Biography of Architect Philip Johnson

He formed a partnership with John Burgee of Chicago, and from the 1970s they formulated a kind of Postmodernism in this sort of designs as the Investors Diversified Services Center in Minneapolis, Minnesota, Pennzoil Place in Houston, Texas, as well as the American Telephone and Telegraph Building in Manhattan ("Philip Johnson" 314).

Johnson was born in 1906 in Cleveland, Ohio. Johnson graduated from Harvard. Johnson met van der Rohe in Europe in 1928 at a time after the latter was already President on the Deutscher Werkbund and was immersed inside the corporation in the famous Weissenhof exhibition of current housing held at Stuttgart in 1927. Once Johnson returned for the United States, he was a confirmed supporter on the new architecture he had seen. It was then that he and Hitchcock began working on the book that would give a name on the new architecture--The International Style. Throughout the Depression years, Johnson maintained and expanded his connection with modern day architects in Europe and organized exhibitions on modern-day themes at the Museum of Current Art in New York, and a famous one in 1933 referred to as "The Birth of the American Skyscraper." Hitchcock and Johnson arranged the first visit for the United States of Le Corbusier, and this presaged the arrival of far more Europeans, between them Walter Gropius, former Main of the Bauhaus, and Mies van der Rohe. In 1941 Johnson returned to Harvard as a student under Gropius and Ma

 

McGuigan, Cathleen. "The Irrepressible Mr. Johnson." Harper's Bazaar (November 1992), 161-163.

More recently, Johnson has been joining with other architects who were shattering all of the rules, leaving behind symmetry and conventional geometry in favor of distorted designs, twisted beams, and skewed angles. Johnson in 1988 showcased this variety i a procedure at the Museum of Current Art, and he named the show "Deconstructivist Architecture." Among the designers right after this approach are Frank Gehry of California or Bernard Tschumi from France and Switzerland. Johnson says of this new architecture that it evokes "the pleasures of unease." These ideas were utilized directly by Johnson in his model for the Canadian Broadcasting Organization building in Toronto (McGuigan, "From Bauhaus to Fun House" 64-65).

Here, although the timber cladding and raised profile unquestionably evoked the domestic feelings of Breuer's jobs inside the exact same genre, the planning and furnishing in the building as just before obediently echoed the restraint and asceticism of Mies (Noble 10-11).

Here he confronted the region that human values might be interpreted via client's needs by claiming that this sort of expediency was at very best an excuse for ones relinquishing of responsibility towards the art of architecture (Noble 14).

Johnson graduated and went promptly to the army, but his assistance was short. In 1946 he returned to the Museum of Modern Art as Director from the Department of Architecture and Design. He completed in 1946 his very first private commission, a property for Eugene Farney at Sagaponack, Extended Island, New York.

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