Philip Johnson in the context of International Style

Postmodern architecture is a style or movement which emerged in the 1960s as a reaction against the austerity, formality, and lack of variety of modern architecture, particularly in the international style championed by Philip Johnson and Henry-Russell Hitchcock. The movement was formally introduced by the architect and urban planner Denise Scott Brown and architectural theorist Robert Venturi in their 1972 book Learning from Las Vegas, building upon Venturi's "gentle manifesto" Complexity and Contradiction in Architecture, published by the Museum of Modern Art in New York in 1966.

The style flourished from the 1980s through the 1990s, particularly in the work of Scott Brown & Venturi, Philip Johnson, Charles Moore and Michael Graves. In the late 1990s, it divided into a multitude of new tendencies, including high-tech architecture, neo-futurism, new classical architecture, and deconstructivism. However, some buildings built after this period are still considered postmodern.

The John Fitzgerald Kennedy Memorial is a monument to United States president John Fitzgerald Kennedy in the West End Historic District of downtown Dallas, Texas, United States, erected in 1970, and designed by noted architect Philip Johnson.

Complexity and Contradiction in Architecture is a book by the American architect Robert Venturi. It was first published in 1966 by Museum of Modern Art in New York City and has since been translated into 16 languages, and is considered one of the most important works of architectural literature. Architectural historian Vincent Scully has singled it out as "probably the most important text on architecture since Le Corbusier's Toward an Architecture in 1923".

Complexity and Contradiction in Architecture marks a turning point in American architecture and architectural theory. In the early 1980s, Philip Johnson declared, with extravagant insouciance: "Venturi is the most important architect in the world today... He revolutionized architecture with Complexity and Contradiction in the 1960s. He freed us; he untied the chains with one stroke."

Karl-Marx-Allee (Karl Marx Avenue) is a prominent boulevard in the Berlin districts of Friedrichshain and Mitte, constructed and expanded by the former East Germany between 1949 and 1960 as a showcase of socialist urbanism and architectural grandeur. Originally named Stalinallee from 1949 to 1961, the boulevard formed the centrepiece of the German Democratic Republic's (GDR) postwar reconstruction efforts. It was conceived as a model of dignified workers' housing and civic life, designed by leading architects including Hermann Henselmann, Egon Hartmann, Hans Hopp, Kurt W. Leucht, Richard Paulick and Josef Souradny. The ensemble featured spacious residences, cultural institutions such as the Kino International, as well as restaurants, cafés, and a tourist hotel. These developments were emblematic of East Germany's ideological ambition to "elevate the proletariat" through state-led urban planning.

Stretching 2.3 kilometres (1.4 mi) and spanning 90 metres (300 ft) in width, Karl-Marx-Allee is lined with imposing eight-storey buildings rendered in the wedding-cake style of socialist classicism, reflecting the stylistic idiom of Stalinist architecture then prevalent in the Soviet Union. Notable landmarks include the twin towers at Frankfurter Tor and Strausberger Platz, both designed by Henselmann. The boulevard blends grandeur with local heritage, incorporating traditional Berlin motifs inspired by Karl Friedrich Schinkel, while façades were clad in ornate architectural ceramics. Though subject to decay by the late 1980s—with many tiles falling off, necessitating pedestrian shelters in some areas, the avenue remained widely admired. Philip Johnson referred to it as "true city planning on the grand scale," while Aldo Rossi declared it "Europe's last great street."

Modern furniture refers to furniture produced from the late 19th century through the present that is influenced by modernism. Post-World War II ideals of cutting excess, commodification, and practicality of materials in design heavily influenced the aesthetic of the furniture. It was a tremendous departure from all furniture design that had gone before it. There was an opposition to the decorative arts, which included Art Nouveau, Neoclassical, and Victorian styles. Dark or gilded carved wood and richly patterned fabrics gave way to the glittering simplicity and geometry of polished metal. The forms of furniture evolved from visually heavy to visually light. This shift from decorative to minimalist principles of design can be attributed to the introduction of new technology, changes in philosophy, and the influences of the principles of architecture. As Philip Johnson, the founder of the Department of Architecture and Design at the Museum of Modern Art articulates:

With the machine aesthetic, modern furniture easily came to promote factory modules, which emphasized the time-managing, efficient ideals of the period. Modernist design was able to strip down decorative elements and focus on the design of the object in order to save time, money, material, and labour. The goal of modern design was to capture timeless beauty in spare precision.

The architecture of metropolitan Detroit continues to attract the attention of architects and preservationists alike. With one of the world's recognizable skylines, Detroit's waterfront panorama shows a variety of architectural styles. The post-modern neogothic spires of One Detroit Center refer to designs of the city's historic Art Deco skyscrapers. Together with the Renaissance Center, they form the city's distinctive skyline.

Detroit's architecture is recognized as being among the finest in the U.S. Detroit has one of the largest surviving collections of late-19th- and early-20th-century buildings in the U.S. Because of the city's economic difficulties, the National Trust for Historic Preservation has listed many of Detroit's skyscrapers and buildings as some of America's most endangered landmarks.

The Glass House (or Johnson House) is a historic house museum on Ponus Ridge Road in New Canaan, Connecticut. It was built in 1948–49 by the architect Philip Johnson, who designed the home as his weekend retreat. The New York Times has called the home his "signature work".

According to Alice T. Friedman, the Glass House may have been derived from the glass Farnsworth House in Plano, Illinois, by Ludwig Mies van der Rohe, which was completed in 1951, two years after the Glass House. Johnson curated an exhibit of Mies's work at the Museum of Modern Art in 1947, featuring a model of the Farnsworth House. It was an important and influential project for Johnson and for modern architecture. The building is an example of minimal structure, geometry, proportion, and the effects of transparency and reflection. The estate includes other buildings designed by Johnson that span his career. It was designated a National Historic Landmark in 1997. It is now owned by the National Trust for Historic Preservation and is open to the public for guided tours, which begin at a visitors center at 199 Elm Street in New Canaan.

550 Madison Avenue (also 550 Madison; formerly known as the Sony Tower, Sony Plaza, and AT&T Building) is a postmodern–style skyscraper on Madison Avenue between 55th and 56th Streets in the Midtown Manhattan neighborhood of New York City, New York, U.S. Designed by Philip Johnson and John Burgee with associate architect Simmons Architects, the building is a 647-foot-tall (197-meter), 37-story office tower with a facade made of pink granite. It was completed in 1984 as the headquarters of AT&T Corp. and later became the American headquarters of Sony. A four-story granite annex to the west was demolished and replaced with a shorter annex in the early 2020s.

A large entrance arch at the base of the building faces east toward Madison Avenue, flanked by arcades with smaller flat arches. A pedestrian atrium, running through the middle of the city block between 55th and 56th Streets, was also included in the design; a plaza was built in its place in the 2020s. The presence of the atrium enabled the building to rise higher without the use of setbacks because of a provision in the city's zoning codes. The ground-level lobby is surrounded by retail spaces, originally a public arcade. The office stories are accessed from a sky lobby above the base. There is a broken pediment with a circular opening atop the building. Opinion of 550 Madison Avenue has been mixed ever since its design was first announced in March 1978.

Vincent Joseph Scully Jr. (August 21, 1920 – November 30, 2017) was an American art historian who was a Sterling Professor of the History of Art in Architecture at Yale University, and the author of several books on the subject. Architect Philip Johnson once described Scully as "the most influential architectural teacher ever." His lectures at Yale were known to attract casual visitors and packed houses, and regularly received standing ovations. He was also the distinguished visiting professor in architecture at the University of Miami.