In an era in which everything it politicized, from the TV shows and the movies we watch to the places we shop, it’s not surprising that architecture and design would also be reflective of the politics of the day. This phenomenon is nothing new.

For proof of this, we need to look no further than Philip Johnson. Considered one of the greatest of modern architects, he would spend a good part of his life caught in the vortex between his politics and his art. His art, on the one hand, reflecting who he really was (because art seldom lies,) but also using the scope and causes of that work, to try and escape from who he was and what he believed.

That dilemma lies at the heart of an insightful new biography of Johnson by Mark Lamster, the architecture critic of the Dallas Morning News, a professor in the architecture school at the University of Texas at Arlington, a 2017 Loeb Fellow of the Harvard Graduate School of Design, and the author of The Man in the Glass House: Philip Johnson, Architect of the Modern Century.

My conversation with Mark Lamster:

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