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January 27, 2005


Frank McGahon

He certainly was a shameless whore - flirting with whichever movement was in vogue, including the late 1970s-early 1980s "PoMo" with the tacky AT&T building and later he actually coined the name "deconstructvism" to describe the work of Libeskind et al whose work to him resembled a blend of the Russian constructivism of El Lissitzky etc and Derrida-esque deconstruction. As I recall he organised an exhibition with this title in 1988.

He did however flirt, not only with fascism, but with Nazism and spent some time in Germany in the 1930s. In this interview here:

he confesses that his "worst mistake was going to Germany and liking Hitler too much".

His finest work was the little glass house in Connecticut, though it rather presumed the continuing existence of vast private grounds around for any kind of privacy to obtain!

Abiola Lapite

Yes, Johnson's extended love affair with Nazism was a tremendous blot on his character, though he did at least have the decency to publicly apologize for it on several occasions, which is a lot more than can be said for many fellow-travellers.

I think what we see in Johnson's Nazi infatuation is the danger of aestheticism elevated to a political principle. It's no accident that Hitler was a failed artist, Speer a mediocre one, and Goebbels a failed novelist, nor is it coincidental that Nazi uniforms and festivals are still so eye-catching till today (blame Hugo Boss for those catchy black SS outfits).

"Mickey" Pevsner

Architecture's Britneyest figure ever.

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