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    Philip Johnson’s Brick House Reopens After 15 Years

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    The architect Philip Johnson’s Glass House, a rectangular glass-and-steel residence set on a grassy shelf above a wooded bluff in New Canaan, Conn., has epitomized a certain East Coast ideal of midcentury elegance since its completion in 1949. Before becoming an architect at age 37, Johnson ran the architecture department at MoMA, and the spare, luminous building, which he inhabited for over half a century, embodies the Modernist International Style that he helped define in a landmark exhibition at the museum in 1932. The home also established Johnson himself as the paragon of a specific type of New York architect: erudite, absolutist in his refinement and formidable in his influence wielding, shaping careers, institutions and public opinion like few others in his field.But since the National Trust of Historic Preservation opened the Glass House to the public as a museum in 2007, visitors have discovered there’s more to the place than its namesake centerpiece. By the time Johnson died in 2005, the five acres he’d bought in 1946 had grown tenfold to encompass 14 structures, including experimental follies, a subterranean painting gallery and three wooden homes from earlier periods, including a shingled 18th-century dwelling that Johnson and his partner, the curator David Whitney, would use as a refuge in hot weather. For the past 15 years, however, a pivotal part of the estate has remained semi-concealed: Johnson’s guesthouse, known as the Brick House and situated just 80 feet from the site’s main attraction, has been closed to the public because of water damage. Now, after an extensive restoration and in time for the Glass House’s 75th anniversary, the building has finally been unveiled.The hallway has a granite floor and doubles as a gallery, displaying Brice Marden’s “Etchings to Rexroth” (1986), from the collection of Johnson and his partner, the curator David Whitney.Dean KaufmanJohnson considered the 1,728-square-foot Glass House and its 860-square-foot brick companion, which was built at the same time, two parts of a single home — one alluringly crystalline, the other introverted and opaque. He wrapped the smaller building entirely in iron-spotted red brick and positioned it facing the main house at a slight angle, with a gravel pathway crossing the courtyard between them. The structures are also linked below ground: Along with a bedroom, study, storage room and bathroom, the Brick House contains the unsightly mechanical equipment that supplies the Glass House with electricity and heat, enabling the larger building to maintain its aesthetic purity. Tellingly, Johnson placed the Brick House’s only windows — three big mahogany-framed portholes — on the building’s back side, facing away from his glass retreat. “I didn’t see why the guests should have a window looking out toward my house,” he said in an unpublished 1991 interview for the National Trust. “They can look their own way out to the hill.” But he and Whitney also often slept in the building when they didn’t have visitors.Ibram Lassaw’s welded bronze-and-steel work “Clouds of Magellan,” commissioned for the bedroom in 1953, hangs above the bed.Dean KaufmanThe Brick House is stern, squat and solid, its front interrupted only by a tall, centered black pinewood door. Even Johnson admitted it wasn’t much to look at, calling it “perfectly plain.” But if the exterior is unassuming, Johnson created an unexpected landscape of color, texture and fantastical detail inside. At one end of the bright entrance hall, which runs parallel to the front of the house, a door gives way to the building’s showpiece: a dim, sand-hued bedroom that is at once monastic, womblike and glamorous. Johnson — who never shied away from, as he put it in the 1991 interview, “deliberately copying whatever I felt like” — modeled it after a domed parlor in the early 19th-century London home of the English architect John Soane. Soane described the layered design of that room as “a succession of fanciful effects,’’ and Johnson deployed his own series of clever tricks. First, he built an off-white plaster pavilion inside the 10-by-26-foot room. A row of vaults seem to be supported by 14 superslim columns but are, in fact, suspended from the ceiling and give the room the sheltered quality of a cloister.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Heartland Godmother of Installation Art, No Longer in the Shadows

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      She is a trailblazer of the architectural sculpture movement, and her diaries rival Frida Kahlo’s. Are we ready for the unsettling clarity of Donna Dennis?One of Donna Dennis’s architectural installations — a false tunnel entrance installed on the Mad River — so confounded local Ohioans that one morning in August 1981, someone pipe-bombed it. New York’s bomb squad confiscated part of another structure, a cabin occupying City Hall Park, in 1986. The works by Dennis are so faithful to existing vocabularies of infrastructure that they defy classification as art objects.In 1970s New York, as painting and sculpture gave way to a gold rush of conceptualism, environments, performance and politics, the Ohio-born Dennis, fresh from art school in Minnesota and Paris, tuned into consciousness-raising women’s groups and devoted her craft to unsettlingly frank resemblances of buildings.First came hotel and subway facades, then houses in the round — each a combination of construction and artist materials, and slightly too small to pretend functionality. (For lights she uses appliance bulbs, and her doors terminate at her eye level.) Since the ’80s she has gone industrial: room-size lift bridges, stairways, rail platforms, pump houses and roller coaster girdings that have increased in complexity as they lessen in number.Dennis in 1981 with half of “Mad River Tunnel: Entrance and Exit,” in Dayton, Ohio.Donna DennisThis month, the gates crack on this scarce and challenging oeuvre. The bellwether art gallery O’Flaherty’s has darkened its space on Avenue A to a dramatic degree, and filled it with five Dennis works from the 1970s and ’90s, for a show called “Houses and Hotels.” Whatever else they do, these shrines to vernacular architecture, humane, seductive and commanding, make clear that a godmother of installation art has been unwisely overlooked.“Two Stories with Porch (for Robert Cobuzio)” (1977-79) is a 10-foot-tall rowhouse in the style of suburban New Jersey. From a darkened first-story window, a VACANCY sign glows greenly. (A tribute to the late friend of the title.) A wallpapered room lit by ceiling bulb is just visible upstairs. As your eyes adjust in the dark, unlit details fade in: a coat of aluminum paint on the cornice, a staircase through the curtain, a tracing of mortar among stones in the foundation.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A New Law Would Remove Many Architectural Protections in Miami Beach

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      Lawmakers say preservationists held too much power over decisions on whether buildings should be demolished and what should be allowed to replace them.The oceanfront Eden Roc Hotel is an icon of Miami Modernist architecture, a style that epitomized the postwar glamour and grandeur of Miami Beach. Two turquoise panels wrap the white facade. The oval canister perched atop the building resembles a cruise ship’s funnel. Crooners like Frank Sinatra, Harry Belafonte, and Sammy Davis, Jr., stayed and played there.But a new Florida law could make it easier for hotels like the Eden Roc and other architectural icons along Miami Beach’s coastline to be demolished. The battle pits the pressures of development and climate change against the benefits of historical preservation, in a city that has long paved over its past and prizes the new, shiny, and glitzy.Supporters say the law addresses environmental and safety challenges of aging properties after the deadly 2021 collapse of the Champlain Towers South condo. But critics believe the legislation is a pretext to facilitate the demolition of historical buildings — ones that give Miami Beach its distinct look — to make way for high-rise luxury condos.The new law effectively strips Miami Beach Historic Preservation Board of its long-held power to say whether historic structures can be demolished and, if a structure is knocked down, to ensure that at least some elements of its design are preserved or replicated. “Let’s just bulldoze the past — that’s their idea,” said Daniel Ciraldo, the executive director of the nonprofit Miami Design Preservation League. “I don’t think we’ve seen such an attack on our local controls since the 1980s, back when the city first started to do historic preservation.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Architect Who Builds Community Wins Pritzker Prize

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      Riken Yamamoto, whose understated buildings quietly emphasize community and connectivity, has been awarded this year’s Pritzker Prize, architecture’s highest honor.“Whether he designs private houses or public infrastructure, schools or fire stations, city halls or museums, the common and convivial dimension is always present,” the jury said in its citation announcing the award on Tuesday. “His constant, careful and substantial attention to community has generated public interworking space systems that incentivize people to convene in different ways.”Yamakawa Villa, 1977, Nagano, Japan. This early project, for a client who wanted a summer cottage in the woods, is designed like an open-air terrace, without exterior walls. Living rooms seamlessly merge — and animals are welcome.Tomio Ohashi/The Pritzker Architecture PrizeIn the private residence, Yamakawa Village, sleeping quarters and the kitchen are dispersed into small rooms.Tomio Ohashi/The Pritzker Architecture PrizeThe desire to eliminate barriers between public and private realms was evident in Yamamoto’s first project, from 1977, a private open-air summer house in the woods of Nagano, Japan. “It has only a roof, no walls,” the 78-year-old architect recalled in a telephone interview from Yokohama, Japan, where he is based. “In the winter season, many of the animals are coming in.”Similarly, a house in Kawasaki that Yamamoto designed the following year for two artists featured a pavilion-like room that could serve as a stage for performances, with living quarters underneath.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Student and Teacher, Moving Up Together

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      More from our inbox:Trump LackeysDon’t Call Them ‘Conservative’Precious Views: Saving the Skyline of New York Katy FreemanTo the Editor:Re “Kids Benefit From Having One Teacher Twice,” by Adam Grant (Opinion guest essay, Oct. 24):Dr. Grant is right on target on the value of “looping” for kids and teachers who stay with them for a grade or more. In my dissertation research on middle-school teacher teams, I found that the most effective team was one that followed the same group of students for three years.As the teachers explained, when they had students for just one year, they could blame the shortcomings of students on their previous teachers. After three years, they knew they should be able to show significant results for all their kids.One other advantage of looping was creating a more cohesive professional community; after a couple of years away from a particular grade’s curriculum, teachers reached out to colleagues to learn from their more recent experience with that grade.A win-win for everyone, and especially the students whom teachers never gave up on and built strong relations with over these years.Rick GordonJackson, Wyo.The writer was the founding director of the Compass School in Vermont.To the Editor:Adam Grant’s advocacy for “looping” in education is a compelling invitation to deepen teacher-student relationships and nurture personalized learning. But as a high school junior, I find myself grappling with this idea.Although looping’s promise is enticing, I’m concerned that it might inadvertently constrain students’ ability to adapt, leaving us ill prepared for our future.High school has been an essential stage of transformation for me, marked by an ever-shifting landscape of diverse experiences, teaching styles and perspectives. I’m concerned that looping, which emphasizes a personalized relationship with a single teacher, may curtail the range of experiences essential for nurturing adaptability.This quality, vital for future success in both college and the work force, is arguably honed through adapting to various teaching styles and methods that diverse teachers bring. In an era that demands versatile skills, we should recognize the value of a variety of experiences in education.Taiki YamauchiAlexandria, Va.To the Editor:As an elementary-school teacher who did “loop” a kindergarten to first-grade class, I agree with Adam Grant in his praise for the practice. Knowing where your students left off and where you could begin was a big improvement over the mystery that would commonly occur with a new class.In addition to the benefit to academics, there were the friendships that could continue in the classroom as well as the improved insights between teacher and student.Another benefit was the communication between the parents and me. Having their child for two years enabled us to immediately pursue common goals and solve problems much more easily than starting fresh.Parents can be asked for their preference concerning looping, so if there’s not a good fit for the child, the parent can opt out. I remember that out of 20 students, 19 remained in my next class. The parent who opted out came to me at the end of the year to tell me she’d made a mistake!Some children would be OK with another teacher. But for others, looping meant a great deal and perhaps enabled them to succeed more than they might have without the teacher’s extra knowledge of the students.Daina SchumanStamford, Conn.Trump LackeysTop Trump allies, including Russell Vought, seated in the middle, have come to view the Republican Party’s legal elites — even leaders with impeccable conservative credentials — as out of step.Andrew Harnik/Associated PressTo the Editor:Re “Seeking Lawyers to Bless Trump’s Full Ambition” (front page, Nov. 2):In his first term as president, Donald Trump made, from his point of view, several key mistakes. Among them was selecting well-known conservatives with at least some experience and gravitas for important positions in his administration.The problem with these people was that they had at least a shred of decency and, ultimately, respect for the law and the Constitution. They, and others in his administration, refused in the end to execute his orders when those orders clearly violated the law.He won’t make that mistake again. As this article reveals, a second-term Trump cabinet, and the rest of his administration, would be filled with inexperienced sycophants whose only qualifications are their total loyalty to him alone and their willingness to do anything he says, illegal or not.Mr. Trump’s presidency was by far the worst in our history. A second Trump term, supported by these carefully chosen lackeys, would be nightmarish.Tim ShawCambridge, Mass.Don’t Call Them ‘Conservative’ Mark Peterson/Redux, for The New York TimesTo the Editor:Re “The Roots of Republican Dysfunction,” by Jamelle Bouie (column, Oct. 22):The MAGA supporters who call themselves “conservative” yet supported the Big Lie are not conservative. Overthrowing a legitimate election and installing a strongman you like is radical; it is not the least bit conservative.I wish America had a real conservative party, which would serve a legitimate purpose in balancing the urges of us liberals. But nobody should be allowed to impose authoritarianism on fellow citizens and call it “conservative.” That is radical extremism.Brett LindenbachNorth Haven, Conn.Precious Views: Saving the Skyline of New York George Etheredge for The New York TimesTo the Editor:Re “Regulate the Skyline? What’s Your View?,” by Michael Kimmelman (Critic’s Notebook, Oct. 26):Fifty years ago, when I was young, the Empire State Building could be seen from almost everywhere. It was, in the words of John Milton, “the cynosure of neighboring eyes.” Now, as Mr. Kimmelman writes, a uniquely unobstructed view can be glimpsed from an alley he found off 28th Street.“The alley framed a postcard view of the Empire State Building,” he writes, “magically” preserving something lost elsewhere in the city, as widespread new construction has blotted out views, “occasionally breaking hearts.”The Landmarks Preservation Commission designated the Empire State Building a landmark. But operating under existing law, the agency could not protect the view corridors nearby.Old photographs will tell us something about what the Empire State Building once was. But will the historic preservation movement offer any strong strategic criticism of the planning policy vacuum Mr. Kimmelman’s criticism reveals? Who else will now defend the public interest in preserving views of our distinctive local architecture?Christabel GoughHudson, N.Y.To the Editor:We fall deeply in love with our favorite views and hope they will never change. But, like people, views have life spans. I have mourned several lost cityscapes in recent years, but learned a valuable lesson in the process: Hold back your tears until the new building is revealed.The Copper building on First Avenue near 35th Street took away the span of open sky that had delighted me for years with its unobstructed sunrises. But the quirky K-shaped Copper now serves as a compelling centerpiece for my sky photography. The sunrises are as splendid as ever, and there is a bonus: The Copper reflects the setting sun, lush with light as its colors fade to black.On the other hand, I am angry to hear that a precious Manhattan view will no longer exist. Sign me up to support view cones. If the Empire State Building can be eclipsed, what will be next?Roberta HershensonNew York More