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As the Brick House mostly functioned as a place where Johnson’s guests could sleep over, it was also referred to as the Guest House. Besides the Brick House, the New Canaan plot featured a gallery space, library, studio, lake pavilion called the Pavilion in the Pond, and several other buildings. The Glass House is located in New Canaan, Connecticut; the Glass House Visitors Center, where all tours begin, is at 199 Elm Street, right across the street from the MTA's New Canaan Metro-North train station.
Sculpture Gallery
In between the dining area and open kitchen stands Elie Nadelman’s sculpture Two Circus Women (1930). A closet behind the Poussin separates the living space from the sleeping area. The image below, which consists of a model of the Glass House, shows Johnson’s adaptation of these modernist ideas. For example, the closet behind the bed separates the sleeping area from the rest of the house, while the same thing happens in the kitchen thanks to the incorporation of the L-shaped cabinets. The dining area, the living area, and the study area are all a part of the open space of The Glass House.
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While the landscape guided the design, there were also other reasons why Johnson designed an open-plan glass house in the first place. He thought it would be nice to have a place in which you could swivel around and see everything all at once, including the outdoors. Besides this, he also loved the idea that the Glass House would be the only place in the world where one could simultaneously watch the sunset and the moonrise. Newly completed in 2021, the acclaimed venue is operated by a team of experienced and agile professionals that apply leading service standards to deliver remarkable experiences. Our accommodating approach, versatile design, and unmatched infrastructure, allow for elevated planning creativity, guest service, and contemporary experiences.
Vernacular Buildings
The brilliant patch of wildflowers between the Glass House and the Studio? All built by hand to Johnson's specifications to serve as one of the property's primary organizing principles. The Rockefeller Guest House was commissioned by Blanchette Ferry Hooker Rockefeller, a passionate art collector who favored works by the likes of Alberto Giacometti and Willem de Kooning. Pieces from her collection later found fitting homes on the walls and floors of the guest house, after being relegated out of Blanchette's primary residence by her husband John D. Rockefeller III.
Comparing Philip Johnson’s Glass House with Mies’ Edith Farnsworth House
However, in Mies’ designs, the asymmetry could be found in both the interior and exterior, but Johnson only used it inside the building. Johnson thought that the symmetrical outside made the whole house look calm and organized. When one stepped inside, however, he or she would encounter a wild world of asymmetrical planes and volumes. After returning from the war in 1946, Philip Johnson bought a five-acre plot in New Canaan, close to New York City. Soon after purchasing the land, Johnson started designing a residence for himself called The Glass House. Eventually, the Glass House was designed between 1946 and 1948, after which it was built and finally completed in 1949.
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At the architect Philip Johnson’s former estate in New Canaan, Conn., there has long been a Glass House and a Brick House. To learn more about the Rockefeller Guest House and its history, read the full article from The New York Times Style Magazine here. – Enhance your experience at The Glass House with our Digital Guide, a part of Bloomberg Connects. – Please note the Brick House is closed for a preservation project and will re-open on May 2, 2024. – Transportation by train is easily accessible from New York City and the eastern seaboard along the Metro North New Haven line.
Most of the furniture came from Johnson’s New York apartment, designed in 1930 by Mies van der Rohe. A seventeenth-century painting attributed to Nicolas Poussin stands in the living room. The image, Burial of Phocion, depicts a classical landscape and was selected specifically for the house by Alfred H. Barr, Jr., the first director of the Museum of Modern Art. It is a small version of a marble sculpture that is in the lobby of the New York State Theater (now David H. Koch Theater) at Lincoln Center in 1964. The Glass House, the only publicly accessible Escape Vista-model tiny home on the East Coast, is a 180 sqft glass enclosed tiny house. It offers spectacular 360-degree views of the Hudson Valley and the surrounding vineyards and apple orchards.
The interior design is clever, with rotating walls in the three circular rooms that can be manually turned to reveal a whole different set of paintings. This was also Johnson's space for entertaining, and long tables would be carried in for what we imagine were extravagant, raucous dinner parties. On some nights the field opposite the gallery entrance was used for performances, or "happenings," by such luminaries as the Martha Graham Dance Company. There are also hints of Mies’ aesthetic in the subtle asymmetry of the interior. During the 1920s, when Mies van der Rohe’s designs first helped define modernist architecture, the architect came up with the concept of asymmetry. Twenty years later, Johnson implemented this idea into his Glass House by using the round bathroom building.
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The Glass House being a simple cube might be exactly what makes it so special. The floor plan of the Glass House reveals a fairly traditional living space. Although there are no walls, Philip Johnson referred to areas within the rectangular, loft-like space as “rooms.” There is a kitchen, dining room, living room, bedroom, hearth area, bathroom, and an entrance area. Despite the very modern style of the house, the layout could easily be a colonial home, something Johnson noted. While it's a museum now, not a home, almost all the furniture is exactly as it was when Johnson lived there. The house is small, just 1,815 square feet of open-plan design (a common home layout now, but a rarity in the 1940s), containing dining room, kitchen, living room, bathroom, bedroom, and study.
Apart from Mies, the English garden, and Malevich, the house and its direct surroundings were also influenced by the Parthenon, the whole Romantic Movement, and the asymmetry seen in the works of the late nineteenth century. A ground floor shop in a banal and narrow 1970s housing block gets a second life by architecture practice fala atelier. Sited in Porto, the building now houses an apartment for two, with a clear program but an ambigious layout. Waves of glass brick and clouds of metal mesh intertwine to transform this originally non domestic space. The Painting Gallery is underground, built into a landscaped hill, and was modeled after a tomb Johnson saw in Mycenae, Greece.
One- and two-hour timed ticketed tours are conducted every Monday, Friday and Saturday, and three-hour self-guided tours are held on Sundays. The best option is the three-hour "self-guided" tour available on Sundays only, which costs $75 and gives you free reign to wander through all the buildings and across the grounds at your own pace. Mies’s Barcelona furniture is placed in front of Nicolas Poussin’s The Burial of Phocion (1648–1649).
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