Painting gallery and Stella's
CT Frog
Library/Study
Skylight in Library
Da Monsta.
Da Monsta rear. kinda like a tilted arc and torqued elipse in one.
Philip Cortelyou Johnson was born in Cleveland, Ohio in 1906 and recently passed away in 2005. After his graduation from Harvard in 1943, Johnson went on to design some notable modern architecture such as the Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art, New York, the New York AT&T building that is now Sony Plaza, the Crystal Cathedral in Garden Grove California, Houston's Transco Tower and Pennzoil Place which is now Williams Tower, the Fort Worth Water Garden, and most notably would be his private residence in New Canaan, CT known as the Glass House. Johnson worked under Mies van der Rohe in the 50's and assisted with the design of the Seagram building and it’s well known Four Seasons Restaurant. Before his architectural practice, Johnson was the founding director of the Department of Architecture at MoMA. His 1932 exhibition on the international style introduced modern architecture to the public.
The 1,728 sq feet design for the Glass House started in 1945 and was completed in 1949. The house sits on a ridge surrounded by 42 acre's of beautiful landscape. This ridge provides views of tree tops, the horizon and a pond down below. It has only been two years since the Glass House has opened to the public. The somewhat new institution also recently became part of the "National Trust, Historic Site" which in no doubt will assist in its future existence but will also inhibit its ideals.
It was a Monday morning that we took a one hour and twenty minute Metro North train ride from Grand Central Station to New Canaan, CT. As a convenience to the visitor and perhaps a nuisance to the organization, the offices of the Glass House are located directly across the street from the train station. This is because the locals in the area do not want to have tourists driving in and out of the residential area where the Glass House is located. The guest center is a small space that is put together nicely. You will find a wall of monitors that have a constant loop of images depicting Johnson’s life. There is also a book store with a strong collection of architectural and art related books. The Glass House provides a van that carries its visitors from the guest center to Johnsons oasis. It is always interesting to get out of the city and see other places. New Canaan is picturesque Connecticut. Even a cliché of sorts. On the way to the Glass House we drive by over sized Mcmansions and well manicured lawns. New Canaan does have a collection of mid-century modern homes thanks to the architects known as the Harvard Five which includes John Johansen, Marcel Breuer, Landis Gores, Eliot Noyes and of coarse Mr. Johnson himself. But we do not see any of these great examples on our trip.
Upon entering the driveway to the Glass House there is an aluminum gate, a cross bar that rises while staying parallel, not lever like, between two twenty foot high towers that reference medieval design. This is slightly confusing and out of sink with the rest of the modern structures on the grounds. It must be the playful side of Johnson. The grounds are beautiful and look natural, yet we know that they are carefully sculpted meadows and planted trees creating a "conceal & surprise" as the tour guide explained. Keeping the natural look and tall grass created another key term, "safe danger". The Glass House had become, for the most part, Johnson's living room. There are paths connecting other buildings such as the Brick House which was designed as a guest house but became his bedroom. There is also the Sculpture Gallery, Library/Study, Ghost House, Da Monsta and my favorite, the Painting Gallery. When traveling to these other buildings along the paths there is a safe danger lurking with every step, frogs, beavers, spiders etc. After all, it is Connecticut.
The Glass House is pleasant. The natural light is amazing. It does have the feel of a project/show piece as opposed to a lived in home. Although the age of the house and the things in it does come across as worn. To me, it is a kind of grandiose screened in porch but that is probably what Johnson wanted, to feel closer to nature, to be more 'in it'. What stood out the most in the interior was a seventeenth century Poussin painting depicting a landscape reminiscent of the landscape around the home. It's nice to see such a painting in a home setting as opposed to an institution with guards. Besides this, almost everything else in the space is a reflection of the times with the van der Rohe furniture, sleek kitchen and even the neatly stacked fire wood. I did expect to see a kitchen put together with impressive appliances but these were just cheap and chintzy looking. I guess the high-end kitchen obsession came later with interior design. Johnson's kitchen is like something that one could find in an old camper.
I was overwhelmed with excitement when entering the Painting Gallery. The entrance is like that of a bunker or bomb shelter putting the space underground, beneath a mound. The interior is grand with 3,778 square feet with high ceilings. It puts you in a world with intimate viewing of some great modern paintings. The Painting Gallery houses large scale works by: Frank Stella, Andy Warhol, Robert Rauschenberg, David Salle, and Julian Schnabel. You have to see it to believe it or even understand its workings. There are three semi circular rooms with doors/walls that swing out from the center of each room. They can hold two paintings on each wall and each side. You can politely view up to 12 paintings at a time when standing in the main space of the gallery. The Stella's are stunning. We were told that Johnson and friends would have parties in that space. It does set the imagination adrift. As opposed to swinging or moving these walls to see the other paintings, we were able to squeeze into the semi circular spaces and view each piece up close and personal. It is not an ideal way to see each piece as they are large and need distance for proper viewing but there was such a personal and private moment being in a tight space, right up to a Schnabel or Rauschenberg.
We were told that the Sculpture building was Johnson's personal favorite and he would have preferred to live in that building but he wouldn't have had any space for his sculptures. It is a multi leveled space that spirals down to different tiers of gallery space with a glass ceiling that allows intricate shadow play on the interior. It also provides ideal light for viewing all the sculptures except for some Frank Stella pieces in the very last space at the bottom of the building. The Sculpture building contains work by: Michael Heizer, Robert Rauschenberg, George Segal, John Chamberlain, Frank Stella, Bruce Nauman, Andrew Lord and Robert Morris. I was impressed with this space due to the angles and glass roof but with it being built entirely out of brick it did leave me feeling a bit cold.
Following another safe danger path over a tiny bridge and through a meadow of tall grass we entered the one room Library/Study where Johnson would sit and work on his designs. It is a 384 square feet masonry construction that was completed in 1980. Like a tiny castle sitting in the meadow, the library creates a fortress of security and solitude. There is only one window and it gazes out looking upon Johnson's Ghost House. There is one sky light that creates the primary source of light for the space. His library carries a collection of architectural books from nineteenth century German architecture to the modern works of Mies van der Rohe and Le Corbusier.
The final building that we were allowed to enter was Da Monsta. Completed in 1995, this 990 square feet space is constructed out of modified gunnite. This is a form of a concrete application where it is shot out of a gun, basically. The tour guide says that most visitors see a Frank Gehry derived design. I saw Richard Serra's Torque Ellipses. Johnson claims that the inspiration for this building came from Frank Stella's design for a museum in Dresden. Da Monsta was created to act as the greeting center for the Glass House when it became open to the public. Unfortunately it is not what it was intended for and has yet to serve a purpose. Perhaps a book store cafe for visitors prior or after the tour. On the exterior Da Monsta is oddly shaped. The A-symmetrical door and window look more cartoony than unique. The interior is another story. The cool white walls play into the bending and curving architecture that inherently does the same to the light coming in creating a serene environment. Even though it is 990 square feet space, it does read as being too small for a greeting/admissions area. There is a room off to the side that is set up to play projected videos. There are chairs lined up ready to be sat in but I am not sure if they have been used yet for the public. After a quick look around Da Monsta we were whisked away to await the arrival of our van shuttle back to the Glass House offices.
There are other things to be seen at the Glass House. There is the large Donald Judd concrete piece at the side of the driveway. Johnsons’ bedroom, the Brick House, was closed to the public because it had a mold problem from flooding. Due to the restrictions set on the Glass House by the National Trust, we were unable to visit the Lake Pavilion and Lincoln Kirstein’s Tower. The National Trust believes that it is not safe to walk down the walkways put in by Johnson. Changing this walkway would also be a no no since it is part of Johnsons doing. Hmmmm.... It’s always complicated. Anyways, as much of an architectural marvel and national treasure this property is, please also remember that there were some pretty amazing parties there in the 60's with the likes of Andy Warhol and The Velvet Underground in attendance. It was more than a home, it was a venue and safe haven for cultural rituals like happenings and a place to cross pollinate ideas. If you are interested in seeing the Glass House yourself, tickets sell fast so visit http://philipjohnsonglasshouse.org/ to get yours.
The 1,728 sq feet design for the Glass House started in 1945 and was completed in 1949. The house sits on a ridge surrounded by 42 acre's of beautiful landscape. This ridge provides views of tree tops, the horizon and a pond down below. It has only been two years since the Glass House has opened to the public. The somewhat new institution also recently became part of the "National Trust, Historic Site" which in no doubt will assist in its future existence but will also inhibit its ideals.
It was a Monday morning that we took a one hour and twenty minute Metro North train ride from Grand Central Station to New Canaan, CT. As a convenience to the visitor and perhaps a nuisance to the organization, the offices of the Glass House are located directly across the street from the train station. This is because the locals in the area do not want to have tourists driving in and out of the residential area where the Glass House is located. The guest center is a small space that is put together nicely. You will find a wall of monitors that have a constant loop of images depicting Johnson’s life. There is also a book store with a strong collection of architectural and art related books. The Glass House provides a van that carries its visitors from the guest center to Johnsons oasis. It is always interesting to get out of the city and see other places. New Canaan is picturesque Connecticut. Even a cliché of sorts. On the way to the Glass House we drive by over sized Mcmansions and well manicured lawns. New Canaan does have a collection of mid-century modern homes thanks to the architects known as the Harvard Five which includes John Johansen, Marcel Breuer, Landis Gores, Eliot Noyes and of coarse Mr. Johnson himself. But we do not see any of these great examples on our trip.
Upon entering the driveway to the Glass House there is an aluminum gate, a cross bar that rises while staying parallel, not lever like, between two twenty foot high towers that reference medieval design. This is slightly confusing and out of sink with the rest of the modern structures on the grounds. It must be the playful side of Johnson. The grounds are beautiful and look natural, yet we know that they are carefully sculpted meadows and planted trees creating a "conceal & surprise" as the tour guide explained. Keeping the natural look and tall grass created another key term, "safe danger". The Glass House had become, for the most part, Johnson's living room. There are paths connecting other buildings such as the Brick House which was designed as a guest house but became his bedroom. There is also the Sculpture Gallery, Library/Study, Ghost House, Da Monsta and my favorite, the Painting Gallery. When traveling to these other buildings along the paths there is a safe danger lurking with every step, frogs, beavers, spiders etc. After all, it is Connecticut.
The Glass House is pleasant. The natural light is amazing. It does have the feel of a project/show piece as opposed to a lived in home. Although the age of the house and the things in it does come across as worn. To me, it is a kind of grandiose screened in porch but that is probably what Johnson wanted, to feel closer to nature, to be more 'in it'. What stood out the most in the interior was a seventeenth century Poussin painting depicting a landscape reminiscent of the landscape around the home. It's nice to see such a painting in a home setting as opposed to an institution with guards. Besides this, almost everything else in the space is a reflection of the times with the van der Rohe furniture, sleek kitchen and even the neatly stacked fire wood. I did expect to see a kitchen put together with impressive appliances but these were just cheap and chintzy looking. I guess the high-end kitchen obsession came later with interior design. Johnson's kitchen is like something that one could find in an old camper.
I was overwhelmed with excitement when entering the Painting Gallery. The entrance is like that of a bunker or bomb shelter putting the space underground, beneath a mound. The interior is grand with 3,778 square feet with high ceilings. It puts you in a world with intimate viewing of some great modern paintings. The Painting Gallery houses large scale works by: Frank Stella, Andy Warhol, Robert Rauschenberg, David Salle, and Julian Schnabel. You have to see it to believe it or even understand its workings. There are three semi circular rooms with doors/walls that swing out from the center of each room. They can hold two paintings on each wall and each side. You can politely view up to 12 paintings at a time when standing in the main space of the gallery. The Stella's are stunning. We were told that Johnson and friends would have parties in that space. It does set the imagination adrift. As opposed to swinging or moving these walls to see the other paintings, we were able to squeeze into the semi circular spaces and view each piece up close and personal. It is not an ideal way to see each piece as they are large and need distance for proper viewing but there was such a personal and private moment being in a tight space, right up to a Schnabel or Rauschenberg.
We were told that the Sculpture building was Johnson's personal favorite and he would have preferred to live in that building but he wouldn't have had any space for his sculptures. It is a multi leveled space that spirals down to different tiers of gallery space with a glass ceiling that allows intricate shadow play on the interior. It also provides ideal light for viewing all the sculptures except for some Frank Stella pieces in the very last space at the bottom of the building. The Sculpture building contains work by: Michael Heizer, Robert Rauschenberg, George Segal, John Chamberlain, Frank Stella, Bruce Nauman, Andrew Lord and Robert Morris. I was impressed with this space due to the angles and glass roof but with it being built entirely out of brick it did leave me feeling a bit cold.
Following another safe danger path over a tiny bridge and through a meadow of tall grass we entered the one room Library/Study where Johnson would sit and work on his designs. It is a 384 square feet masonry construction that was completed in 1980. Like a tiny castle sitting in the meadow, the library creates a fortress of security and solitude. There is only one window and it gazes out looking upon Johnson's Ghost House. There is one sky light that creates the primary source of light for the space. His library carries a collection of architectural books from nineteenth century German architecture to the modern works of Mies van der Rohe and Le Corbusier.
The final building that we were allowed to enter was Da Monsta. Completed in 1995, this 990 square feet space is constructed out of modified gunnite. This is a form of a concrete application where it is shot out of a gun, basically. The tour guide says that most visitors see a Frank Gehry derived design. I saw Richard Serra's Torque Ellipses. Johnson claims that the inspiration for this building came from Frank Stella's design for a museum in Dresden. Da Monsta was created to act as the greeting center for the Glass House when it became open to the public. Unfortunately it is not what it was intended for and has yet to serve a purpose. Perhaps a book store cafe for visitors prior or after the tour. On the exterior Da Monsta is oddly shaped. The A-symmetrical door and window look more cartoony than unique. The interior is another story. The cool white walls play into the bending and curving architecture that inherently does the same to the light coming in creating a serene environment. Even though it is 990 square feet space, it does read as being too small for a greeting/admissions area. There is a room off to the side that is set up to play projected videos. There are chairs lined up ready to be sat in but I am not sure if they have been used yet for the public. After a quick look around Da Monsta we were whisked away to await the arrival of our van shuttle back to the Glass House offices.
There are other things to be seen at the Glass House. There is the large Donald Judd concrete piece at the side of the driveway. Johnsons’ bedroom, the Brick House, was closed to the public because it had a mold problem from flooding. Due to the restrictions set on the Glass House by the National Trust, we were unable to visit the Lake Pavilion and Lincoln Kirstein’s Tower. The National Trust believes that it is not safe to walk down the walkways put in by Johnson. Changing this walkway would also be a no no since it is part of Johnsons doing. Hmmmm.... It’s always complicated. Anyways, as much of an architectural marvel and national treasure this property is, please also remember that there were some pretty amazing parties there in the 60's with the likes of Andy Warhol and The Velvet Underground in attendance. It was more than a home, it was a venue and safe haven for cultural rituals like happenings and a place to cross pollinate ideas. If you are interested in seeing the Glass House yourself, tickets sell fast so visit http://philipjohnsonglasshouse.org/ to get yours.
