Philip Johnson illustrates the ideals and experiments of a design generation in an interview with Barbaralee Diamonstein-Spielvogel of Duke University with the knowledge that only arrives in the aftermath.  But as privileged as hindsight may be, it does little to persuade the burgeoning youth from incubating the next batch of vulnerable visions. The great verve and energy of these days is often recalled with fondness, perhaps jealousy, and best yet, teaching a not-so-banal reality that ambition created drives ambition to be. Whether fantasy or material, the imagination has only to choose the lens through which to process the made into the making.

Raised and taught 13,000 kilos apart to families of rural artistic and urban entrepreneurial mindedness, Edward Couper (Australian) and Allie Piehn (American) met in London, a playground home to countless generations of dreamers who immigrated with the hopes to build upon an opportunity that would forever change their impact back on home soil. Both observe architectural happen-stance and practice the delicate finesse by which to add contemporary edits, continuously seeking to approach with youth-like initiative. Within the context of the film, Edward and Allie too would not mind living in a glass box. Although they do not.


Philip Johnson interview excerpt from "American Architecture Now: Philip Johnson". Duke University Digital Collections.

Song excerpt from Stravinsky's De L'Oiseau De Feu as performed by Philadelphia Orchestra. (1919 version)


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