“In the case of the Glass House, the stylistic approach is perfectly clear. Mies van der Rohe and I had discussed how you could build a glass house and each of us built one. Mies’ was, of course, primary and mine was an adoption from the master, although it’s quite a different approach. In my case, there were a lot of historical influences at work. The Glass House stylistically is a mixture of Mies van der Rohe, Malevich, the Parthenon, the English garden, the whole Romantic Movement, the asymmetry of the 19th century. In other words, all these things are mixed up in it but basically it is the last of the modern, in the sense of the historic way we treat modern architecture today, the simple cube.” – Philip Johnson, 1991
And so it was that Johnson’s famed masterpiece came to be. But it’s not just the house: a Studio, a Painting Gallery, a Sculpture Gallery, Da Monsta, a Brick House and a Pavillion in the Pond complete the picture.
But first things first:
A standalone structure with no fence, so anyone can just walk by. Still, quite impressive in size and mechanics, with the bar sliding up to let our shuttle bus enter, and down again behind it. It was a sailboat boom in a previous life.
The Brick House
In contrast to the diaphanous Glass House, it was conceived as a guest house offering total privacy – light pours in from skylights and the only windows were placed at the rear.
The Glass House
Although there are no walls separating them, Philip Johnson referred to areas within the space as “rooms.” So we have the living room, dining room, kitchen, bedroom and an entrance area – their limits defined by furniture or objects.
And, yes, it gets really hot when the sun shines. In order to avoid suffocation from the greenhouse effect, Johnson had special modular wooden panels placed on the glass ones for shade; they would be moved according to the hour of day or season.
The painting in the ”living room” is ”Burial of Phocion” ca. 1648-49, by Nicolas Poussin. It was selected specifically for the house by Alfred H. Barr, Jr., the first director of the Museum of Modern Art.
The only really private room is the bathroom enclosed in a rounded brick structure that holds the fireplace on the other side.
View to the Pavillion in the Pond and the Monument to Lincoln Kirstein, 1985 – a 30 feet high tower, which Johnson frequently climbed, describing it “a staircase to nowhere.”
Artwork by Donald Judd, Untitled (1971).
Rear view of the Brick House and its round windows.
Let’s take a breath here because, next, we’ll take a look at the art.
New Canaan, CT
November 18th, 2018