at archleague.org.
Source by The Architectural League
In the late 1950s, some of the world's most prominent architects gathered in Berkeley, California, to take part in a landmark psychological experiment on creativity and personality. Eero Saarinen, Philip Johnson, Richard Neutra, William Pereira and dozens of other architects were put through a barrage of tests and surveys, to gain a better understanding of what creativity is, and its place in architecture. They also rated one another, and in the process exposed not only exposed their egos honestly, but also their insecurities.
For the first time, the story behind the study (along with its data and results) have been made public, in 'The Creative Architect', by architect and author Pierluigi Serraino. Amelia spoke with Serraino about the context of psychological research in the 1950s and the evolving personality behind being a “creative” architect.
Source by Archinect
Architecture writer and historian Hugh Howard has written many books on American architecture, telling stories that meld design and cultural history together in highly accessible and humanistic ways.
His latest book, "Architecture's Odd Couple: Frank Lloyd Wright and Philip Johnson", tracks the fruitful and contentious relationship between the two architectural frenemies—beginning with Wright’s role in Johnson’s pivotal “Modern Architecture” exhibition at MoMA in 1932, up until Wright’s death in 1959. Through their relationship, Howard provides an excellent overview of midcentury architecture's context in the United States, and personalizes the architectural giants in the process.
Source by Archinect
Lecture date: 2009-01-13
The history of the modern window is the history of communication: Le Corbusier's horizontal window is unthinkable outside of cinema, the Eames House unthinkable outside of the colour slide, and the midcentury picture window unthinkable outside television. In each case, the ambition to dissolve the line between inside and outside is realised by absorbing the latest realities of communication. Today, new forms of advanced surveillance technologies operate in the city, and these models of vision act as new paradigms. The glass box has become something else altogether.
Beatriz Colomina is Professor of Architecture and Director of the Program in Media and Modernity at Princeton University. Her books include Privacy and Publicity: Modern Architecture as Mass Media and Domesticity at War.
Brett Steele introduces Beatriz Colomina.
BEATRIZ COLOMINA: Thank you very much, it’s very exciting to be here at the AA, and I was just thinking that it was here where I first lectured outside the United States, on what would later become my article on Loos and the windows, given here on the last sprint of Alvin Boyarsky.
I’m going to talk about the glass pavilions between let’s say, Philip Johnson and Mies van der Rohe, and SANAA. I’m going to put that in context of technologies of communication, and technologies of surveillance. In fact, this question of the relationship with glass and the technologies of communication has been an ongoing inspiration, so to speak, in my research, a thread. The history of the modern window, for me, it’s a history of communication. Le Corbusier’s horizontal window, for example, I think it’s completely unthinkable outside cinema, not only did Le Corbusier think that film was the best way to represent modern architecture, but the frame itself, the way we see the world, if you think of architecture as a machine to see—is unthinkable outside the cinematographic frame. Likewise, I have tried to demonstrate quite recently that the Eames house is unthinkable outside the colour slide that was introduced during this years, and made possible for them to make thousands and thousands of colour slides of their house, and this is the way in which it’s represented, in this kaleidoscopic view of colour slides. The picture window at mid century is unthinkable outside television, that is in each case the case the ambitions of modern architecture to dissolve the line between inside and outside, by absorbing the latest technologies of communication. So, if communication is always about bringing the outside in, for example when reading a newspaper, to bring in world events into your life, or getting the inside out, by sending a letter. It’s quite beautiful in this advertisement of 1950 windows in America, that there is precisely a mailman bringing a letter. So, if communication is about bringing the outside in or the inside out, it will seem as if glass represents this act of communication. It is almost as if the glass, takes more and more of the building, as the systems of communication become more and more fluid. Having dissolved the wall into glass, the question becomes how to dissolve the glass itself, into a delicate line between inside and outside. It is the relentless quest for greater fluidity between outside and inside s no longer as simply driven towards transparency, but as we will see with SANAA, the glass box has become something else altogether. So, to show this I will like to go back to the glass house at mid century, the glass house of Philip Johnson and then move from there to the glass house of today, as represented in the world of Kazuyo Sejima. So lets go back to Philip Johnson: the first thing that comes to mind when you think of Philip Johnson is the glass house, but I’m going to introduce another question here, which is methodological: what if instead of relying on his 1950s article where he gives us all the laundry list of the influences that Boulé influenced him, that he copied from Mies, that all the sources, all the mountains of articles accumulated over the years about this house—what if instead of all of this, we take the 20 to 30 television programs that Johnson did in the course of his life? So the hypothesis is: what if the glass house was made for TV? What if Johnson was himself made for TV? I’m going to pass you a clip of one of these TV programs. [Shows clip].
Two really persistent dreams of the 20th century, that of the glass house and of television, were finally realized at around the same time and around the same place: the suburbs of America. Experimental glass with glass fantasies have been playing a role in science fiction, and also in modern architecture since at least the mid 19th century, only by mid 20th century was the dream finally in
Learn design with Doug Patt at his live virtual webcam studio. http://howtoarchitect.com/designstudio
Philip Johnson designed a house for Alice Ball in New Canaan, Connecticut in 1953. The Ball Residence is historically significant because it was built immediately following the completion of the Philip Johnson's Glass House. Johnson was friends with a number of notable artists and architect's like Andy Warhol, Mark Rothko, Jasper Johns, Donald Judd, and in particular Mies Van Der Rohe who's considered one of the fathers of modern architecture. Van Der Rohe had a profound effect on Johnson's work. The Ball residence is an example of where that influence is apparent. The residence is rational, minimal and looks to some of Van Der Rohe's sensibilities in its clarity. The building sits on a 2.2 acre, partially wooded lot on the most coveted street in New Canaan - Oenoke Ridge Rd. The landscape and interiors blend beautifully as the division between exterior space and interior is obscured through areas of glass. The spaces are vibrant and delicately detailed. The property can be used as a home, corporate retreat, show house, or backdrop for still photo shoots and motion picture imagery. The buildings elegant detailing is unparalleled for displaying modern products. It's perfect for corporate public relations and philanthropy events or as a historical museum. The home is located at 523 Oenoke Ridge Rd. in New Canaan, CT. For more information please contact Phil McIntyre at the Brand Gallery (on screen - 203 422 3890) and visit Sotheby's dedicated website at http://www.philipjohnsonmodern.com/
Built between 1949 and 1995 by architect Philip Johnson, The Glass House in New Canaan, Connecticut, has become a place of pilgrimage for lovers of modern and contemporary painting and sculpture. Its position as an art mecca comes thanks to the patronage of its owners, Johnson and his partner, American art critic and curator David Whitney, who both passed away in 2005. Designed initially as Johnson’s residence, the site grew to house the couple’s ever-growing art collection, which includes pieces by Donald Judd, Bruce Nauman and Julian Schnabel. Read more on NOWNESS - http://bit.ly/2uik88I
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