EFFECTIVE 14 Nov. 2012 PRIVATE MESSAGING HAS BEEN RE-ENABLED. IF YOU RECEIVE A SUSPICIOUS DO NOT CLICK ON ANY LINKS AND PLEASE REPORT TO THE ADMINISTRATOR FOR FURTHER INVESTIGATION.
This is the Frank Lloyd Wright Building Conservancy's Message Board. Wright enthusiasts can post questions and comments, and other people visiting the site can respond.
You agree not to post any abusive, obscene, vulgar, slanderous, hateful, threatening, *-oriented or any other material that may violate any applicable laws. Doing so may lead to you being immediately and permanently banned (and your service provider being informed). The IP address of all posts is recorded to aid in enforcing these conditions. You agree that the webmaster, administrator and moderators of this forum have the right to remove, edit, move or close any topic at any time they see fit.
After a stint in the Army, Johnson returned to MoMA in 1945/46 as the director of architecture and design, where he mounted an exhibition on Mies in 1947. He designed MoMA’s annex from 1949 to 1951, taught at Cornell and Yale, and designed a few houses before the Glass House (completed in 1949).
So Mies and Johnson obviously had known each other well for years. Drawings and a model of Farnsworth were included in the ‘47 MoMA exhibition: https://curtainedwallstimeline.hcommons ... ge-images/
From the timeline, Johnson:
“The idea of a glass house comes from Mies van der Rohe. Mies had mentioned to me as early as 1945 how easy it would be to build a house entirely of large sheets of glass. I was skeptical at the time, and it was not until I had seen the sketches of the Farnsworth House that I started the three-year work of designing my glass house.”
If Mies went with white because of ancient Greek architecture, he assumed the same mistake most people made, that Greek temples were raw, white stone. Actually they were painted an array of gaudy colors from top to bottom, walls columns and statues. Same is true of the Gothic cathedrals of Europe.
For an institution with such close ties to architecture - the design of its original building by Goodwin & Stone, Johnson's association, acquisition of FLW archive - MoMA seems indifferent to the fine architecture of its own building and the wonderful Williams-Tsien American Folk Art Museum nearby, demolished to expand MoMA.
I don't recall the reasons MoMA gave for not making room in the design of their westward expansion for the Folk Art Museum.