originally one of two buildings (along with the brick guest house) on what was then an tract. The Glass House resulted in recognition for Johnson, not just in architectural circles, but also among the public at large. The house was featured in Life magazine, and the New York Times Magazine published a set of cartoons about it. "What really sets Johnson apart [...]" Michael Sorkin wrote in 1978, "is his aptitude for publicity." The Glass House "established Johnson as the titular leader" of Modernist style in 1949. "If it was Mies van der Rohe who provided the real inspiration for the Glass House [...] it was only Johnson who could have built the house and lived in it himself. Johnson's career began when he turned himself into the Man in the Glass House. In an instant, he became the austere apostle for modern architecture—or rather the modern apostle for austere architecture." As Life magazine put it in 1949: "Except when entertaining, Johnson lives alone, servant-less and accompanied only by weather, paintings and books." The building created such a stir that at one point a police officer was posted nearby to keep out trespassers, and Johnson put up a sign near the street, stating: "This House Is Now Occupied Please Respect the Privacy of the Owner. It will be Open to the Public on specified days". New York Times architecture critic Nicolai Ouroussoff wrote in 2007 that Glass House was "once one of the most famous houses in the United States. [...] [I]ts celebrity may have done more to make Modernism palatable to the country's social elites than any other structure of the 20th century." The home also created a stir for Mies van der Rohe, who "stormed out in a huff when he saw it", Ouroussoff wrote. Obviously derived from Mies's Farnsworth House, the fact that it was finished earlier could easily have made the German architect wonder whether others would get the impression that Johnson had instead done pioneering work for Mies, and it could be seen that "Johnson's vision lacked the intellectual rigor and exquisite detailing that were so critical to Mies's genius", according to Ouroussoff. As a curator at the Museum of Modern Art, Johnson had publicized Mies' work, and the American acknowledged his debt to the German architect, particularly in a 1950 interview in Architectural Digest magazine. Even though Johnson's building was completed a year before