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Inside Art Nyt December 4 2009 Playing Sculpture I Spy in New Yorks Cityscape

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American architect (1906–2005)

Philip Johnson
Philip Johnson.2002.FILARDO.jpg

Johnson aged 95, with a model of a privately commissioned sculpture (2002)
Born

Philip Cortelyou Johnson


(1906-07-08)July 8, 1906

Cleveland, Ohio, U.S.
Died January 25, 2005(2005-01-25) (aged 98)

New Canaan, Connecticut, U.Due south.
Alma mater Harvard Graduate School of Design
Occupation Builder
Awards Pritzker Prize (1979)
AIA Gold Medal (1978)
Buildings Drinking glass Firm, Seagram Edifice, 550 Madison Avenue, IDS Tower, PPG Identify, Crystal Cathedral

Philip Cortelyou Johnson (July 8, 1906 – January 25, 2005) was an American architect best known for his works of modern and postmodern architecture. Among his best-known designs are his modernist Glass Business firm in New Canaan, Connecticut; the postmodern 550 Madison Avenue in New York, designed for AT&T; 190 South La Salle Street in Chicago; the Sculpture Garden of the Museum of Modern Fine art; and the Pre-Columbian Pavilion at Dumbarton Oaks. In his obituary in 2005, the "New York Times" wrote that his works "were widely considered among the architectural masterpieces of the 20th century."[1]

In 1930, Johnson became the offset director of the architecture department of the Museum of Modern Art in New York. There he arranged for visits by Walter Gropius and Le Corbusier and negotiated the first American commission for Mies van der Rohe, when he fled Nazi Deutschland. In 1932, he organized the first exhibition on modern compages at the Museum of Mod Fine art.

In 1934 Johnson resigned his position at the museum, and began a career in far-right and fascist politics and journalism. He allied with American populist and anti-Semitic figures such as Charles Coughlin and the American fascist economist Lawrence Dennis, and reported favourably about the Nazis as a contributor in Germany for Father Coughlin'south newspaper "Social Justice". IN 1941, Equally the war approached, He abruptly quit Coughlin's paper and journalism. He was investigated by the FBI, and was eventually cleared for military service.[1] Years later he would refer to these activities as "the stupidest thing I ever did... [which] I never can atone for".

1978, he was awarded an American Institute of Architects Golden Medal and in 1979 the first Pritzker Architecture Prize.[2] Today his skyscrapers are prominent features in the skylines of New York, Houston, Chicago, Detroit, Pittsburgh, Atlanta, Madrid, and other cities.

Early life and career [edit]

Johnson was born in Cleveland, Ohio, on July 8, 1906, the son of a lawyer, Homer Hosea Johnson (1862–1960), and the old Louisa Osborn Pope (1869–1957), a niece of Alfred Atmore Pope and a first cousin of Theodate Pope Riddle. He had an older sis, Jeannette, and a younger sister, Theodate. He was descended from the Jansen family unit of New Amsterdam, and included amid his ancestors the Huguenot Jacques Cortelyou, who laid out the starting time boondocks programme of New Amsterdam for Peter Stuyvesant. He grew upward in New London, Ohio[3] and attended the Hackley School, in Tarrytown, New York, and then studied equally an undergraduate at Harvard University where he focused on learning Greek, philology, history and philosophy, particularly the work of the Pre-Socratic philosophers.

Upon completing his studies in 1927, he made a series of trips to Europe, peculiarly Germany, where his family unit had a summer house. He visiting the landmarks of classical and Gothic architecture, and joined Henry-Russell Hitchcock, a prominent architectural historian, who was introducing Americans to the work of Le Corbusier, Walter Gropius, and other modernists. In 1928 he met German language architect Ludwig Mies van der Rohe, who was at the time designing the German Pavilion for the 1929 Barcelona International Exposition. The meeting formed the basis for a lifelong relationship of both collaboration and competition.[4] [5]

Johnson had a substantial fortune, largely stock given to him by his father. With this fortune, in 1930 he financed the new architecture section of the Museum of Modern Art in New York, and in 1932 he was named its curator. As curator he arranged for American visits past Gropius and Le Corbusier, and negotiated the kickoff American commission for Mies van der Rohe. In 1932, working with Hitchcock and Alfred H. Barr, Jr., he organized the showtime exhibition on Modernistic architecture at the Museum of Modern Art.[6] The evidence and their simultaneously published book International Style: Modern Architecture Since 1922, published in 1932, played a seminal role in introducing modern compages to the American public.[7] When the rise of the Nazis in Germany forced the modernists Marcel Breuer and Mies van der Rohe to go out Frg, Johnson helped arrange for them to come to work in the U.s..[8]

The amount of power he yearned for was inversely proportional to the amount he actually attained. In politics, he proved to exist a trifler, the dilettante he earlier feared himself to be, a model of futility who sought to find a messiah or to pursue messianic ends but whose most lasting following turned out to be the agents of the FBI—who themselves finally grew bored with him. In short, he was never much of a political threat to anyone, all the same less an effective doer of either political good or political evil.

Franz Schulze, Philip Johnson: Life and Piece of work (1994), p.144[9]

Detour into journalism and politics [edit]

In Dec 1934, Johnson abruptly left the Museum of Modern Art and began pursuing a career in journalism and politics. He beginning became a supporter of Huey Long, the populist governor of Louisiana. After Long was assassinated in 1935, Johnson became a correspondent for "Social Justice", the newspaper of the radical-populist and anti-Semitic Father Charles Coughlin. Johnson traveled to Germany and Poland as a contributor, where he wrote admiringly about the Nazis.[ten] [half dozen] [11] [12]

In "Social Justice", Johnson expressed, as The New York Times later reported, "more than passing adoration for Hitler".[4] In the summer of 1932 Johnson attended one of the Nuremberg Rallies in Deutschland and saw Hitler for the start time. Years subsequently he would describe the event to his biographer, Franz Schulze: "Yous simply could not neglect to exist caught up in the excitement of it, by the marching songs, by the crescendo and climax of the whole thing, as Hitler came on at last to harangue the oversupply". He told of beingness thrilled at the sight of "all those blond boys in black leather" marching by the Führer.[9] : 89–90 Sponsored by the German authorities, he traveled on a printing bout which covered the invasion of Poland in 1939. Schulze dismissed these early political activities as inconsequential, last they merited "little more substantial attention than they take gained" and his politics "were driven every bit much past an unconquerable esthetic impulse as by fascist philosophy or playboy adventurism".[9] : 144, 146 [13] [10]

Architecture school and Regular army service [edit]

In 1941, at the age of 35, Johnson abandoned politics and journalism and enrolled in the Harvard Graduate School of Design, where he studied with Marcel Breuer and Walter Gropius, who had recently fled from Nazi Deutschland.[4] In 1941, Johnson designed and actually congenital his first building, a house at ix Ash Street in Cambridge, Massachusetts. The house, strongly influenced by Mies van der Rohe, has a wall around the lot which merges with the structure.[14] It was used by Johnson to host social events and was eventually submitted every bit his graduate thesis; he sold the house later the war, and it was somewhen purchased by Harvard in 2010[15] and restored by 2016.[xvi]

In 1942, while however a student of the architecture school, Johnson tried to enlist with Naval Intelligence, and then for a federal task, simply was rejected both times. In 1943, afterwards his graduation from Harvard, he was drafted to the Army and was sent to Fort Ritchie, Maryland, to interrogate German prisoners of war.[17] He was investigated by the FBI for his involvement with the German government, Coughlin and Lawrence Dennis, an American fascist economist, and was cleared for connected military service.[18] [17] After the trial of Dennis and his collaborators, Johnson was relieved of his interroggation duties and transferred to Fort Belvoir, Virginia,[19] where he spent the rest of his military service doing routine duties.[17]

Early Modernist period (1946–1960) [edit]

  • The Four Seasons' eatery of Seagram Building in its original form (1956)

In 1946, after he completed his military service, Johnson returned to the Museum of Modern Art as a curator and writer. At the same time, he began working to establish his architectural practice. He built a pocket-size firm, influenced by the work of Mies, in Saaponack, Long Island. In 1947, he published the first monograph in English on the compages of Mies. He curated the first exhibition of modern compages the Museum of Modern Art in 1947, which featuring a model of the glass Farnsworth House of Miles.[20]

In 1949 he began building a new residence, the Glass Firm in New Canaan, Connecticut, which was completed in 1949. It was clearly influenced by Farnsworth House of Mies, an influence which Johnson never denied, just looked quite different.[viii]

The Drinking glass House is a 56 foot by 32 foot glass rectangle, sited at the border of a crest on Johnson'southward estate overlooking a pond. The building's sides are drinking glass and charcoal-painted steel; the floor, of brick, is not flush with the ground simply sits 10 inches above. The interior is an open space divided past depression walnut cabinets; a brick cylinder contains the bathroom and is the only object to achieve floor to ceiling. The New York Times described information technology in 2005 as "ane of the 20th century's greatest residential structures. "Like all of Johnson's early work, it was inspired past Mies, simply its pure symmetry, dark colors and closeness to the earth marked information technology every bit a personal statement; calm and ordered rather than sleek and brittle."[4]

Johnson continued to add together to the Glass House manor during each menses of his career. He added a small pavilion with columns past the lake in 1963, an art gallery set into a hillside in 1965, a postmodern sculpture gallery with a glass roof in 1970; a castle-like library with a rounded belfry in 1980; and a concrete block tower dedicated to his friend Lincoln Kirstein, the founder of the New York Urban center Ballet; a concatenation-link "ghost house" dedicated to Frank Gehry.[iv]

After completing the Glass House, he completed ii more than houses in New Canaan in a style similar to the Drinking glass Firm; the Hodgson House (1951) and the Wiley House (1953). In New York Metropolis, He designed two major modernist additions to the Museum of Modern Art; a new annex, and, to complement it, the Abby Aldrich Rockefeller Sculpture Garden (1953)[viii]

In 1954–56, he made the pro bono pattern for Congregation Kneses Tifereth Israel, a synagogue for a conservative Jewish congregation in Port Chester, New York. Information technology had a simple interior and a ceiling of curving plaster panels. [21]

Johnson joined Mies van der Rohe every bit the New York associate builder for the 39-story Seagram Edifice (1956), along with Ely Jacques Kahn and Robert Jacobs. Johnson was pivotal in steering the committee towards Mies by working with Phyllis Lambert, the daughter of the CEO of Seagram. The committee resulted in the iconic bronze-and-glass tower on Park Avenue. The building was designed by Mies, and the interiors of the Four Seasons and Brasserie restaurants were designed by Johnson.[22] In December 1955, the city of New York denied an architect's allow to Mies. He moved back to Chicago and put Johnson fully in charge of construction. Mies returned in late 1956 and finished the edifice. In 1989, the New York City Landmarks Preservation Commission designated the Seagram Building's outside, lobby, and The Iv Seasons Restaurant equally official city landmarks. The building was added to the National Annals of Historic Places in 2006.

Tardily Modernism (1960–1980) [edit]

Throughout the 1960s, Johnson continued to create in the vocabulary of the modernist mode, designing geometrical theatres, a monastery, fine art galleries and gardens. The Munson-Williams-Proctor Arts Institute (1960) is a good case of his piece of work in the menses; it is supported by viii external ferro-physical piers, or two on each side. The exterior structural members are clad in bronze and "black" Canadian granite. The windowless cube is set above the role areas, which recessed in a dry out moat, giving a "floating" effect.[24] A model of the building was exhibited in the United States Pavilion at the Brussels' Earth'south Fair of 1958,equally an example of the new trends in American architecture. It was listed on the National Register of Historic Places in 2010.

Another major project of the flow was the Atrium of the David H. Koch Theater (formerly the New York Country Theatre, the home of the New York City Ballet, at Lincoln Middle in New York.

  • Pennzoil Place from above

  • Paley Eye for Media, New York (1991)

In 1967 Johnson entered a new phase of his career, founding a partnership with builder John Burgee. He began to design role edifice complexes for big corporations. The most prominent of these was Pennzoil Place (1970–76) in Houston, Texas. The two towers of Pennzoil Identify have sloping roofs covering the summit seven floors and are trapezoidal in form, planned to create two big triangual areas on the site, which are occupied with glass-covered lobbies designed like greenhouses. This idea was widely copied in skyscrapers in other cities.[25]

The new edifice of the Boston Public Library (1972), known as the Johnson building, adjoins the original Boston library congenital in the 19th century by the celebrated firm of McKim, Mead & White. Johnson harmonised his edifice with the original landmark by using like proportions and the same pink Milford granite.

In the late 1970s Johnson combined architecture and landscape compages to create two imaginative civic gardens. The Fort Worth Water Gardens opened in 1974, is an urban mural where visitors experience h2o in distinct ways. The gardens cover four.3-acres (one.7 hectare), and comprise three very unlike kinds of water features; One offers a quiet meditation pool, surrounded with cypress trees and loftier walls, with a thin canvas of water cascading down to the pool, making the sound of a rain shower. The 2nd pool is an aerating pool with multiple illuminated spray fountains, below a grove of oak copse. The 3rd fountain is the Agile Puddle, which challenges fit visitors to walk downward 38 feet (xi meters) to the pool at the bottom, with water cascading all around them.[26]

In 1977 Johnson completed a much quieter garden in Dallas, Thanks-Giving Square It features a non-denominational chapel in a screw form, a meditation garden and cascading fountains, tucked between buildings in the center of the city.

Postmodern Flow (1980 - 1990) [edit]

  • Interior of the Crystal Cathedral

  • Interior of the Cathedral in 2004

In 1980, Johnson and Burgee completed a cathedral in a dramatic new manner: the Crystal Cathedral in Garden Grove, California, is a soaring glass megachurch originally built for the Reverend Robert H. Schuller.[27] The interior can seat 2,248 persons. It takes the grade of a 4-pointed star, with costless-standing balconies in 3 points and the chancel in the fourth. The cathedral is covered with more than ten yard rectangular pieces of glass. The Drinking glass panels are not bolted, but glued to the structure, with a silicon based glue, to give it greater power to resist Southern California earthquakes.[28] Johnson and Burgee designed it to withstand an earthquake of magnitude viii.0.[29] The tower was added in 2009.

The cathedral chop-chop became a Southern California landmark, just its costs helped drive the church into debt. When the church declared defalcation in 2012 it was purchased by the Roman Catholic Diocese of Orangish and became the Roman Catholic cathedral for Orange County.

Working with John Burgee, Johnson did not confine himself to a single style, and was comfy mixing elements of modernism and postmodernism. For the Cleveland Play House, he built a romanesque brick structure; His skyscrapers on the 1980s were clad in granite and marble, and usually had some feature borrowed from historic architecture. In New York he designed the Museum of Boob tube and Radio, (now the Paley Center for Media) (1991).

In 1982, working in collaboration with John Burgee, he finished 1 of his most famous buildings, 550 Madison Avenue, (first known every bit AT&T Building, then the Sony edifice before taking its present proper noun). Built between 1978 and 1982, it is a skyscraper with an eight-story high arched entry and a split pediment at the elevation which resembles an enormous piece of 18th-century Chippendale furniture. Information technology was not the kickoff piece of work of Postmodern architecture, as Robert Venturi and Frank Gehry had already built smaller calibration postmodern buildings, and Michael Graves had completed the Portland Edifice (1980–82) in Portland, Oregon, two years before; Only the buildings Manhattan location, size and originality made it the nearly famous and recognizable example of postmodern architecture.[30] It was designated a urban center landmark by the New York City Landmarks Preservation Committee in 2018.

Between 1979 and 1984, Johnson and Burgee congenital PPG Place the postmodern headquarters of the Pittsburgh Plate Drinking glass Company. It is a complex of six buildings within three city blocks, covering five and a half acres. The centerpiece is the forty-story tower, One PPG Place,which has a crown of spires at the corners which suggest the neogothic belfry of the Houses of Parliament in London. During the 1980s Johnson and Burgee completed a serial of other notable postmodern landmarks. The TC Energy Eye (Formerly Republic Bank Center, later, Bank of America Center), in Houston (1983), was the commencement postmodern skyscraper in the Houston skyline. 50-six Stories high, it has 2 setbacks creating what appear to be three different buildings, one against the other. The Three triangular gables were inspired past Flemish Renaissance compages.[xxx] The interior and exterior are covered with rough-textured red granite, which also covers the surrounding sidewalks.[31]

  • The physical tower and cupola of 400 Westward Market in Louisville, Kentucky (1993)

The new building for the Hines College of Architecture (1985) of the University of Houston paid homage to forms fatigued from before periods of architectural history, using mod materials, construction methods and calibration. The facade of the Hines building resembles, on a larger scale, the neoclassic facades of the French architect Claude Nicolas Ledoux.

400 West Market place (1993), in Louisville, Kentucky is a xxx-five story role belfry built of reinforced concrete rather than the typical steel. Information technology is topped by a concrete cupola, a vestige of the edifice's original owner and builder, Capital Belongings.[32]

In 1986 Johnson and Burgee had moved their offices into ane of their new buildings, the Lipstick Building, the popular name of the elliptical skyscraper they built at 885 3rd Artery in New York, and given its nickname because of its resemblance to the color and shape of a stick of lipstick. A feud was beginning between the ii architects, with Burgee demanding greater recognition.[1]

Every bit their business flourished and number of clients grew, the feud between Burgee and Johnson continued to abound. in 1988 the firm's proper name was changed to John Burgee Architects with Johnson as the "design consultant". In 1991 Johnson responded past establishing his own firm. The feud ended badly for Burgee; he was saddled with all of the debts of the business firm, while Johnson no longer had whatever responsibleness. Burgees was eventually forced to declare bankruptcy, and to retire, while Johnson connected to get commissions.[1]

Later on career and buildings (1991–2005) [edit]

  • "The Monstra" entry pavilion for the Glass House in New Canaan, Connecticut (1995)

After four years every bit a solo practitioner, Johnson invited Alan Ritchie to bring together him as a partner. Ritchie had been a partner for many years in the Johnson-Burgee part and was the partner-in-charge of the AT&T building and the 190 South Lasalle Street part building. In 1994 they formed the new do of Philip Johnson-Alan Ritchie Architects. During the adjacent ten years they worked closely together and explored new directions in architecture, designing buildings as sculptural objects.

The Gate of Europe in Madrid (1989 - 1996) was originally a collaboration with Burgee, and one of his rare works in Europe. It features two office buildings leaning toward each other, the outset example of this style, which spread to America. The towers are twenty-six stories each, and both lean by fifteen degrees from vertical.

191 Peachtree Tower in Atlanta was a project begun with Burgee. Information technology is composed of two fifty-story towers joined, and crowned with two classical pavilions.[33]

The Comerica Belfry (1991-1993) was as well begun with Burgee. Like their earlier Postmodern works, it featured elements borrowed from historical architecture, particularly the triangular gables, borrowed from Renaissance Flemish architecture. Information technology is the second tallest building in the land of Michigan.

The Chapel of St. Basil at the University of St. Thomas in Houston, Texas (1992) is notable tardily work. The pattern includes a domed chapel, a campanile, and a arbitration garden, a labyrinth. Its structure is combination of the bones forms; a cube, a sphere, and a plane. The cube contains the worship area, beneath a semi-sphere, which is presented as the symbolic opening to heaven. The vertical rectangular granite plane divides the church building and opens the chapel to light. During daytime the interior is lit entirely with natural light.[34]

In 1995 Johnson added a postmodern element to his own residence, the Glass House. This was a new entry pavilion in a sculptural form, which he called the "Monstra", or "Monster".

Other tardily works include the Cathedral of Hope in Dallas, the Habitable Sculpture (a 26-story apartment tower in lower Manhattan); The Children's Museum in Guadalajara, Mexico, and The Chrysler Center in Detroit.

The Urban Glass House in lower Manhattan was one of last designs with Alan Ritchie, and was not completed afterward Johnson'south death. It is a condominium building in lower Manhattan whose grade was inspired by Johnson'southward most famous early on work, the Glass Business firm in New Canaan, Connecticut.

The last building he designed with Richie was the Pennsylvania Academy of Music building in Lancaster, Pennsylvania, which was completed in 2008, three years after his expiry.[35] [36]

Honors [edit]

In 1978, Johnson was awarded an American Constitute of Architects Gilded Medal. In 1979 he became the get-go recipient of the Pritzker Architecture Prize the most prestigious international architectural award.[2]

In 1991, Johnson received the Golden Plate Laurels of the American Academy of Achievement.[37]

Personal life [edit]

Johnson was gay. He came out publicly in 1993, and was regarded as "the all-time-known openly gay architect in America".[38]

In 1934, Philip Johnson began his first serious relationship with Jimmie Daniels, a cabaret singer. The relationship lasted just one year.[39]

Johnson died in his sleep at his Drinking glass Business firm retreat on January 25, 2005, at the age of ninety-eight. His partner of 45 years, David Whitney,[40] [41] [42] [43] died afterward that twelvemonth at age 66.[44]

Johnson was among the public figures at the cadre of the endeavour to relieve Olana, the habitation of Frederic Edwin Church, before it was dedicated a National Historic Landmark in 1965 and afterward became a New York Country Historic Site.[45] [46]

In his will Johnson left his residential compound to the National Trust for Historic Preservation. It is now open to the public.

Art drove and archives [edit]

As an art collector Johnson had an eclectic eye. He supported avant-garde movements and immature artists ofttimes earlier they became widely known. His collection of American fine art was potent in Abstract expressionism, Pop Art, Minimalism, Neo-Dada, Colour Field, Lyrical Abstraction, and Neo-Expressionism and he oft donated of import works from his collection to institutions like MoMA, and other important private museums and Academy collections like the Norton Simon Museum, the Sheldon Museum of Art and the Iris & B. Gerald Cantor Middle for Visual Arts at Stanford University amidst many others.[four]

Johnson'south publicly held archive, including architectural drawings, projection records, and other papers up until 1964 are held past the Drawings and Archives Section of Avery Architectural and Fine Arts Library at Columbia Academy, the Getty, and the Museum of Modernistic Art.

Controversy over political activities [edit]

Reviewing Franz Schulze'southward biography of Johnson, Kazys Varnelis wrote that "between 1932 and 1940, Johnson was an antisemite, fascist sympathizer, and active propagandist for the Nazi government."[11] According to Varnelis, "Johnson makes no atoning gesture toward his by behavior unless he is confronted past direct questioning, nothing even equally paltry as an open up letter accounting for and regretting his by actions and condemning the motives that led him to them".[eleven] Johnson'south activities included organizing political rallies for populist Huey Long; funding figures such every bit the right-fly agitator Joe McWilliams and his "Christian Mobilizers";[47] and writing for three periodicals, including Charles Coughlin's Social Justice, whose "nearly every result contained manufactures near the "Jewish conspiracy" or about subversive economic forces led by figures with Jewish names".[48]

Because his family had a abode in Deutschland and spent their summers at that place, Johnson traveled there frequently. As a Social Justice correspondent, he covered the huge Nazi rally at Nuremberg and the 1939 invasion of Poland with approving. The American correspondent William Fifty. Shirer, traveling with him on the Nazi-sponsored press bout, labeled him in Berlin Diary, as "the American fascist" and suspected him of spying for the Germans.[10] [49] On the same tour, three weeks subsequently Poland roughshod to the Nazis, Johnson, with Shirer, "was with German troops at the forepart equally the invitee of the Propaganda Ministry".[50] He wrote to a friend that "The German language green uniforms made the identify look gay and happy... There were not many Jews to be seen. We saw Warsaw burn and Modlin being bombed. It was a stirring spectacle."[five] [51]

In his Social Justice report on his trip to Poland, Johnson declared that the German victory amounted to an unmitigated triumph for the Shine people and that nothing in the war's outcome demand concern Americans. Johnson went on to say that German forces had not significantly harmed Smoothen civilians, and said that "99 percent of the towns I visited since the war are not only intact but full of Smoothen peasants and Jewish shopkeepers." He said reports of Nazi mistreatment of Poles was "misinformed".[10] Referring to political developments in French republic, Johnson wrote in Social Justice that "Lack of leadership and direction in the land has allow the one group get control who always proceeds power in a nation's time of weakness—the Jews". In 1940 Johnson quit journalism and distanced himself from politics.

In April 1942, on reports that Johnson might be working in Colonel Donovan's Office of the Coordinator of Data, the United states of america Assistant Attorney Full general James H. Rowe wrote to Director Hoover, saying, "I can think of no more dangerous man to take working in an agency which possesses then many military secrets."[x] [52] Johnson was later investigated past the FBI, simply no charges were brought confronting him, and he was cleared for military machine service.[9] [4]

Johnson was inducted into the U.Due south. Army in Cambridge, Massachusetts on March 12, 1943, only controversy continued. His proper noun arose again in the so-called "Great Sedition Trial" of 1944 through his former contacts in the 1930s with its primary target, the former diplomat and economist Lawrence Dennis, who in the 1930s supported fascist economics every bit an alternative to commercialism. Dennis was charged with sedition, or advocating the forcible overthrow of the U.Due south. government, under the Smith Human activity. Johnson was accused of "shut and steady contact" with Dennis in the jump of 1938, and providing financial support towards publishing Dennis's 1940 book The Dynamics of War and Revolution. Johnson had already testified in 1942 in the government case against another sometime acquaintance, the High german poet and journalist George Sylvester Viereck in 1942.[9] The ongoing federal instance against Dennis, an FBI investigation, and a congressional investigation investigated most thirty people, including Johnson, only in the end he was non charged.[53] Johnson was formally asked to appear at trial as a witness, and - by his own account - was speaking to prosecutor O. John Rogge,[9] but subsequently Estimate Edward C. Eicher died of a heart assault a mistrial was declared and the case was dropped.

In 1993, when asked by Vanity Fair about his past political views, he said, "I have no alibi (for) such unbelievable stupidity. ... I don't know how y'all expiate guilt."[11] [54] [53]

In 1956, he donated a design for Congregation Kneses Tifereth Israel in Port Chester, New York. Compages professor Anat Geva observed in a paper that "all critics hold that his design of the Port Chester Synagogue can be considered as his attempt to ask for forgiveness."[12]

He discussed his trips to Frg and his infatuation with fascism in a 1996 interview with Charlie Rose. He said, "It was the stupidest thing I always did, and I never forgive myself and I never can atone for it. At that place's zippo I can practise... That'due south been torture to me ever since."[55] He admitted to Rose that, while he had "difficulty" with Franklin D. Roosevelt because of his disability to reach what he prepare out, he "worshiped the man" and "voted for him four times."[55] Replying to Rose asking if he liked "strong figures", he said "Certain do. I like good architects that are strong, like Gehry."[55]

In 2018, Nikil Saval wrote in The New Yorker that "Johnson would subsequently depict Hitler as 'a spellbinder'; in 1964, well after he had been forced to abstain his Nazi past, he insisted in letters that Hitler was 'better than Roosevelt.'"[6]

In 2020, in the wake of the George Floyd murder and the wave of placename changes that followed, the Johnson Study Group - a group of 40 architects, designers, and educators - approached the Museum of Mod Fine art request that honors given to Johnson be removed from public view, citing his "commitment to white supremacy", spread of Nazi publications, involvement with American fascist politics, and "constructive segregation" of the architectural drove at the museum, "When information technology comes to racist urban planning policies in the 20th century and a deeply Eurocentric antiblack archive of American architecture," V. Mitch McEwen said, "MoMA under white supremacist Philip Johnson did largely create the problem. It innovated white supremacy in compages..."where under his leadership not a single work by whatever Black architect or designer was included."[56] [57] [58]

In a 2020 article in Elle Decor magazine, articles editor Charles Curkin asked Pritzker Prize laureate Balkrishna Doshi if the architecture world was due for a reckoning, citing the Museum of Modern Art's primary compages and design curatorship still being named after Johnson. Doshi'south replied that "Life itself is due for a reckoning, and architects must give respect to life."[59]

In 2020, Johnson'southward name was dropped from the Harvard University Philip Johnson Thesis House, which was designed past Johnson.[sixty] Sarah Whiting, dean of the Harvard Graduate School of Design, announced the change on December v, 2020, citing Johnson'south "widely documented white supremacist views and activities."[lx]

Architect V. Mitch McEwen said that Johnson "innovated white supremacy in architecture", merely gave no specific examples.[58]

Quotations [edit]

  • "I got everything from someone. Nobody can be original. As Mies van der Rohe said, 'I don't want to exist original. I want to be expert.'"[61]
  • "Don't build a glass firm if you're worried near saving money on heating."[61]
  • "Everybody should design their own home. I'm against architects designing homes. How do I know that yous want to live in a pic-window Colonial? Information technology's silly, merely you might desire to. Who am I to say?"[61]
  • "Architecture is the organization of space for excitement".[61]
  • "Storms in this firm (The Glass House) are horrendous but thrilling. Glass shatters. Danger is one of the greatest things to utilize in compages."[61]
  • "A room is only every bit good as you feel when yous're in it".[61]
  • "Merely that a edifice works is not sufficient."[62]
  • "We nevertheless accept a monumental compages. To me, the bulldoze for monumentality is equally inbred as the desire for food and sex, regardless of how we denigrate information technology."[4]

In popular culture [edit]

Johnson is mentioned (along with fellow builder Richard Rogers) in the song "Thru These Architect'due south Eyes" on the album Outside (1995) by David Bowie.[63]

He appears in Nathaniel Kahn's My Architect, a 2003 documentary about Kahn'south father, Louis Kahn.[64]

Philip Johnson's Glass House, along with Mies van der Rohe'south Farnsworth Business firm, was the subject area of Sarah Morris's 2010 film Points on a Line. Morris filmed at both sites over the course of several months, among other locations including The Four Seasons Restaurant, the Seagram Building, Mies van der Roheʼs controversial 860–880 Lake Shore Drive Apartments, and Chicagoʼs Newberry Library.

See also [edit]

  • List of works by Philip Johnson
  • fascist movement in the Us

References [edit]

  1. ^ a b c d New York Times obituary, Jan 27, 2005, accessed March 16, 2022
  2. ^ a b Goldberger, Paul (May 23, 1979). "Philip Johnson Awarded $100.000 Pritzker Prize." Retrieved August 1, 2011.
  3. ^ Forms Under Light | The New Yorker Retrieved May 25, 2018.
  4. ^ a b c d e f g h Goldberger, Paul (January 27, 2005). "Obituary: Philip Johnson, Architecture's Restless Intellect, dies at 98". The New York Times . Retrieved May xv, 2018.
  5. ^ a b Saint, Andrew (Jan 28, 2005). "Philip Johnson (obit) - Flamboyant postmodern architect whose career was marred by a amour with nazism". Guardian. Retrieved August 4, 2021.
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  8. ^ a b c Taschen 2016, p. 314.
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  10. ^ a b c d e Wortman, Marc. "Famed Builder Philip Johnson'due south Hidden Nazi Past". Vanity Fair . Retrieved December 12, 2018.
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Bibliography [edit]

  • Schulze, Franz (1996). Philip Johnson: Life and Work. Chicago: University of Chicago Press. ISBN978-0-226-74058-4 . Retrieved May 15, 2018.
  • Bony, Anne (2012). Fifty'Architecture Moderne (in French). Larousse. ISBN978-two-03-587641-6.
  • Taschen, Aurelia; Taschen, Balthazar (2016). L'Compages Moderne de A à Z (in French). Bibliotheca Universalis. ISBN978-3-8365-5630-9.
  • Prina, Francesca; Demaratini, Demartini (2006). Petite encyclopédie de l'architecture (in French). Solar. ISBNtwo-263-04096-X.
  • Hopkins, Owen (2014). Les styles en architecture- guide visuel (in French). Dunod. ISBN978-2-10-070689-1.
  • De Bure, Gilles (2015). Compages contemporaine- le guide (in French). Flammarion. ISBN978-2-08-134385-6.
  • Lamster, Mark (2018). The Man in the Glass House: Philip Johnson, Architect of the Modernistic Century. Piddling, Brown and Company. ISBN978-0316126434.
  • Watkin, David (1986). A History of Western Architecture. London: Barrie and Jenkins. ISBN0-7126-1279-3.

Further reading [edit]

  • Lacayo, Richard (June 28, 2007). Splendor in The Glass. Time. Retrieved March 2021.
  • Philip Johnson: Diary of an Eccentric Builder, 1997 documentary. Retrieved March 2021
  • "Extending the Legacy" Alexandra Lange commodity on the preservation of the Glass House, from the November 2006 issue of Metropolis mag.
  • Philip Johnson article at Great Buildings Online. Retrieved September 27, 2003.
  • Philip Johnson bio on the Pritzker Architecture Prize website. Retrieved September 27, 2003.
  • Philip Johnson and Charlie Rose. Retrieved March 2021.
  • Heyer, Paul, ed. (1966). Architects on Architecture: New Directions in America, p. 279. New York: Walker and Visitor.
  • One hour interview with Charlie Rose (July viii, 1996) Retrieved March 2021
  • Other interviews with or virtually Philip Johnson on Charlie Rose at Google Video Retrieved March 2021
  • Tomkins, Calvin (May 15, 1977). "Forms Under Light" (Profile of Philip Johnson).The New Yorker.
  • Jenkins, Stover, et al. The Houses of Philip Johnson, New York: Abbeville Publishing Group (Abbeville Press, Inc.), 2001.

External links [edit]

  • Obituary Archived September 27, 2007, at the Wayback Machine
  • Philip Johnson at Find a Grave
  • Philip Johnson architectural drawings, 1943-1994 (majority 1943-1970).Held past the Department of Drawings & Archives, Avery Architectural & Fine Arts Library, Columbia Academy.
  • The Compages of Philip Johnson
  • "Philip Johnson Biography and Interview". world wide web.achievement.org. American Academy of Achievement.
  • Finding assist for Philip Johnson architectural projects at the Getty Research Institute
  • Finding assistance for Philip Johnson papers at the Getty Research Institute

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Source: https://en.wikipedia.org/wiki/Philip_Johnson

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