通过这些摄影师的眼睛：玻璃房，第二部分

这意味着必须等待进一步的探索，直到这种经历向我的纤维括起来，因为我现在在一个不同的切线上脱落，意图导航到下一个地点，这是幽灵屋。在这个稀薄的氛围中，我期待与谱约翰逊的遭遇。现在，如果我只能拍照！我的思绪回归更全身的事情和鬼魂众议院庆祝的生活建筑师，弗兰克欧文盖尔。约翰逊和盖尔是朋友，约翰逊着名的冠军吉隆坡的建筑。1998年，我看到了他们两个查理罗斯在西班牙毕尔巴鄂进入Gehry的Guggenheim。约翰逊进入大堂，泪水显然落在了他的脸颊上。这不是一个受影响的时刻。他被架构清楚地迁移了。空间的空隙已经进入了他的毛孔，Gehry的范式移位架构的令人敬畏的力量使他咆哮着。然而，这是另一个故事，这个故事让我回到了一个小型棚子，由普通链节围栏制成，该普通连锁链接围栏设计为在圣莫尼卡的Gehry自己的房子的斗争中设计。幽灵屋对元素开放，现在覆盖着葡萄藤和招手探索。这里没有幽灵，但有智慧和学习设计的证据，纯几何和解构主义者的想法，开放的思想和故意平衡。幽灵屋比玻璃房综合体的任何其他结构都呼吸。它随着季节而变化并与自然相互作用。 It is, in its own way, an organic piece of architecture. It does not surrender itself to the usual laws of shelter; it is existent in its own paradigm, a reflection of the man to whom it pays homage.

约翰逊的简单设计提醒me of Robert Venturi's Vanna Venturi House (or Mother's House), but it is really Gehry's baby. Who else could inspire such architecture made of chain link fence? The Ghost House is at once both a bit of a prank and an architectural conundrum. It serves no real purpose, save to acknowledge the capacity of architects to play with form. And why not? Why not serve only the tenet of delight? It is with this last Vitruvian thought that I exit the Ghost House and head uphill to the library.

Poised mid-slope and currently painted a somewhat mediocre shade of brown (not always the case), the library is a simple and beautifully lit space, with a Gehry chair at Johnson's desk overlooking the Gehry-inspired Ghost House. Above the desk is a skylight, and rows and rows of tomes on architecture line the walls. I start to scan the selection and find that Johnson's range of reading in architecture is a real panorama of its many and varied practitioners. There'sUrban Spaceby Rob Krier (an early exponent of new urbanism) as well as Koolhaas'sOMA: Essays in Architecture- 在第4行中相同框中的空间的相对观点，列5中的框5。目前我意识到约翰逊的思想是一个真正的广角：不是平均28mm，观点为80度，甚至是传统的180-Degree Fisheye，但全面的全面全景，需要一切。在那个粪便汤中，他表现出新的观点，并将建筑思想和实践的领域扩展到新地区。现在，如果他对20世纪30年代的政治思想才能取决于如此宽阔的观点，也许他会更加深思地记住。尽管如此，我正在寻找建筑，而不是政治，我的眼睛回到书架上：Zaha Hadid，Melnikov，Loos，Michael Graves，不可避免的Le Corbusier，以及太多的其他人来列出。在那里，所有书籍都以垂直方式堆叠，坐着Moby Dick，在水平上显着栖息在巨石阵上的巨型石墨石上。我觉得这个奇怪的邀请。这是该地方唯一的小说。多么小说，我想！

I am now sitting at Johnson's desk, alone and pondering the compelling silence and how well appointed this place is for pure thought. There are no distractions. It is a temple to knowledge. A vibrant atmosphere of intellectual curiosity fills the space. It actually FEELS intelligent.

Three shallow steps greet the entrance to the library, rather similar to the two steps that lead up to the Glass House itself. I find the spacing of the steps particularly inviting. They slow me down as I cross the threshold from one world into another. They act like a small bridge, an easily overlooked detail that might pass many by, but I am fortunate that my chosen vocation keeps me looking and searching for God in the details. My library visit has come to an end, but my journey continues.

我就像一个访问许多行星的太空船d uses the gravitational pull from one planet to pull me to the next, and on this journey the next planet is unlike any other I have visited. It is the Pluto in the solar system of the Glass House complex… an outlier, living in the space between sculpture and architecture. It is "Da Monsta"! A red, angular, unshapely cocoon of a "building" and the last to be finished in 1995, it represents Johnson's climactic period of architectural exploration. Its free-form geometry on the outside is dynamic and visceral, formative and sound. Step inside, though, and the atmosphere changes dramatically. I feel like I have been thrust onto a ship that is lurching violently to one side in a storm. Normal perception of space has been thrown out the window. There is a sense of chaos herein. I am very uncomfortable in this place. It is not soothing or peaceful, but torrid and perplexing. (Its space shifts hither and thither.... arghhhhhhhhhh! I have to get out! And I do so in short order.) I recognize in this episode that for architecture to move forward, it has to experiment, and that this is a perfect place for experimentation to be undertaken. Often, as any scientist will tell you, experiments fail before they succeed (how else to get at the truth?). Da Monsta delivers as a sculpture, but as a work of architecture it needs to be appreciated after consuming certain mushrooms. And there are none on the menu today. In my mind Da Monsta is just like Pluto – beyond categorization. Perhaps that was Johnson's point. My exit from Da Monsta leads me around its base to view the window, within which is reflected the library.

玻璃房综合体充满了这些视觉惊喜，所有这些都是通过设计。窗口是一种严重的奇怪形状，在其垂直轴上弯曲，因为它逐渐变为其结论的水平面。由此产生的反射有点扭曲，就像在当地展览会的镜子的房子里看起来一样。反射库现在包括一个上升在屋顶上方的骨架树，就像从烟囱渗出的烟雾之路。da monsta是红色的。停止标志是红色的。法拉利是红色的。有一个原因：红色首先吸引着我们的注意力，并敦促我们巩固主题的愿景。摄影师经常向彩色呈现出陈述，将观众置于图片中。它唤醒了我们内心的自信，尖叫着“停止！” In my photographer's guise it is the most obvious color, the one above all others that must be used sparingly and well. Da Monsta certainly makes one stop in one's tracks. It exudes assertion. It is not to be messed with. It says "You lookin' at me?" Through these photographer's eyes the emphatic answer is "I can't stop looking at you!” You are like the unapproachable duchess at a party. You cannot be known. You are aloof and detached. You are not quite of this world, but don't expect me not to look at you – you are red! With this notion in my head I am now determined not to let the red duchess overload my perceptions. She is monumental and fractured. So I move away and develop a new conversation where she is no longer the center of attention, but a guest star in an extra's role. However, she is arrogant and aggressive and does not want to be pushed to the sidelines. Back she comes into view, thrusting herself into the limelight. Who is she? Why does she keep intruding into my composition? At this point I have to surrender. She is powerful and I allow her half the frame.

Her frozen brow stoops into the picture like the Titanic's prow, all pomposity and thrusting drive. Love her or loathe her, she cannot be ignored. I am now thinking of Alex Forrest, as portrayed by Glenn Close in致命的吸引力, whose legendary line "I won't be ignored, Dan" comes chillingly to mind. Da Monsta is well named! I am now a few feet away from her, but it is her polite neighbor that still attracts my attention, in particular the way that she (the library) is so classically framed by the well placed trees. It’s no accident, and I love that Johnson was able to see all these wonderful visual connections between the architecture and the landscape. It’s a beautiful juxtaposition. Da Monsta has lost her menace and, despite filling half the frame with red, she cannot hamper the intricacies of interconnectedness within my composition. Da Monsta was originally intended to be the visitor's center, so therefore it sits in close proximity to the gate. It is a short walk, just a few steps along the path, and between the gap of a low-slung New England stone wall the gate becomes apparent. Before I reach the gate, I recognize the presence of long sinewy branches of cedar trees, that almost interconnect across the gap in the stone wall. Their vigorous horizontality is alluring and adds a welcoming silhouette to my composition. The library still shows its polite face even from here, and Da Monsta has been camouflaged to become another less threatening character.

This is the second of a three-part installment wherein Robin Hill shares his experience of photographing the Glass House estate. Stay tuned for part three. In the meantime please visitrobinhill.netfor a closer look at his photography. All content in this article is copyrighted to Robin Hill ©.