Philip Johnson’s 1949 Glass House has long been an icon, but not until Los Angeles photographer James Welling visited the Connecticut site with a rainbow of colored filters had the house been pictured with such saturation and luminosity. Welling, who gained recognition in the 1970s and 1980s for his carefully staged black-and-white images, is known for the use of unconventional media such as pastry dough, gelatin, and tinfoil. Originally commissioned by New York Magazine for an article about the Glass House, Welling’s color-dipped photographs, made by holding tinted filters in front of his digital camera lens, add another layer to the modernist landmark. “The use of color filters is a way to accentuate the house and add a sense of stability,” according to curator David Little. “It’s an idea of clarity and humanity, where the landscape becomes a part of the work and the experience of the house is more important than seeing it from a distance.” The ten photographs on view, including the red-tinged 8067 (2008, above), reveal that much remains to be gained from the conflux of architecture and photography.