Photographer Lane Coder has visited Philip Johnson’s Glass House in New Canaan, Connecticut, in both summer and winter , but autumn was the season he looked forward to the most. “Between the fiery foliage, the incredible light, and the unpredictable weather, it made for moving photographs,” he says.

Coder captured the property by day and by night. “When photographing the house during the daytime, I preferred shooting in the late afternoon and evening,” he says. “At times the property would just seem to glow.”

Johnson’s lakeside pavilion. “The sun hangs lower in the sky in the fall and winter,” Coder says, “and has a more muted color palette compared to the harsh contrast of light in the summer months.”

“The pool is one of my favorite structures on the property,” says Coder. “It’s so minimal and humble but a powerful visual component to the entire property.”

“Being able to photograph the house in the evening was an incredible experience—not to mention the subtle layer of fog on the final night of shooting,” he says. “That was a gift.”

“Parts of the landscape I hadn’t noticed before were completely saturated in color and demanded attention,” Coder says.

At night Coder photographed the house from a perch near the circular pool “because of the reflective quality of the water.”

Designer Richard Kelly created the Glass House’s impressive lighting composition.

“The way the different color temperatures of all of the lights came together on a large scale was an incredible thing to see,” Coder says.

“There was a harmony that I was trying to find within three layers of composition—mine, Richard’s, and Philip’s,” Coder says. “When it happened, it felt really good.”