Philip Johnson

For more information on Philip Cortelyou Johnson, visit Britannica.com.

Philip Johnson (born 1906) was an American architectural critic and historian and a practicing architect. His buildings are characterized by formal elegance.

Born in Cleveland, Ohio, on July 8, 1906, Philip Johnson attended Harvard College, majoring in the classics. There, in 1927, he was introduced to the modern movement in architecture through the writings of Henry-Russell Hitchcock.

Johnson began his career as an architectural critic and historian in 1931, when he became director of the architectural department at the newly formed Museum of Modern Art in New York. That year he and Hitchcock mounted the first International Exhibition of Architecture, showing the work of such major modern figures as Le Corbusier, Walter Gropius, and Ludwig Mies van der Rohe. With Hitchcock he published The International Style (1931), which not only defined the esthetic qualities of the new style but also gave it a name.

During the 1930s and 1940s, in his role as museum director and in his writings (he wrote the first monograph on the work of Mies van der Rohe in English in 1947), Johnson remained a leading American advocate of the International Style. But by 1940 Johnson decided to shift from propagandist to practitioner. He entered the Harvard Graduate School of Design and studied under Marcel Breuer.

In 1949 Johnson designed his own home in New Canaan, Conn., following closely Mies's principle of the glass box in which the steel skeletal structure is exposed. But while Mies's work often conveys a feeling of austerity, Johnson's glass house seems romantic - an effect achieved by placing the building in a parklike setting. His other homes of this period which have a similar quality are the Hogson House (1951) and the Wiley House (1953), both in New Caanan.

By 1954, Johnson was beginning to move away from the dictums of Mies's architectural theory, although he collaborated with his mentor on the design for the Seagram Building in New York City (1958). In his design for the Kneses Tifereth Israel Synagogue, Port Chester, N.Y., Johnson introduced certain non-International Style elements - for example, an elliptical entrance hall and butterfly vaulting on the interior ceilings. During the 1960s Johnson turned more to historical motifs as the means of individualizing his buildings. In contrast to the stark lines of his earlier Munson-Williams-Proctor Institute (1957-1960) in Utica, N.Y., he utilized clear historical allusion in the Byzantine domes which top the Art Gallery at Dumbarton Oaks, Washington, D.C. (1962-1964). An interest in classical forms is evident in his use of colonnades in the Sheldon Art Gallery at the University of Nebraska (1964) and the New York State Theater in New York City (1963).

Johnson maintained his interest in the Museum of Modern Art and designed an addition to the building in 1964. The same year he exploited new technological techniques in the structure of his daring New York State Pavilion at the New York World's Fair. In some of his later designs (for example, the Kline Tower at Yale University) Johnson showed - through his use of texture and color on the exterior surfaces - how far he had come from the earlier Miesian style toward a more robust, individualized idiom.

His later more significant works include the New York State Theater, Lincoln Center (1964) as well as New York City's American Telephone and Telegraph Company Building (1978-1984). Even into his nineties, his thoughts about style continued to evolve and he continued to be a presence in the world of architecture.

Further Reading

Schulze, Franz, Philip Johnson: Life and Work (1994)

Blake, Peter, Philip Johnson (1996)

Johnson, Philip, et al, Philip Johnson: The Architect in His Own Words Vol 1 (1994)

Kipnis, Jeffrey and Kipuis, Jeff, Philip Johnson Recent Work (1996)

Probably most significant for his writings on architecture and design and curatorial role at the Museum of Modern Art (MOMA) in New York, American born architect Johnson studied architectural history at Harvard University, graduating in 1930. He became director of the Architecture Department at the recently established MOMA where, in 1932, he made his mark with his organization with art historian Henry Russell Hitchcock of the Modern Architecture: International Exhibition, giving rise to the term ‘International Style’ and introducing the work of European architects to America. The term was also deployed in the title of their 1932 book International Style: Architecture since 1922. Johnson also organized the first specifically design specific in 1934. Entitled Machine Art it emphasized clean, geometric forms with a minimum of decoration and a commitment to the exploration of new materials and modern methods of mass production. Its focus was strongly opposed to the more commercially oriented outlook of American streamlining and very much in tune with the tenets of European Modernism. Also close to the outlook of Herbert Read in his book Art & Industry of the same year it set the tone for MOMA's design exhibitions throughout the rest of the decade, which featured very few designs by Americans. In 1940 Johnson studied architecture under German immigrant Marcel Breuer at Harvard, graduating in 1943 and practising as an architect for three years when he returned to New York to become Director of Architecture at MOMA (1945-54). After the Second World War his architectural designs of the decades, such as his own Glass House at New Canaan, Connecticut (1949), showed an indebtedness to European precedents, most notably the German Modernist Ludwig Mies Van Der Rohe, who had moved to the United States in 1938. However, later in life Johnson abandoned the clarity of the Modernist vocabulary in favour of Postmodernism, as in his New York AT&T Building with its idiosyncratic Chippendale-style gable, also alluding to the cradle of the traditional telephone. Johnson's Postmodernist influence was also felt in the decorative arts through his involvement in early discussions at Swid Powell, the fashionable New York producer of tableware for affluent urbanites.

American architect with an aloof disdain for the opinions of the masses, his independence of mind, flair for publicity, and political skills established his powerful position in the architectural world, both as designer and critic. While a student of philosophy at Harvard he met Alfred Hamilton Barr (1902–81), who pointed him towards an architectural career. In 1928 Barr was approached to create the Museum of Modern Art (MoMA), NYC (of which he was Director 1929–67), and called in several gifted young men to assist. Johnson was one of them, but Barr asked him first to travel in Europe to learn about trends in modern architecture. Joining forces with H.-R. Hitchcock, Johnson met leading members of the European avant-garde, including Mies van der Rohe (Who was invited to design Johnson's Manhattan apartment). When Johnson returned to NYC, he worked at MoMA while also completing his degree at Harvard in 1930 before officially taking up his post as head of the Department of Architecture at MoMA (1932). There, Johnson, Hitchcock, and Barr created the important exhibition Modern Architecture: International Style which publicized work by Le Corbusier, Gropius, Mies, Oud, and others. The term International style was accepted into the general vocabulary of architecture from the publication (1932) of Johnson and Hitchcock's The International Style: Architecture since 1922.

In 1934 Johnson gave up his MoMA post to begin a short-lived career in right-wing politics, assisting those opposed to Franklin Delano Roosevelt (1882–1945—32nd President of the USA, 1933–45). In 1933 Johnson had heard Adolf Hitler (1889–1945) speak, and thereafter increasingly joined in the widespread adulation accorded to Nazi Germany (1933–45). He supported Mies in attempts to get the Nazis to embrace the International style: after all, both Gropius and Mies entered the competition to design the Reichsbank, one of many suppressed facts about them. Recognizing the close connection between Power and Modernism, Johnson himself said that Speer would have made a great architect of skyscrapers. In late 1940 he returned to Harvard to study architecture under Breuer and Gropius, and in 1945 resumed his position at MoMA, organizing in 1947 an influential exhibition and publishing a monograph on Mies's work (which he admired for its monumentality, purity, and tenuous connections with Classicism), although he managed to avoid discussion of Mies's attempted rapprochement with the Hitler régime.

Johnson had opened his own office in partnership (1946–51) with Landes Gores (1919–91), and soon made his name with the Glass House, New Canaan, CT (1949), clearly influenced by Mies's work: with Mies's Farnsworth House, Plano, IL (1946–51), the Glass House was seen as a paradigm of Modernism at the time, although Johnson claimed he had been influenced by Le Corbusier, Ledoux, Malevich, Schinkel, and De Stijl when designing it. Johnson was associated with Mies and others during the design of the Seagram Building, NYC (1954–8), but once the International style became commonplace in America, he turned away from it, revealing something of his iconoclasm. About this time, Johnson's position became complex, for he seemed to be interpreting Modernism while at the same time stripping it of its supposed Functionalism, its claims to ‘social responsibility’, and its fraudulent morality. Johnson had no fears about exposing the shallow hypocrisy of the architectural profession, and, rejecting all the claims that Modernism was a social, cultural, and economic movement, labelled it firmly what it was: a style. For a time, however, he became the impresario of the International style before he began to twist its tail, sending up the puritanical European Modernists and (especially) their British followers (his views on some of them were scathing). He loathed his former teacher Gropius, who, in turn, detested him.

In the guest-house at New Canaan (1952) he introduced vaults with a hint of Soane about them, and thereafter (in partnership in the 1960s with Richard Foster (1919–2002) ) he turned to a feeble monumentality (e.g. New York State Theater, Lincoln Center, NYC (1962–4), and the extension to the Boston Public Library (1964–73) ). From 1967 to 1991 Johnson was in partnership with John Henry Burgee (1933– ): they sent shock-waves through the cosy world of orthodox Modernism with their American Telephone and Telegraph skyscraper, NYC (1978–83—now the Sony Building—a masonry-clad structure with powerful mullions set on a stripped variation of a serliana-cum-triumphal arch, and capped by a paraphrase of an open-topped pediment), described variously as the first Post-Modern building, as ‘flippant’, as an ‘inflated and simplistic reference to history’ (Huxtable), or (ignorantly) as ‘pseudo-classical’. Later works (sometimes in collaboration with other architects) included the Investors Diversified Services Building, Minneapolis, MN (1970–3), and Pennzoil Place, Houston, TX (1970–6). Then followed the Crystal Cathedral, Garden Grove, CA (1976–80), the Republic Bank Center, Houston, TX (1980–4—with reminiscences of crow-stepped Gothic gables from Northern Europe), the Transco Tower, also in Houston (1981–5—with a hint of the Classicism of Goodhue), the Pittsburgh Plate Glass HQ, Pittsburgh, PA (1983–4—also with quirky allusions to history), and the School of Architecture, Houston, TX (1983–6).

In 1988 Johnson again confounded critics by returning to MoMA as guest curator of the exhibition Deconstructivist Architecture, billed as ‘development post-dating post-modernism’: it brought architects such as Hadid and Libeskind to the attention of the media, and demonstrated again his capabilities in knowing (and even creating) celebrity culture. In fact, his career demonstrates he was a taste-former, insisting that architecture is not about social engineering or ‘making life better’, but should be viewed as an aesthetic experience. He himself designed the Gate House, New Canaan (1994–5—), a pavilion without any right angles, his own homage to Deconstructivism), experimented with developing ideas from German Expressionism, and designed (1996) the Cathedral of Hope, Dallas, TX, for the Universal Fellowship of Metropolitan Community Churches (still to be realized). It seems as though, having shocked, Johnson then went on to do something else, almost gleefully, leaving critics floundering in his wake: he promoted, then subverted the International style, did the same to Post-Modernism, and repeated the feat with Deconstructivism, all of which adds up to quite a comment on his times. He often described himself as a ‘whore’, as he exposed pretence and exercised his influence with cynicism and puckish disregard for what might be thought of his stance (which changed so much nobody could actually pin him down (to the intense annoyance of (especially) British critics) ). Amazingly, he admitted he was ‘not a good architect’, and indeed some of his work (e.g., in Dallas, TX) would bear out his admission: it is often superficial, lacks depth, and could be considered unusually brittle, suggesting he could not think architecturally (he could not draw either). However, he was as successful in creating new trends and forming opinions as he was in deflating the pretensions of adherents of once-fashionable (and frequently untenable) orthodoxies: his greatest achievement was to expose the false morality of Modernism, and indeed the bogusness of major trends in C20 and C21 architecture.

Bibliography

• Blake (1966)
• Fox et al. (2002)
• Goldberger (ed.) (2002)
• Hitchcock (1996a)
• Hitchcock & Johnson (1995)
• Jacobus (1962)
• Jenkins & Mohney(2001)
• Jodidio(1997)
• Johnson & Wigley (1988)
• Kipnis (1996)
• Lewis &O'Connor(1994)
• Nory Miller (1979)
• Nakamura (ed.)(2000)
• Salingaros et al.(2004)
• Schulze (1994)
• Stern (ed.) (1979)
• The Times (28 Jan. 2005), 70
• Welch(2000)
• Whitney &Kipnis(1994)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

(1906- ), architect. Although Johnson has been a successful designer of both commercial and prestige buildings, his greatest influence has been as a pundit on design issues, a curator and historian of architecture, and an encourager of new design ideas.

With his ground-breaking 1932 exhibition of modern architecture for the Museum of Modern Art, and his book The International Style (1932; written with Henry-Russell Hitchcock), the wealthy young enthusiast set the rules for modernism in the United States for a generation. His 1947 exhibition and monograph on Mies van der Rohe helped make Mies's austere yet classical steel-and-glass architecture the norm for corporate building. From the 1950s on, however, he led those who felt the International Style left too little room for beauty and dignity in architecture. His style and ideas have changed constantly over the years, and he has always worked to find and publicize the next important movement in design.

In his designs and lectures Johnson presents himself as a rebel intellectual, passionately devoted to architecture as a fine art. He insists that architecture has no moral or social mission beyond beauty and that style is a value-free (albeit necessary) quality. Telling architectural students in the 1950s that "you cannot not know history," Johnson reminded them of modernism's debts to past styles and of how architecture is constantly adapting to changes in society. His dissent from functionalist modernism encouraged those working for a more humane environment, from the historic preservation movement to the postmodernist architects.

Johnson did not begin professional practice until 1946. As an architect, he has made other designers' concepts more elegant and accessible to upper-class clients. His buildings are marked by careful planning and frequent references to past, usually classical, architectural masterpieces. In the landmark Glass House he designed for himself in New Canaan, Connecticut (1949), an adaptation of Mies's idiom, Johnson made subtle but encyclopedic use of the past to comment on the roots of modern design. His A.T.&T. Building in New York (1978-1984, with John Burgee, his partner from 1968 to 1987) openly mimicked past architectural styles, making it an acceptable practice again.

Johnson's prestige (he received the aia Gold Medal in 1978) made him one of the most successful postmodern designers of the 1980s. But his later buildings disappointed earlier admirers. Their weaknesses--critics have called them overly large and visually disturbing--owe something to developer clients' demands, but more to Johnson's wish to shock modernists by playing with old and new styles.

Nonetheless, Johnson's iconoclasm, and his introduction of new design ideas to his clients over the years, helped keep architects and the public aware of the complex issues involved in creating good architecture. He has been largely responsible for making Americans conscious of architecture as a fine art.

Bibliography:

John Jacobus, Philip Johnson (1962); Nory Miller and Richard Payne, Johnson/Burgee: Architecture (1980) and Philip Johnson/John Burgee: Architecture, 1979-1985 (1985).

Author:

Miles David Samson

See also Architecture.

Quotes:

"All architects want to live beyond their deaths."

"Architecture is the art of how to waste space."

"We do pretty much whatever we want to."

See Phillip Johnson for others with a similar name

Philip Johnson
Philip Johnson at age 95 with his model of a 30' by 60' sculpture created for a Qatari collector
Born	July 8, 1906(1906-07-08) Cleveland, Ohio
Died	January 25, 2005 (aged 98)
Nationality	American
Field	Architecture
Awards	Pritzker Prize (1979)

Philip Cortelyou Johnson (July 8, 1906– January 25, 2005) was an influential American architect. With his thick, round-framed glasses, Johnson was the most recognizable figure in American architecture for decades.

In 1930, he founded the Department of Architecture and Design at the Museum of Modern Art in New York City and later (1978), as a trustee, he was awarded an American Institute of Architects Gold Medal and the first Pritzker Architecture Prize, in 1979. He was a student at the Harvard Graduate School of Design. When Johnson died in January 2005, he was survived by his long-time life partner, David Whitney, who died only a few months later, on June 12, 2005.^[1]

Contents 1 Early life 1.1 The Glass House 1.2 The Seagram Building 2 Later buildings 3 Notable works 4 References 5 References/Further reading 6 External links

Early life

Chapel of St. Basil on the Academic Mall at the University of St. Thomas in Houston, Texas.

Johnson was born in Cleveland, Ohio. He was descended from the Jansen (a.k.a. Johnson) family of New Amsterdam, and included among his ancestors the Huguenot Jacques Cortelyou, who laid out the first town plan of New Amsterdam for Peter Stuyvesant. He attended the Hackley School, in Tarrytown, New York, and then studied at Harvard University as an undergraduate, where he focused on history and philosophy, particularly the work of the Pre-Socratic philosophers. Johnson interrupted his education with several extended trips to Europe.^[2] These trips became the pivotal moment of his education; he visited Chartres, the Parthenon, and many other ancient monuments, becoming increasingly fascinated with architecture.

In 1928 Johnson met with architect Ludwig Mies van der Rohe, who was at the time designing the German Pavilion for the Barcelona exhibition of 1929. The meeting was a revelation for Johnson and formed the basis for a lifelong relationship of both collaboration and competition.

Johnson returned from Germany as a proselytizer for the new architecture. Touring Europe more comprehensively with his friends Alfred H. Barr, Jr. and Henry-Russell Hitchcock to examine firsthand recent trends in architecture, the three assembled their discoveries as the landmark show "The International Style: Architecture Since 1922" at the Museum of Modern Art, in 1932. The show was profoundly influential and is seen as the introduction of modern architecture to the American public. It introduced such pivotal architects as Le Corbusier, Walter Gropius, and Mies van der Rohe. The exhibition was also notable for a controversy: architect Frank Lloyd Wright withdrew his entries in pique that he was not more prominently featured.

As critic Peter Blake has stated, the importance of this show in shaping American architecture in the century "cannot be overstated."^{[citation needed]} In the book accompanying the show, coauthored with Hitchcock, Johnson argued that the new modern style maintained three formal principles: 1. an emphasis on architectural volume over mass (planes rather than solidity) 2. a rejection of symmetry and 3. rejection of applied decoration.^{[citation needed]} The definition of the movement as a "style" with distinct formal characteristics has been seen by some critics as downplaying the social and political bent that many of the European practitioners shared.

Puerta de Europa in Madrid

Johnson continued to work as a proponent of modern architecture, using the Museum of Modern Art as a bully pulpit. He arranged for Le Corbusier's first visit to the United States in 1935, then worked to bring Mies and Marcel Breuer to the US as emigres.

In the 1930s Johnson sympathized with Nazism, and expressed antisemitic ideas.^[3] Regarding this period in his life, he later said, "I have no excuse (for) such unbelievable stupidity... I don't know how you expiate guilt."^[4]

During the Great Depression, Johnson resigned his post at MoMA to try his hand at journalism and agrarian populist politics. His enthusiasm centered on the critique of the liberal welfare state, whose "failure" seemed to be much in evidence during the 1930s. As a correspondent, Johnson observed the Nuremberg Rallies in Germany and covered the invasion of Poland in 1939. The invasion proved the breaking point in Johnson's interest in journalism or politics -- he returned to enlist in the US Army. After a couple of self-admittedly undistinguished years in uniform, Johnson returned to the Harvard Graduate School of Design to finally pursue his ultimate career of architect.

The Glass House

A model of the Glass House on display at the Museum of Modern Art in New York City

Johnson's early influence as a practicing architect was his use of glass; his masterpiece was the Glass House (1949) he designed as his own residence in New Canaan, Connecticut, a profoundly influential work. The concept of a Glass House set in a landscape with views as its real “walls” had been developed by many authors in the German Glasarchitektur drawings of the 1920s, and already sketched in initial form by Johnson's mentor Mies. The building is an essay in minimal structure, geometry, proportion, and the effects of transparency and reflection.

The house sits at the edge of a crest on Johnson’s estate overlooking a pond. The building's sides are glass and charcoal-painted steel; the floor, of brick, is not flush with the ground but sits 10 inches above. The interior is an open space divided by low walnut cabinets; a brick cylinder contains the bathroom and is the only object to reach floor to ceiling.

Johnson continued to build structures on his estate as architectural essays. Offset obliquely fifty feet from the Glass House is a guest house, echoing the proportions of the Glass House and completely enclosed in brick (except for small round windows at the rear). It contains a bathroom, library, and single bedroom with a gilt vaulted ceiling and shag carpet. It was built at the same time as the Glass House and can be seen as its formal counterpart. Johnson stated that he deliberately designed it to be less than perfectly comfortable, as "guests are like fish, they should only last three days at most".

Later, Johnson added a painting gallery with an innovative viewing mechanism of rotating walls to hold paintings (influenced by the Hogarth displays at Sir John Soane's house), followed by a sky-lit sculpture gallery. The last structures Johnson built on the estate were a library and a reception building, the latter, red and black in color and of curving walls. Johnson viewed the ensemble of one-room buildings as a total work of art, claiming that it was his best and only "landscape project."

The Philip Johnson Glass House is a site of the National Trust for Historic Preservation and now open to the public for tours.

The Seagram Building

After completing several houses in the idiom of Mies and Breuer, Johnson joined Mies van der Rohe as the New York associate architect for the 39-story Seagram Building (1956). Johnson was pivotal in steering the commission towards Mies, working with Phyllis Lambert, the daughter of the CEO of Seagram. This collaboration of architects and client resulted in the bronze-and-glass tower on Park Avenue.

Completing the Seagram Building with Mies also decisively marked a shift in Johnson's career. After this accomplishment, Johnson's practice enlarged as projects came in from the public realm—such as coordinating the master plan of Lincoln Center and designing that complex's New York State Theater. Meanwhile, Johnson began to grow bored with the orthodoxies of the International Style he had championed.

Later buildings

The postmodern AT&T Building, now the Sony Building

Although startling when constructed, the glass and steel tower (indeed many idioms of the modern movement) had by the 1960s become commonplace the world over. He eventually rejected much of the metallic appearance of earlier International Style buildings, and began designing spectacular, crystalline structures uniformly sheathed in glass. Many of these became instant icons, such as PPG Place in Pittsburgh and the Crystal Cathedral in Garden Grove, California.

Crystal Cathedral, Orange County, CA

Johnson's architectural work is a balancing act between two dominant trends in post-war American art: the more "serious" movement of Minimalism, and the more populist movement of Pop Art. His best work has aspects of both movements. Johnson's personal collections reflected this dichotomy, as he introduced artists such as Mark Rothko to the Museum of Modern Art as well as Andy Warhol. Straddling between these two camps, his work was seen by purists of either side as always too contaminated or influenced by the other.

From 1967 to 1991 Johnson collaborated with John Burgee. This was by far Johnson's most productive period——certainly by the measure of scale——he became known at this time as builder of iconic office towers, including Minneapolis's IDS Tower. That building's distinctive stepbacks (called "zogs" by the architect) created an appearance that has since become one of Minneapolis's trademarks and the crown jewel of its skyline. In 1980, Johnson's world-famous Crystal Cathedral was completed in Orange County, California for Rev. Robert A. Schuller's famed megachurch, which became a Southern California landmark.

Atrium of the New York State Theater at Lincoln Center.

The AT&T Building in Manhattan, now the Sony Building, was completed in 1984 and was immediately controversial for its neo-Georgian pediment (Chippendale top). At the time, it was seen as provocation on a grand scale: crowning a Manhattan skyscraper with a shape echoing a historical wardrobe top defied every precept of the modernist aesthetic: historical pattern had been effectively outlawed among architects for years. In retrospect other critics have seen the AT&T Building as the first Postmodernist statement, necessary in the context of modernism's aesthetic cul-de-sac. In 1987, Johnson was awarded an honorary doctoral degree from the University of Houston. The institution's Hines College of Architecture is also housed in one of Johnson's buildings.

Johnson's publicly held archive, including architectural drawings, project records, and other papers up until 1964 are held by the Drawings and Archives Department of Avery Architectural and Fine Arts Library at Columbia University, the Getty, and the Museum of Modern Art.

Notable works

PPG Place in Pittsburgh, Pennsylvania

Hines College of Architecture at the University of Houston

The Johnson Building at Boston Public Library

• Johnson House, "The Glass House", New Canaan, Connecticut, (1949);
• John de Menil House, Houston (1950);
• The Rockefeller Guest House for Abby Aldrich Rockefeller (1950);
• The Seagram Building, in collaboration with Mies van der Rohe, New York (1956);
• Four Seasons Restaurant, New York City (1959);
• Expansion of St. Anselm's Abbey in Washington, D.C. (1960)
• The Museum of Art at Munson-Williams-Proctor Arts Institute in Utica, New York (1960);
• The Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art;
• New York State Theater at Lincoln Center, (with Richard Foster, 1964);
• Amon Carter Museum in Fort Worth, Texas (1961, expansion in 2001);
• The New York State Pavilion for the 1964 New York World's Fair, 1964);
• The Kreeger Museum in Washington D.C. (with Richard Foster; 1967);
• The main campus mall at the University of Saint Thomas in Houston, Texas ;
• Elmer Holmes Bobst Library of New York University);
• John F. Kennedy Memorial Plaza in Dallas, Texas (1970)^[5];
• The IDS Center in Minneapolis, Minnesota (1972);
• Art Museum of South Texas in Corpus Christi, Texas (1972);
• Boston Public Library (1973);
• Fort Worth Water Gardens (1974);
• Thanks-Giving Square in Dallas, Texas (1976);
• The Neuberger Museum of Art at SUNY Purchase College;
• Evangelist Robert Schuller's Crystal Cathedral in Garden Grove, California (1980);
• Tata Theatre, National Centre for the Performing Arts (India), Mumbai (1980).
• Metro-Dade Cultural Center in Miami, Florida, 1982;
• The Chapel of St. Basil and the Academic Mall at the University of St. Thomas in Houston, Texas;
• The Republic Bank Center in Houston, Texas now rebranded Bank of America Center;
• The Transco Tower, now rebranded Williams Tower, Houston, (1983);
• The Cleveland Playhouse in Cleveland, Ohio (extension) (1983);
• The Wells Fargo Center (Denver) in Denver, Colorado (1983);
• PPG Place in Pittsburgh, Pennsylvania (1984);
• The Gerald D. Hines College of Architecture, University of Houston (1985);
• Comerica Bank Tower, Dallas, Texas, 1987;
• Puerta de Europa, Madrid, Spain) John Burgee Architects, Philip Johnson Consultant;
• 190 South LaSalle in Chicago John Burgee Architects, Philip Johnson Consultant;
• 191 Peachtree Tower, Atlanta, Georgia John Burgee Architects, Philip Johnson Consultant;
• 101 California Street, San Francisco, California; Johnson/ Burgee Architects;
• University of St Thomas St Basil Chapel (with John Manley, Architect) (1992);
• AEGON Center in Louisville, Kentucky (1993), John Burgee Architects, Philip Johnson Consultant.
• Comerica Tower in Detroit, Michigan (1993), John Burgee Architects, Philip Johnson Consultant.
• Visitor's Pavilion, New Canaan CT (1994).
• Turning Point, Case Western Reserve University, Cleveland, Ohio (1996).
• Philip-Johnson-Haus, Berlin, Germany (1997).
• First Union Plaza, Boca Raton, Florida (2000).

References

1. ^ Kennedy, Randy (June 14, 2005). "David Whitney, 66, Renowned Art Collector, Dies". The New York Times. http://www.nytimes.com/2005/06/14/arts/design/14whitney.html. Retrieved May 11, 2009. 
2. ^ Saint, Andrew (2005-01-29). "Philip Johnson". The Guardian. http://www.guardian.co.uk/obituaries/story/0,3604,1401260,00.html. Retrieved 2008-09-12. 
3. ^ Stern, Robert A. M. (2005-05). "Philip Johnson: An Essay by Robert A.M. Stern". Architectural Record. http://archrecord.construction.com/people/profiles/archives/0505johnsonProfile_stern.asp. Retrieved 2008-09-12. 
4. ^ Varnelis, Kazys (November 1994). "We Cannot Know History". Journal of Architectural Education. http://varnelis.net/research/johnson.html. Retrieved 2008-09-12. 
5. ^ John F. Kennedy Memorial. Philip Johnson, Memorial Architect

References/Further reading

• Schulze, Franz. Philip Johnson: Life and Work, Chicago: University Of Chicago Press, 1996.
• Splendor in the Glass - TIME Article Retrieved Nov. 3, 2007.
• Philip Johnson: Diary of an Eccentric Architect, 1997 documentary.
• "Extending the Legacy" Alexandra Lange article on the preservation of the Glass House, from the November 2006 issue of Metropolis magazine.
• Philip Johnson article at Great Buildings Online. Retrieved Sep. 27, 2003.
• Philip Johnson bio on the Pritzker Architecture Prize website. Retrieved Sep. 27, 2003.
• Philip Johnson on NewsHour (1996). Retrieved Sep. 27, 2003.
• Heyer, Paul, ed. (1966). Architects on Architecture: New Directions in America, p. 279. New York: Walker and Company.
• Johnson is mentioned in the song Thru These Architect's Eyes on the album Outside by David Bowie.
• One hour interview with Charlie Rose at Google Video (July 8, 1996)
• Other interviews with or about Phillip Johnson on Charlie Rose at Google Video
• Calvin Tomkins's profile of Philip Johnson in the May 23, 1977 issue of The New Yorker magazine.
• Jenkins, Stover, et al. The Houses of Philip Johnson, New York: Abbeville Publishing Group (Abbeville Press, Inc.), 2001.

External links

Wikimedia Commons has media related to: Philip Johnson

Wikiquote has a collection of quotations related to: Philip Johnson

• Obituary
• Philip Johnson's biographic sketch at Find A Grave
• Philip Johnson speaks at the University of Houston
• The Architecture of Philip Johnson

v • d • e Pritzker Prize laureates Philip Johnson (1979) · Luis Barragán (1980) · James Stirling (1981) · Kevin Roche (1982) · I. M. Pei (1983) · Richard Meier (1984) · Hans Hollein (1985) · Gottfried Böhm (1986) · Kenzo Tange (1987) · Gordon Bunshaft / Oscar Niemeyer (1988) · Frank Gehry (1989) · Aldo Rossi (1990) · Robert Venturi (1991) · Álvaro Siza Vieira (1992) · Fumihiko Maki (1993) · Christian de Portzamparc (1994) · Tadao Ando (1995) · Rafael Moneo (1996) · Sverre Fehn (1997) · Renzo Piano (1998) · Norman Foster (1999) · Rem Koolhaas (2000) · Herzog & de Meuron (2001) · Glenn Murcutt (2002) · Jørn Utzon (2003) · Zaha Hadid (2004) · Thom Mayne (2005) · Paulo Mendes da Rocha (2006) · Richard Rogers (2007) · Jean Nouvel (2008) · Peter Zumthor (2009)

Persondata
NAME	Johnson, Philip
ALTERNATIVE NAMES	Johnson, Philip Cortelyou
SHORT DESCRIPTION	architect
DATE OF BIRTH	July 8, 1906
PLACE OF BIRTH	Cleveland, Ohio
DATE OF DEATH	January 25, 2005
PLACE OF DEATH	New Canaan, Connecticut

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