More Mies than Mies. Philip Johnson and some limits of originality
The controversy over the similarities between the Farnsworth House by Ludwig Mies van der Rohe (Plano, IL, 1950) and Philip Johnson’s Glass House (New Canaan, CT, 1949) is well known. It has become a modern paradigm and an example of allusion and architectural copy or plagiarism. However, no such co...
محفوظ في:
| المؤلف الرئيسي: | |
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| التنسيق: | Online |
| اللغة: | spa |
| منشور في: |
Unisinos
2016
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| الوصول للمادة أونلاين: | https://revistas.unisinos.br/index.php/arquitetura/article/view/arq.2015.112.01 |
| الوسوم: |
إضافة وسم
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| الملخص: | The controversy over the similarities between the Farnsworth House by Ludwig Mies van der Rohe (Plano, IL, 1950) and Philip Johnson’s Glass House (New Canaan, CT, 1949) is well known. It has become a modern paradigm and an example of allusion and architectural copy or plagiarism. However, no such controversy should arise, at least in terms of its originality, as Philip Johnson published a startling article in Architectural Review, in September 1950, revealing “the sources of his inspiration” and openly acknowledged his debt to the Farnsworth House and, in general, to the architecture of Mies. Retrieving other texts of Johnson and reviewing what others have written about it, we suggest how the iconoclastic manner in which he published the Glass House was questioning the limits of the originality of the creative process.Keywords: Philip Johnson, Mies van der Rohe, Glass House, originality. |
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