Philip Johnson, 1906-2005
Posted 26 January 2005 - 04:03 PM
Associated Press story (which makes no mention of the State Theater)
Posted 26 January 2005 - 05:26 PM
Posted 26 January 2005 - 08:20 PM
The serene Glass House, a 56-foot-by-32-foot rectangle, is generally considered one of the 20th century's greatest residential structures. Like all of Mr. Johnson's early work, it was inspired by Mies, but its pure symmetry, dark colors and closeness to the earth marked it as a personal statement: calm and ordered rather than sleek and brittle.
A Home Becomes a Museum
Over the years, Mr. Johnson added to the Glass House property, turning it into a compound that became a veritable museum of his architecture, with buildings representing each phase of his career. A small, elegant white-columned pavilion by the lake was built in 1963; an art gallery, an underground building set into a hill, with pictures from Mr. Johnson's extensive collection of contemporary art set on movable panels, in 1965; the sculpture gallery of 1970, a sharply defined, irregular white structure covered with a greenhouselike glass roof; a library of stucco with a rounded tower that from a distance looks like a miniature castle (1980); a concrete-block tower, as much a piece of sculpture as a building, dedicated to his lifelong friend Lincoln Kirstein, the writer and New York City Ballet co-founder (1985); a "ghost house" of chain-link fence, honoring Mr. Gehry, who often used this material (1985); and finally, what Mr. Johnson called "Da Monsta," an irregularly shaped building of deep red with sharply curving walls, finished in 1995.
Posted 31 January 2005 - 11:55 AM
Posted 31 January 2005 - 12:56 PM
Posted 31 January 2005 - 04:46 PM
Posted 31 January 2005 - 06:47 PM
Posted 31 January 2005 - 07:47 PM
Posted 01 February 2005 - 09:25 PM
Posted 02 February 2005 - 12:35 AM
Posted 03 February 2005 - 05:53 AM
From Johnson’s F.B.I. file, which the bureau began assembling during the war, Mr. Schulze retrieved a letter, believed to have been written to a friend in December 1939, when Johnson was back in the U.S. This is the key passage: "I was lucky enough to get to be a correspondent so that I could go to the front when I wanted to and so it was that I came again to the country we had motored through, the towns north of Warsaw …. The German green uniforms made the place 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."
I daresay that for most of us, this chronicle of perfidy amounts to something far more significant than a "passing admiration for Hitler."
The fact is that notwithstanding his aesthetic and intellectual talents, Philip Johnson remained at heart a cynic, an immoralist and a profoundly corrupted character—in short, an evil influence.
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