(2014) by Deegan Day Design located in a secluded area of Dillon Beach, California. The2,100 ft² (195 m²) home was designed for a client who once helped my guy Philip Johnson
mount a Mies Van Der Rohe
retrospective at MoMA, the project is an exercise in high-performance transparency – a home of maximal exposure with minimal
environmental impact. It does have a Mies and Johnson vibe to it. Set on a spectacular but periodically wind-swept site, the C-Glass House opens to a panoramic view
of Tomales Bay and the open ocean
, while bracing against winds that approach 100mph from multiple directions.
The design engages not only Philip Johnson’s Glass House and the Farnsworth House by Mies van der Rohe (the client helped translate texts for Mies’ 1972 retrospective at MoMA), but also the California legacies of Elwood, Koenig, and others. In contrast
to earlier ‘vitrines in a garden
,’ west coast glass
houses bias towards the environment, employing tactics of framing, cantilever and directional enclosure to heighten, as well as quantity, the beauty of their surroundings. C-Glass House brokers between the Leica-like precision of high modern glass
houses and the cinematic wide frame of the Case Study generation.
Though its architectural lineage is self-evident, this glass
house is as indebted to artists’ explorations of glazed enclosures as it is to the precedents of Johnson and Mies. Larry Bell’s elevated cubes and Dan Graham’s many pavilions capitalize more on the reflective and refractive ambiguities of the medium than its transparency, as do mirrored works by Gerhard Richter and the aquarium-like cages of Damien Hirst. The C-Glass House bridged between these ambitions in a new way, opening up to a panoramic vista but also modulating and reflecting back on architecture’s evolving role in the American landscape