No, not me mate, take the next one…
Designed by Ray Komai
Manufactured by J.G. Furniture Co., Inc. in Brooklyn, N.Y.
Molded walnut plywood, chromed metal, rubber
From The Value of Good Design, an exhibition at MoMA (Feb 10-Jun 15, 2019).
April 4th, 2019
A Frank Stella dominion.
Frank Stella
Effingham II, 1966
Fluorescent alkyd and epoxy on canvas
Frank Stella
Brzozdowce I, 1973
Mixed media: felt, fabric, and acrylic on panel and plywood
Frank Stella
Hagmatana III, 1967
Fluorescent acrylic on canvas
Frank Stella
Averroes, 1960
Aluminum paint on canvas
Frank Stella
Tetuan II, 1964
Fluorescent alkyd on canvas
We were pleasantly surprised to discover that the Painting Gallery is built as a tomb, its exterior very much resembling that of the Royal Tomb of Philip II in Aigai, Greece. Philip II (382–336 BC) was the king of Macedonia from 359 BC until his assassination in 336 BC, and father of Alexander the Great. Our guide confirmed the design was, indeed, inspired by Kind Philip’s tomb.
**
While the Painting Gallery was inspired by an ancient Greek Tomb, Johnson looked to modern Greece for the design of his Sculpture Gallery. His inspiration came partly from the Greek islands and their many villages marked by stairways. Johnson remarked that in these villages, “every street is a staircase to somewhere.” He liked it so much that he seriously considered moving his residence from the Glass House to the Sculpture Gallery. But then, he thought again: “Where would I have put the sculpture?”
Robert Morris
Untitled, 1965-70
Three L-shaped units of stainless steel
John Chamberlain
The Archbishop, The Golfer, and Ralph, 1982-83
Painted and chromium plated steel
George Segal
Lovers on a Bed II, 1970
Plaster, iron bed frame, paint
Frank Stella
Raft of Medusa, Part I, 1990
Oil and enamel on etched honeycomb aluminum with steel pipes, beams, and other metal elements
Michael Heizer
Prismatic Flake #4, 1990
Modified concrete, steel base
Julian Schnabel
Ozymandias, 1986-90
It looks so much like wood that it was hard to believe it is made of cast bronze, patina and paint
An exterior view of the Sculpture Gallery
**
The Studio, a one-room workspace and library, was referred to by Johnson as an ”event on the landscape”. When first completed, the Studio’s stucco exterior was bright white, but later Johnson painted it a soft brown color, described by colorist Donald Kaufman as ”stone greige.”
**
This building, constructed of modified gunnite, is the closest to Johnson’s thinking about sculpture and form at the end of his life – what he called the ”structured warp.”
The name of the building is an adaptation of the “monster”, a phrase for the building that resulted from a conversation with architecture critic Herbert Muschamp. Johnson felt the building had the quality of a living thing.
I thought Frank Gehry would have felt at home here.
“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:
The Gate
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.”
The Grounds
Artwork by Donald Judd, Untitled (1971).
Concrete
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
Pertinent
New Jewellery Group from the Baltic
Bracelets from Saaremaa (?)
Gold, silver, plastic and model cars
Fake news, real jewellery by Robert Baines
November 11th, 2018
“We’re right out here with the rest of the colored folk and the Puerto Ricans and Italians and the Hebrew cats. We don’t need to move out in the suburbs to some big mansion with lots of servants and yardmen and things.”
And so it was in 1943 that Louis Armstrong and his wife Lucille came to live in this modest house in the working-class neighbourhood of Corona, Queens. They lived here for the remainder of their lives.
Today, the Louis Armstrong House Museum & Archives is open to the public, offering guided tours while audio clips from Louis’s homemade recordings are played, and visitors hear Louis practicing his trumpet, enjoying a meal, or talking with his friends.
No one else has lived in the house since the Armstrongs passed away; the rooms, furnishings, ornaments, the all-mirrored bathroom and that lovely show-stealing turquoise kitchen reflect their personalities, taste and times they lived in. I tried to stay behind every time our guide moved on, to take a better look at each room. I was sure that if I touched the walls I would hear the echo of Louis’ trumpet playing – and not from the audio clip.
The Museum is expanding across the street from the House. The new Education Center will complement the existing experience with an exhibition gallery, a jazz club where musicians will rehearse and perform their music, and a store. The museum’s research collections, currently housed at Queens College’s library, will move into an Archival Center on the second floor.
The anticipated completion was pushed back to 2021 (pre-Covid-19).
With the Louis Armstrong House Museum and Archives currently closed because of Covid-19, the Museum has launched “That’s My Home,” their first online exhibition – absolutely worth a visit.
November 4th, 2018
It could be no less gracious than the magnificent gardens surrounding it, could it? And yet it was designed by an artist with no formal degree in architecture.
One of the glorious Gold Coast Mansions, home of John S. Phipps, his English-born wife, Margarita Grace Phipps and their four children, the mansion we know today as ”Old Westbury Gardens” was designed by George A. Crawley in the style of a Charles II Restoration manor house, and completed in 1906.
Following the deaths of Margarita and John S. Phipps in the late 1950s, their daughter Margaret Phipps Boegner – or Peggie, as he preferred to be called, inherited the Old Westbury estate and opened the gardens to the public to honor the memory of her mother.
Today, one can visit the house and gardens for guided tours, view exhibitions or attend a number of family events, talks or gardening classes. Or just take a leisurely stroll up and down the stairs and out and about in the gardens, taking in the little details and trying to decide which room would be their favourite.
Mine was the bathroom.
Old Westbury Gardens – Long Island, NY
October 28th, 2018
Life seemed so much simpler then.
From ”Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980”, an exhibition that ran between July 2018–January 2019 @MoMA.
July 24th, 2018
In the form of a humble Kiosk.
”The K67 kiosk system was a highly successful design for modular units that could be used for all kinds of street-level businesses and amenities. The prototype for the system was developed in 1967 by Saša Janez Mächtig, who was experimenting with the new technology of fiberglass-reinforced polyester. He invented a joint that could connect individual units into double- and triple-fronted kiosks and other configurations. The design was mass-produced and in widespread use by 1970, as fast-food stands, key-copy shops, grocery stores, newspaper and lottery kiosks, and many other enterprises.”
Images:
From ”Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980”, an exhibition that ran between July 2018–January 2019 @MoMA.
July 24th, 2018
A few glimpses only; installation was underway. We had arrived a week too early.
June 9th, 2018
It will always find its place in a museum collection, even if it wasn’t enough to help up the sales at the time.
Sony Miniature, Model 5-303W, with carrying case, 1962
Philco ”Safari” Model H-2010, 1959
This television set was the first to make use of the new transistor technology that had already revolutionized the portable radio. Powered by a 7.5-volt rechargeable battery with a four-hour operating capacity, it employed an optical projection system that magnified the small cathode ray tube image to create and eighty-square-inch virtual image.
Philco Predicta Model 4654 ”Barber Pole”, Television, 1959
In an effort to combat the industry-wide decline in television sales that began in the mid-1950s, Philco decided to exploit recent developments in picture tube and transistor technology. The Predicta line was the most revolutionary of several models introduced at the time. Designed by Catherine Winkler and Richard Whipple, the Predicta treated the screen surface as a ”semi-flat” element largely detached from the body of the set. Because the new tube was unreliable, sales were poor.
Museum of the Moving Image, Astoria, New York
May 13th, 2018
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