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If, as you suggest, the "woke" movement is intent on proving something about themselves.... it's pretty clear that they're saying 'silence is complicity' and that history doesn't get a free pass from contemporary judgment.
https://www.archpaper.com/2018/11/mark- ... ass-house/
I absolutely love listening to him talk. He clearly had a remarkable, self deprecating sense of humor, a quick wit and a keen eye. And I think the Glass house is a masterpiece. (A reverential copy can often be as beautiful as the “real thing”.)
When he talked about Wright’s Johnson Wax building in the Burns documentary I was moved to tears.
As for "woke": To prove that we are not evil ourself, we should explicitly disassociate ourself from every single instance of evil that we can find in the world ? How does that work ? Maybe we do it continent by continent, or decade by decade, until the rot everywhere has been named and shamed ? Or do we go with the flow, letting others settle on one example or another, and sign on to that week's "Person to be Pilloried" in scattershot fashion ? Sounds like a lifetime's obsession, either way.
Sorry, but I just don't see it. The adage about people who live in glass houses (ahem) comes to mind . . .!
Maybe I should have called it an homage.
An admirable quality about Johnson is that he never attempted to hide or deny his many “borrowed” ideas.
https://www.fastcompany.com/3060342/all ... lass-house
I only balk at "copy," as the differences between the two houses are not limited to color, foundation and contents. It would be quicker to count the similarities: exposed steel frame, three bays, large sheets of glass, flat roof. Farnsworth's steel verticals occur outside the plane of the wall; his glass box is framed in lighter steel and extends beyond the major support members at either end. Johnson introduces a chair-rail-height mullion which Mies omits (though it is seen in other works).
In 1949 observers could be excused for conflating the two exercises: they were much more like each other than like any other MCM residences of the day. Today we might be more particular in our critique; I would have expected Mies to better assess the similarities---and the differences---between his work and Johnson's.
It’s still an incredible house, possibly more livable and inviting than his mentor’s.
I'm happy to have that article with its accounting of the multiple sources for the estate.
In a bookstore in Berkeley long ago I perused a book which illustrated some of the many variations in plan that Johnson discarded before settling on what was built. The bathroom cylinder was at one point a coiled serpentine wall. I wish I hadn't left that book on the shelf.
From what I’ve read, he wanted to differentiate the house surrounded by nature from the building surrounded by other manmade structures. 860 880 lakeshore had already been built in black. He only used black, silver and bronze in the highrises. From a practical point of view, white would have been a nightmare anywhere in an urban environment.
I think he always intended Farnsworth to be white.
See the 1945 presentation drawing:
https://www.archdaily.com/59719/ad-clas ... ohe-sketch
“ White, as an example, was chosen to not disrupt the natural surroundings: “…we should attempt to bring nature, houses, and human beings together into a higher unity.” he said. For Mies van der Rohe, looking at nature through the glass walls of the Farnsworth House had a totally different and more profound significance than from the outside as, from the inside, nature becomes “…part of a larger whole.” ”
The irony of this is that white makes the greatest contrast to nature, except in snow covered winter. Black would recede, and at least in theory disappear and become “one with nature”. White is the most classical; the Greek Temples were on his mind.
Black certainly recedes. Come to think of it, Craig Ellwood's homages are white, I think.
https://crosbydoe.com/press/temple-of-s ... residence/
"For Ellwood the Daphne Residence was [his] first white steel house . . ."