Harmonizing Art and Architecture: The Glass House's Visionary Legacy and Future
We spoke with Christa Carr, Communications Director of The Glass House, an iconic modernist structure known for its minimalist design and seamless integration with the surrounding landscape.
For our readers who may be unfamiliar, can you provide an overview of The Glass House and its significance in the realms of architecture and art? What aspects of the house and its collections do you find most resonate with visitors?
First built in 1949, the Glass House is a modern residence designed by architect Philip Johnson (1906-2005), widely regarded as a stunning example of American modern architecture. Situated on a 49-acre property in New Canaan, Connecticut, the Glass House served as Johnson's weekend retreat while he worked in New York City. Inspired by Ludwig Mies van der Rohe and other influences of the time, it was significant for its innovative design.
The Glass House offers something for everyone, encompassing pastoral landscape that evolves through the seasons. Visitors are immediately struck by the beauty and serenity of the property, conserved without pesticides to become a thriving bird sanctuary and pollinator pathway. Wild turkeys, hawks, deer, and even baby turtles are common sightings. Senses play a crucial role in the experience, with an arc of pine trees at the entrance providing a fresh scent before revealing the path toward the main buildings. Influenced by 18th-century landscape design, the viewshed offers depth into the foliage, punctuated by architecture. Streams flow into a pond below the Glass House, where visitors can stroll around the pavilion and Monument to Lincoln Kirstein. Tour season is open each year from April 15 through December 15 and held in all weather conditions, so appropriate footwear and outdoor gear are recommended.
For architects and architecture enthusiasts, the Glass House and its outer buildings are considered masterpieces of their time and movement. The central composition includes the Glass House itself, a pavilion with glass walls for immersive landscape experiences; the Brick House, also known as, the “Guest House,” which hosted notable visitors such as Andy Warhol and Phyllis Lambert, is linked by a courtyard; and the circular pool–shaped like a martini glass. Its iconic status stems not only from innovative use of materials, but also its seamless integration into the landscape.
Stepping into the Glass House, visitors encounter a Bauhaus collection of furniture juxtaposed with modern landscape views, creating moments of inspiration. The Painting Gallery features brightly colored modern works by artists like Warhol, Frank Stella, and Robert Rauschenberg, while the Sculpture Gallery showcases large modern sculptures beneath a unique brick and glass ceiling.
Art lovers will find two galleries filled with works by luminaries such as Donald Judd, Robert Rauschenberg, Julian Schnabel, and Andy Warhol, reflecting Johnson's passion for collecting art. The site served as a gathering place for artists, architects, patrons of the arts, and culturally minded guests, making it an important LGBTQ landmark.
What is your background and what is your role at The Glass House?
I grew up with a French mother and American father, living in various countries when I was a child. Immersion was a way of life, and so, from the onset, I really began to appreciate the diversities amongst people. Fascinated by dialects and customs, varied beliefs and ways of living, I always felt that culture, particularly historic sites and museums, provided the best introductions to understanding one’s surroundings and the people who lived there. I was also influenced by my grandfather, Walter Urbain, who worked for the UN and traveled the world. He was a pioneer food scientist and very passionate about his work. As an explorer, he really helped me see the value in embracing differences to enrich my experiences in life.
After studying Political Science and International Relations at Boston College, I realized that I was still drawn to the arts. I embarked on a Christie’s Education art course in London, followed by the graduate trainee program at Christie’s (an excellent program!). My experiences with Christie’s really revealed the expansive world of art; it provided excellent training and prepared me for work with clients and artists along with understanding the market.
I then worked for a patron of the arts, my first taste of arts philanthropy and preservation, which later became useful to understand from the donor perspective. Along the way, an amazing opportunity presented itself when a position opened for a press manager at TASCHEN publishing. They were not looking for a trained publicist, but someone who understood the arts. This role enhances my personal journey and skills to navigate media, organize events, shape brand identities, work with talent, and, in particular, refine my eye for photography and design.
Behind my desk was a large pile of the “Case Study Houses,” large monographs on iconic American residential architecture from 1945-66. I worked on many architectural book projects with architects such as Tadao Ando, Rem Koolhaas, Santiago Calatrava, and, most notably, the legendary architecture photographer Julius Shulman.
When my husband and I embraced a new phase in our life, we moved just outside of NYC to Connecticut. In a town with an unusual amount of mid-century modern residential homes (over 100!), I discovered the Glass House in New Canaan. The Glass house is a historic modern site, designed by Philip Johnson (1949-2005), which is now a site of the National Trust for Historic Preservation. The position, Director of Communications, presented a great opportunity to exercise my training and passion for culture and the arts. I’ve been working here for over a decade and I’m so grateful to have landed in a place where I can be challenged and continually exercise my passion for the arts.
How do your past experiences shape your approach to communicating the unique narrative of this architectural landmark?
I’ve been incredibly privileged to work with very talented artists and be involved with extraordinary works. Some of the stand out projects that have helped shaped my approach with the Glass House, include launching, "Sensation," the founding exhibition for Contemporary Art while at Christie’s; creating communication campaigns for exhibitions and preservation projects, and managing the global release of monograph books featuring luminaries personally worked closely with including icons like Muhammad Ali and groundbreaking artist Jeff Koons while at TASCHEN. Gaining strong insights into how a well-crafted, transparent narrative can resonate and be a key contributor to success has been a very fortunate take-away. And yet, understanding how it must be carefully integrated at the planning stage with all moving parts in order to maximize its impact, is a true understanding that has been developed over the years.
My approach to storytelling involves high-quality visual content, with a focus on top-quality photography and videography of the site, and innovative multimedia techniques. It is vital that the audiences feel fully engaged and welcomed to explore and enjoy all aspects of the site’s offerings. I enjoy seeing the posts and reels made by visitors and often repost them. Every person has a unique take on the Glass House, and this is beautifully shared through social media. I am always looking to collaborate with creatives from all backgrounds and cultures. The Glass House is a catalyst for the preservation and interpretation of modern architecture, landscape, and art, and serves as a canvas for inspiration and experimentation. I like to work with photographers, designers, filmmakers, and artists; we often conduct photo shoots on site with fashion brands. The Glass House site truly is a unique muse, inspiring creatives and lending itself to constant renewal through their vision in programs, exhibitions, and performances.
I also strongly believe in the value of local grassroots inclusion and engagement with local communities. Recently, we’ve collaborated with high school students and the Marder-Vaughn Center for Historic Sites, Interpretation, and Education at the National Trust for Historic Preservation. Here, civics education delves into the history of fascism in the early twentieth century, focusing on the personal experiences and actions of Philip Johnson. It is critical to discuss the more challenging aspects of the site’s story; all sites belonging to the National Trust for Historic Preservation are guided by the principal to #tellthefullhistory evolving to foster an understanding of history and culture that is critical, sensory, and layered. It is always our responsibility to be inclusive museum leaders and to engage in a dialogue of interpretation and education with our visitors.
What are some of the latest initiatives or exhibitions at The Glass House that you’re particularly excited about? How do these new developments enhance the visitor experience and the legacy of Philip Johnson?
This is a milestone year for us, with 2024 marking the 75th Anniversary of the Glass House (1949). In the upcoming tour season, we will celebrate by unveiling the $1.8M restoration of the historic Brick House (1949) and present the Paper Log House, by Pritzker Prize-winning architect Shigeru Ban.
The reopening of the Brick House after nearly two decades fills us with excitement and anticipation. This restoration not only revitalizes an integral part of the Glass House site but also provides a deeper understanding of Philip Johnson's architectural vision and the evolution of modern design. An essential foil to the Glass House, the two structures offer a study in the contrasting beauty of two essential halves that form a complete composition. The Brick House is cocoon-like, and the interiors are ornate and detailed. They are linked by a grassy courtyard and tell the full story of the Glass House.
Additionally, we are thrilled to present the Paper Log House at The Glass House in New Canaan. Shigeru Ban’s dedication to creating innovative and sustainable designs, explores new boundaries and expresses experimentation in architecture. This sentiment aligns with Johnson’s vision to create a campus filled with structures and sculptures that continually push boundaries in design and materials. The Paper Log House creates a unique opportunity to reflect on the permanence of architecture and how disparate building materials, namely glass, brick, and paper, offer unexpected possibilities. Ban famously noted, “If a building is loved, it becomes permanent.” In creating buildings that are meaningful to and cared for by their communities, Shigeru Ban’s inventive work alongside The Glass House challenges preconceived notions of permanence and material strength. Visitors will be able to consider the value of both historic preservation and permanence in glass and brick juxtaposed with temporary, recyclable, and movable structures made of paper and cardboard. In today’s world of mass migration due to conflict and natural disasters, the public can see a simple solution for aiding those in need of immediate shelter. The Paper Log House will be complemented by a digital brochure and a time-lapse video documenting its construction throughout the Glass House 2024 season.
How is The Glass House incorporating sustainable practices in its operations? Additionally, could you elaborate on how The Glass House is participating in the Nature and Culture Program initiated by the Culture for Causes Network?
The Glass House prioritizes historic preservation as a key component of its sustainability efforts. The National Trust for Historic Preservation, is currently conducting an extensive energy audit across all of its sites, including the Glass House, to comprehensively assess energy consumption, fossil fuel usage, and calculate the carbon footprint. This audit serves as a crucial step in establishing a baseline for future sustainability initiatives, particularly regarding energy-related building systems. The findings from this audit will inform and guide all upcoming projects aimed at modifying or enhancing energy efficiency within the Glass House property. By integrating sustainable practices into its operations, The Glass House demonstrates its commitment to preserving its historic legacy while also minimizing its environmental impact for future generations. In the case of the Brick House Restoration Project specifically, there are multiple examples of decisions made to follow a sustainable path, notably:
New skylight features replaced glass with better thermal protection. The skylight has a better U-value than the former skylight, which will reduce heat loss/gain.
UV protective film on the two windows and skylight glass to protect furnishings. The UV film also reduces solar heat gained through the windows/skylight, which reduces the cooling load required in the house.
Kemper roof system: The new Kemper roofing is an eco-friendly fluid-applied waterproofing system, which has a greater lifespan than other flat roof options and will reduce replacement and repair needs over its lifespan. Additionally, the lighter-colored roof will reflect more light than the previous black EPDM membrane roof, reducing heat absorption into the building, thereby reducing the cooling load in the building during the summer months.
New mahogany window frames with laminated glass, which are modeled from the originals, will provide a more weather-tight exterior and reduce energy losses through the window and their surround frames.
Upgraded heating system, which serves both the Glass House and the Brick House.
Boiler fuel changed from oil to propane. The new propane-fueled boiler will produce 38% fewer emissions than the previous oil-fired boiler, with lower carbon monoxide and hydrocarbon emissions. The new boiler is also significantly more efficient than the previous boiler.
Added air conditioning system.
Under slab radiant heat insulation. The project added under slab rigid insulation, which will reduce heat loss through the floor system, as well as reduce the heating load of the building during the winter.
Gravity drainage system, which continuously takes sub-grade moisture away from the structure. The new drainage system will reduce the risk of damage to the building and potential health hazards caused by water infiltration, which contributed to mold growth and an unsafe environment in the house.
New main exterior section of the water line replaced.
Future main interior water line installed for future use if needed.
At the Glass House, we are thrilled to be ongoing participants in MuseumWeek through the Nature and Culture Program for the Culture for Causes Network. We see it as more than just an event; it's an opportunity to demonstrate our dedication to promoting sustainability practices and fostering a sense of interconnectedness among communities worldwide. By promoting the power of art to heal and educate communities, look forward to sharing glimpses of the Glass House to support each day’s hashtag. Our involvement helps amplify meaningful dialogue around the importance of diverse perspectives through a shared love for nature, art, culture, and humanity. We aim to raise awareness about critical environmental issues while also highlighting the rich cultural heritage and significance of the Glass House as a revered architectural and historical landmark. By actively engaging in MuseumWeek, the Glass House reaffirms its role as a steward of both cultural and environmental conservation, contributing to a more sustainable and harmonious future for generations to come. We are excited to share the value of historic preservation, architectural excellence, the diversity of artistic talent, and our connection to the LGBTQ community.
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The Glass House: On the Web • On Instagram • On Vimeo
Philip Johnson: On Wikipedia