Farnsworth House 2011
There it is. My perfect Greek temple, the ultimate expression of art in nature, of architecture. Mies van der Rohe’s Farnsworth House. Great art and great architecture work like this: you can visit it a hundred times and you see something new, learn something new, feel something new every single time. I discover it every time at Unity Temple and every time at the Farnsworth House. In the video we show visitors, John Bryan says there is no building more important in modern architecture. Dirk Lohan calls it a poem. It is a beautiful and perfect chord, a wonderful harmony of steel and glass and white and light wood and it floats above its site, resting loosely on the world, ready to rise like sound. Continue Reading
Of Boots and Buildings: Musings on Modernity
a Barry Byrne church in Pierre, SD Photo by Katherine Shaughnessy
In three weeks I will be speaking at Modernism Week in Palm Springs; my last post “What Is Modern” got a ton of hits; and I have just finished a draft of the Barry Byrne book following my JSAH article (still free during February 2011 online) “Barry Byrne: Expressing the Modern in 1920s Europe” so I have been thinking about Modernism a lot. Barry Byrne wrote a letter to Lionel Feininger at the Bauhaus in the mid-1920s disparaging the term, and he was right: What does “Modern” mean, especially now that it is overwith and reborn as a nostalgic style courtesy of Mad Men and Dwell magazine?
So I have been trying to figure our another term for it, like “20th Century” or “Late Industrial” but none are adequate and we do have to recall that Barry Byrne and all of his friends like Mies and Oud and Corbu were actively proselytizing “modern” whatever the heck it was. It was a movement. It certainly lasted two-thirds of the 20th century and it had some formal consistencies like machined finishes and ornamental abstraction or negation, but as my article noted, there were lots of different modernisms from the revolutionary asceticism of Loos to the painterly formalism of Corbu, the expressive romanticism of Mendelsohn, and the reborn classicism of Mies. Continue Reading
Building Time
I had a morning meeting of the Steering Committee for the Farnsworth House, the stunning glass house built in Plano, Illinois by Ludwig Mies van der Rohe in 1951. (You can see it on the LPCI website link at right) The house was famously sold at a Sotheby’s auction in December 2003. LPCI and the National Trust hooked up and bought it for over $7 million, saving it from a potential move out of state.
The house is a marvel. Yes, its style is modernist, its materials glass and steel, its entire perimeter floor-to-ceiling glass, but the emotional effect on the visitor is a Greek temple. It is mathematical perfection sitting in the natural perfection of the Fox River floodplain, a perfect little symphony of white I-beams, travertine and spartan, sculptural furnishings. Neither too many notes nor too few. No wonder it was auctioned off like a work of art- that is what it is. Continue Reading