[design] obit: Philip Johnson (sonofagun! my father! another one!) (oh! saint him!)

| so we have one obituary on Johnson which doesn't really grind on about
| his fascist sentiments. grinds on, nevertheless,
| oh! well! those who live in glass houses!

Philip Johnson

Flamboyant postmodern architect whose career was marred by a flirtation with nazism

Andrew Saint
Saturday January 29, 2005
The Guardian

Johnson was a unique phenomenon. Among architects, his egotism and courage put him closest to Frank Lloyd Wright, who teased and bullied him for 25 years and helped liberate his architectural thinking. But as designers, they were never in the same class.

Johnson has had a baleful influence on postmodern business architecture all over the world. In London, for instance, the insincere granite cladding of Canary Wharf owes much to his example. The professional style of Johnson's career may prove to have made a more lasting impact than his buildings. It offers a reminder that the basest superficiality and the highest purposes of art coexist strangely in architecture.



| and retort (on some overgrown blog site), what have we here?
| ol' fillip as a latter-day Ernst Rohm?

Philip Johnson; a Response to Andrew Saint
Javier Arbona, Jan 30, 05 | 9:18 am

Saint is hell-bent on an exposé, but I'm quite confused. After reading this article, was Johnson worse for his Nazi fascistoid inclinations early in his long life, or for being a homosexual throughout? "Flamboyantly gay, he admitted to four 'Mrs. Johnsons'" says Saint. Fair enough. It's an innocent slip that countless people make every day as part of a major societal prejudice. Is anyone out there "flamboyantly straight"? This is coded language that establishes a normalcy from which people like Johnson veer from. This is the least of Saint's homophobia.


Between the vitriolic and the genteel obituaries, we must look at Philip Johnson, and the practice, another way. The polite obituaries missed how political queerness continues to be in 2005 and how Johnson's private side was so political (the metaphor of the glass houses shouldn't be missed). They lost sight of how architecture, despite having a proportionately high number of gay practitioners, still sustains a larger social oppression. If architecture as a profession thinks it is capable of a social contribution, it better look long and hard at how it thinks about its own people. Without forgeting all of his wrongs, Johnson's death serves to remember that.


| ah! oh! and the Real MEN requisite by the American Nazi Party
| right here...



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