Walk through the towering door now, and Midtown falls away. The transition is not abrupt; a visitor is met first with a bank of wooden cupboards, easing newcomers off the street and into the vastness of the house itself. Then, space. The main room provides an unimpeded vista through 100 feet of natural-lit openness, a glass wall, a courtyard and pond, and a small separate structure beyond. The effect — of muted light, of air, of cleanness — is moving. — The New York Times
Dallas police were at Cathedral of Hope [...] investigating graffiti painted onto the church’s Interfaith Peace Chapel. The building was vandalized at about 11 p.m. on Wednesday night, according to the Rev. Neil Cazares-Thomas, CoH’s lead pastor. [...]
The spray-painted message included a Louisiana phone number and referred to a car as a “Brown Chivy Suburbin.” The name “Johntion Kimbrou” — possibly “Kimbrow” — was also painted on the church, along with a reference to “kitty porn.” — dallasvoice.com
Architects and non-architects alike sent their boldest ideas on how they would revive the Philip Johnson-designed [New York State Pavilion] into a contemporary public space.
From a burger museum to a Metro station to variations of botanical gardens, after reviewing over 250 submissions the jury awarded the coveted first prize to “Hanging Meadows” by Aidan Doyle and Sarah Wan of Seattle. — Bustler
Mr. Rosen would not mind getting a little credit for maintaining the 59-year-old building, a landmark inside and outside, designed by Ludwig Mies van der Rohe and Philip Johnson. With its rich materials and exquisite detailing, the building demands scrupulous attention. And money.
RFR executives estimated that it cost about 20 percent more to maintain the seemingly spartan Seagram Building than it would a typical office tower of roughly the same size and age. Less is more. — nytimes.com
Now that the iconic restaurant’s impending demise is only weeks away, its furniture, tableware, and custom-made Knoll furniture will be included in the 500 lots headed for auction next month on July 26. News had surfaced last summer when Seagram Building owner Aby Rosen did not renew the lease for the quintessential Midtown “power lunch” spot for the last decades of the 20th century since it opened in 1959. — 6sqft.com
Johnson returned home certain his life had been transformed. He found in Nazism a new international ideal. The aesthetic power and exaltation he experienced in viewing modernist architecture found its complete national expression in the Hitler-centered Fascist movement. Here was a way not merely to rebuild cities with a unified and monumental aesthetic vision for the Machine Age but to spur a rebirth of mankind itself. He had never expressed any interest in politics before. That had now changed. — Vanity Fair
"Over the next two years, Johnson moved back and forth between Europe and New York City. At home, he mounted shows and promoted modernist artists whose works he considered the best of the new. All the while, he kept an eye on the Nazis as they consolidated power. He had slept with his share of men...
Naturally paired, but too quickly equated. Photographer Robin Hill takes on the iconic and somewhat contending Farnsworth House and Glass House in his photo series, "Side by Side: The Glass Houses of Mies van der Rohe and Philip Johnson". With eighteen magazine-ready spreads, Hill matches shots of...
During the [1964-65 World's Fair], the elliptical Tent of Tomorrow was used as a versatile performance space...But not much has been done to preserve the structure since the fair ended in 1965...At the moment, there are no formal proposals, and ['Modern Ruin' film director Matthew Silva] admits it’ll be hard to raise funds without one. But he hopes the film, as well as his advocacy group, will get people thinking about what can be done. — New York Magazine
The interior of the Four Seasons restaurant, a vision of Modernist elegance with its French walnut paneling and white marble pool of bubbling water, should not be changed, New York City’s Landmarks Preservation Commission decided [...].
The decision was a setback to Aby J. Rosen, the owner of the Seagram Building, which is home to the restaurant. Mr. Rosen had proposed what he characterized as minor changes to the interior that was designed by Ludwig Mies van der Rohe and Philip Johnson in 1958. — nytimes.com
"Come as you are in the family car" — Robert H. Schuller
The rest of the buildings came naturally, if gradually. The idea of having a slew of small houses for different activities, moods and seasons, complemented by decorative 'follies,' was Johnson’s conception for the site from early on. He called it a 'diary of an eccentric architect," but it was also a sketchbook, an homage to architects past and present — NYT - T Magazine
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