The disparity between Philip Johnson’s two personal residential works, the Ash Street House (1942) and the Glass House (1949), provides an interesting space for an investigation of the ways in which history is represented through built form. Instead of constructing a frame for repeating a fixed mythology of the past, can the archistorian build machines for surreal experiences? Can historical narrative be used for disciplinary projection?
Preservation’s Excess
The Ash Street Micro-festo
Research Project