The Crystal Cathedral, designed by architects Philip Johnson and John Burgee in 1980 (with adjacent buildings by Richard Neutra and Richard Meier), will continue to serve as a house of worship, having been purchased by the Roman Catholic Diocese of Orange in 2011.
“Oh, I’m mad for religious buildings. The only thing that really gives you a kick in the world is a religious building.” The inimitable Philip Johnson was quoted saying these words in the iconic book on the architect by Hilary Lewis and John O’Connor, Philip Johnson: The Architect in His Own Words.
In September 2011, publisher Rizzoli New York released The Glass House, a photo tour of Philip Johnson’s famous estate. The book includes text by Philip Johnson himself and by architecture critic Paul Goldberger, and is the official Glass House book of The National Trust for Historic Preservation. Robin Hill’s photo “Glass House Dawn” was selected to appear on the book’s cover.
Below is the final piece of a three-part installment wherein Robin Hill shares his experience of photographing the Glass House estate. View Part One and Part Two for the rest of the story.
My journey continues in its roundabout way, and I am now upon a gate, the likes of which I have never seen before. It is most unusual. I try to find a historic connection to its design but find none. What I do find is a beautifully scaled, welcoming structure that entices one to enter. It is everything that an entrance way to a gated community is not. Even when the barrier is down, it feels open. The Pillars rise high on both sides and are painted a welcoming tone of brown, quite different from the brown that smothers the library. Slung low across the bottom quarter is a brushed aluminum tube that splices the composition perfectly, both in terms of its height and its color. The gate is also quite a trick of visual play, as it actually consists of four pillars, not two as it appears from the full frontal view. The pillars on either side stand back to back with their identical twins behind them. This is a very clever way of hiding the mechanism that lifts and lowers the gate. The wires are hidden from the front view and delicately balance the gate between the two pillars. The engineering is sublime and gives a gentle equipoise to the whole structure. There are not enough Os in the word "smooth" to describe this gate.
<强>百加得建筑提供迈阿密现代（MIMO）的一个显着的例子在佛罗里达州迈阿密。
一些组合只是不可抗拒：弗雷德阿斯泰尔和罗杰斯，Lennon和McCartney的，西蒙和加芬克尔，百加得和焦炭。两栋楼之间存在这样的关系似乎是一个隐喻舒展的一点 - 那就是，直到你遇到两个华丽雕琢的建筑组成的百加得在迈阿密综合楼在这里。其中建筑高高耸立而骄傲，其他跨度广泛，丰富多彩。如果百加得大厦是一首歌，他们可能是著名的列侬和麦卡特尼记录，“一天的生活”，从1967年的专辑的军士。辣椒的孤独之心俱乐部乐队的。列侬的更高的腐蚀歌词上升基调，定义他们的音乐广场，和McCartney的乐观反驳调皮地提供了一个背景。百加得的塔，由恩里克Guitierrez于1964年设计的，上升冷却，并从其根部混凝土建筑肥沃，百加得及的立方体，由伊格纳西奥卡雷拉-Justiz于1973年设计的，顶上跳舞幕后充满希望的底座。这是一个非常优雅的并置。 To extend the metaphor, it is like the juxtaposition afforded by Lennon and McCartney in "A Day in the Life," in which the contrast is emphasized by the Royal Philharmonic Orchestra playing backward. In the Bacardi complex, the work of Guitierrez and Carrera-Justiz is divided by Bacardi's corporate logo, the Bat. Stroll through the plaza and find yourself transported into a world of modernist sophistication, spatial clarity, and a cool urban rhythm that Vitruvius would have delighted in.
The Florida Southern College campus offers the world’s largest collection of Frank Lloyd Wright buildings on a single site. The 10 interconnected structures offer an unparalleled view of how Wright intended buildings to be part of a larger, organic whole.
"Out of the ground, and into the light, a Child of the Sun": Wright’s simple but powerful statement describing Florida Southern College offers us a glimpse into the mind of America’s most influential, iconic, and (yes) poetic architect. It also informs us of the organic nature of his architectural thought and practice and is a signpost of his philosophy. Simultaneously, it gives us something of a prophecy regarding the possibilities of biophilic design. Wright championed his own philosophy of organic architecture and, while not 100% compatible with today’s ideas of biophilic design, it certainly laid a strong foundation of intellectual and philosophical support for the movement. Wright’s statement also conjures up images of the profound relationship his buildings displayed with regard to Nature (that’s Nature with a capital N, as he was fond of saying). It is worth noting here that his words could have easily come from one of his creative heroes, such as Ralph Waldo Emerson, Henry Thoreau, or Walt Whitman, all of whom had a galvanizing effect on Wright’s thinking and his philosophy of how nature and architecture can be part of an organic whole.
卡特勒湾，南迈阿密。全新的南迈阿密戴德文化艺术中心升起的那刺破天空的几何形式动态渐平佛罗里达风景了。它的存在提供了一个穿透相对的是枯燥和单调的南国购物中心和停车场面临。通过设计 Arquitectonica ，著名的迈阿密的建筑公司为首的Laurinda矛和贝尔纳堡 - 布雷西亚，文化艺术中心美食在运动和流动，流通和性能，几何形状和颜色。