8‘Well, the whole idea of the periphery in the Diamonds dealt with the fragmentation of light, you have to understand that’ (Hejduk 1985c: 135). Form relations, concepts of space, and perhaps, as I am proposing, notions of time are all being worked on here. Diamond House A, John Hejduk Purchasable drawings. This is consistent with the form studies underway, by which Hejduk tries to establish an architectural condition that made manifest a phenomenon of ‘all-over kinetic equilibrium’ in the same pendulum arc as he tried to realize the condition for a neutral container, the two together mimicking what he described as a Michelangelo effect.15. Diamond House A, Diamond House B, and Diamond Museum C are the three developed projects in Hejduk’s Diamond series (1962–1967). 1966. Suddenly a shift occurred, a shift in the path and the Diamond Projects appeared. The roundness of the columns gives the plans a ‘centrifugal force and multi-directional whirl’. 3) begins again with a square bay, now in a larger eighteen-grid line, forty-one round-column configuration. 10A longer treatment of the Diamond Projects will explore specific relations created by curvilinear walls and Hejduk’s research into the architectural problem of ordering colors. John Hejduk’s Diamond House A (1963-1967) In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the architectural implications of the "diamond configuration": a forty-five-degree rotation of bounding elements relative to an orthogonal system. House B introduces double height volumes that cascade up the building and thus also disrupt a single horizontal space idea. Time is no longer subordinate to movement, he writes, and a reversal occurs such that ‘time ceases to be the measurement of normal movement, it increasingly appears for itself’ (Deleuze 1989: xi). DOI: http://doi.org/10.5334/ah.cb, Orinda House, also known as "Moore House" is located in a valley behind San Francisco,…, In “Der Fels ist mein Haus = La rocher est ma demeure = The rock…, Herbert Bayer was a prolific graphic designer and typography designer who also worked as a…, Here, we propose on Socks the tenth and last chapter (excluding the "Works" section) of…, In 1789, during the Revolution and specifically during his imprisonment, architect Claude-Nicolas Ledoux started the…, Filed Under: Architecture Tagged With: form of form, formal configuration, hejduk, House. Apr 25, 2019 - Explore Jack Max's board "John Hejduk" on Pinterest. Text by John Hejduk. As in House A and House B, the top-bottom bias is reinforced by perimeter brise soleil blade walls. The new relationships of form have at least two major consequences: peripheric tensions of the edge and field extensions beyond the building volume that render an expanding space (Hejduk 1985c: 90). Hejduk, in an interview with Wall, states, ‘All my houses have voided centers… Maybe my contribution to architecture is the voided center’ (1985c: 131). 17 drawings; 11 panels; 10 negatives This work was done out of an appreciation for Hejduk's original work and to further my own understanding of his genius. An online magazine of Art, Architecture, Media, Culture, Sounds, Territories, Technology), June 30, 2016 by Fosco Lucarelli 2 Comments. Deleuze, G (1989). Hejduk, J (1985c). In this last, where it is labeled ‘Introduction to Diamond catalogue’, the order of early paragraphs is modified relative to the two previous publications, and diagrams eight and nine, external and internal to the diamond respectively, do not include the position of the observer, which is marked in the two earlier versions. Hejduk, J (1985a). Sub-series: Diamond House A, [1963-1985, predominant 1963-1967] In 1967 John Hejduk exhibited a series of drawings and models in New York that explore the architectural implications of the forty-five degree rotation of bounding elements relative to an orthogonal system. 3The citation is from Hejduk’s so-called ‘Diamond Thesis’ (Hejduk 1985b: 48). Designed for the landscape architect Arthur Edward Bye in 1971, it investigates the wall as the original architectural device. As Hejduk himself states in an interview with Wall, the Diamond isometrics ‘reminded me of Le Corbusier. This perhaps explains his unease at re-approaching decades later any of the Diamond Projects, whether A, B, or C. For the state they capture is the ‘flattest… quickest… fastest… most extended… most heightened’.16 It is not just an entry or threshold condition of walls, but an entire project working on, and intensely occupying, the present. 18. The Diamond Projects have been par-tially published and are regularly referred to in writings by Born: 19 July 1929 Died: 3 July 2000 (aged 70) Occupation: Architect : John Quentin Hejduk (19 July 1929 – 3 July 2000) was an American architect, artist and educator of Czech origin who spent much of his life in New York City, United States.Hejduk is noted for having had a profound interest in the fundamental … Wall House 2 is admired for it's fusion of Surrealist sculpture, Cubist paintings and architecture, which reflect John Hejduk's identity as an artist, poet, educator and … Following Hejduk, therefore, their role is primarily formal, the projects exploring formal-spatial possibilities in diamond configurations by means of columns (House A), planes (House B), and then biomorphic shapes (Museum C), to make only the most reductive of interpretations. These two theses work in parallel on the problems of the observer in motion, and thus of time (the thesis of simultaneity) and of space (that collapsed, ‘actual’ two-dimensional space of the diamond). Cad Blocks. Diamond House B, Second Floor Plan, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. In terms of frontality, here is Hejduk drawing to get over or to abandon the curious limits he sees in the Renaissance vision still evident in Le Corbusier’s Garches (Hejduk 1985b: 48). Crayon on sepia diazotype. To take another example of what was made possible, consider what appears to be an early study for 1/4 House C. Having been set aside during the investigations into diamond configurations, the ground has suddenly returned, here in this study, as a diamond-shaped site20 (see Figs. 11For further development of this idea, see Constantin (1980) and Pommer (1978) who briefly consider the two-dimensional, flat character of Hejduk’s work. 6As one example of this approach in the domain of art historical criticism, see Bois’s analysis of Richard Serra’s work from the point of view of what might be called an autonomous picturesque (Bois 1984). Mask of Medusa: Works 1947–1983. Architect: John Hejduk. Hejduk ’s floor plan for the “Diamond House” is an inspiring struggle with the endless search for the “perfect floor plan”. Wall House 2 , John Hejduk. Frampton, K (1980). In 1969 it appeared in Three Projects. 26. Efforts worth studying by committed architects and academics. Diamond House A, John Hejduk Purchasable drawings. 1Partial publications of the projects by Hejduk: Hejduk (1969) a folio of loose plates; Hejduk (1972), limited to Houses A and B; A+U 53 (May 1975): 96–99, including photographs of the 1967 exhibition; Hejduk, Architectural Design 55(3/4) (1985): 66–67, five isometrics of House A; Hejduk (1985: 240–251), containing all three projects and some sketches. Pommer, R (1978). John Hejduk’s Diamond House A (1963-1967) In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the architectural implications of the "diamond configuration": a forty-five-degree rotation of bounding elements relative to an orthogonal system. Latest post from the blog. Deux projets. Architecture Structures for the Imagination. Hejduk, J (1975). The Nine-Square series is most fully documented in John Hejduk: 7 Houses (Frampton 1980). […] It’s here that you are confronted with the flattest condition. Except where otherwise noted, the content on this site is licensed under a Creative Commons Attribution-ShareAlike 3.0 license. Perspecta 8: 45–54, DOI: https://doi.org/10.2307/1566901, Jasper, M., 2014. Idea-Concept. DOI: http://doi.org/10.5334/ah.cb, Jasper, M.. “Working It Out: On John Hejduk’s Diamond Configurations”. Extent and Medium. John Hejduk “Diamond Houses” 1950-60 – – On the second and third levels, full floor-height brise soleil bars provide a continuous agitation of the light, to use Hejduk’s characterization of the effect.8 Their rhythm varies from floor to floor and there is no clear method for placement of the brise soleil, with one exception. New York: The Cooper Union School of Art and Architecture. 26. 2014;2(1):Art. Thicker walls are located on top-to-bottom grid lines three and five (counting left to right), establishing a dominant direction in organizing spatial flow and a shifted center onto grid line four. Architectural Histories 2, no. In addition to these, the Diamond Projects can be read as an index of two other considerations. Sketch for a 36’-Bay House in a diamond configuration, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. 19Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, John Hejduk fonds 145, Sub-file 4: Miscellaneous Diamond House Sketches, drawing DR1998_0063_007. The Diamond Houses are privileged in the interviews with Wall as the site of working out certain Corbusian devices, but a close review of subsequent project drawings — 1/4 Series, 1/2 Series, Extension House — reveal lingering traces. John Hejduk Representations of the imaginary Barbara Hillier M.Arch 2011 5 through mountain roads when for a moment we look up at receding pines on coal slopes, a house appears illuminated by the very darkness of the pine. Wall House 2 (A. E. Bye House) is the second in a series of projects that John Hejduk began in the mid-1960s to explore what he called the "first principles" of architecture. Consider as evidence two drawings situated somewhere in that whirl of 1960s work on Nine-Square (Texas) House 5 (1958–60), the Diamond series (1962–67), the 1/4 Series (1967), and the ‘Out of Time’ (1965) and Three Projects (1967) texts (see Figs. On a sheet containing several plans, all in diamond configurations, the most developed disposes four round columns, thirty-six feet on center, in a single square bay set inside the mid-points of bounding walls, with all other elements — partitions, fireplaces, and furniture — in right-angled relations (Fig. 15-ago-2018 - Explora el tablero "JOHN HEJDUK" de Arquitectura Posmoderna, que 113 personas siguen en Pinterest. John Hejduk (1929 - 2000) was born in the Bronx, New York and educated at the Cooper Union, the University of Cincinnati, and the Harvard Graduate School of Design. 71–75. See more ideas about john hejduk, architecture drawing, john. Hejduk was never concerned, however, with multi-directional spatiality, convinced as he was at the time that the already dense two-dimensionality of architectural space was the only one he should pursue. Certain partitions on the second and third floors are located well off the grid. Other shared features include the openness of all four points and the use of relatively large areas of neutral color (open field) on the top/bottom spine. 26. At first blush, and as suggested above, two compositional devices are constantly explored in the Diamonds. -John Hejduk. Diamond House A (Fig. Allen makes a brief reference to the Diamonds as part of the formal research that included the 1/2 and 3/4 Houses (Allen 1996: 90). 26 DOI: http://doi.org/10.5334/ah.cb, Jasper, Michael. “Working It Out: On John Hejduk’s Diamond Configurations”. John Hejduk (1929–2000), Wall House 2 (A E Bye House) Project, Ridgefield, Connecticut, isometric, 1973. Certain kinds of temporal relationships are uncovered in buildings that release or make concrete a Deleuzian direct time, one not bound to a vision in motion, or to a promenade architecturale (Deleuze 1989: xii). SOCKS is powered by WordPress. John Hejduk’s Diamond House A (1963-1967) In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the architectural implications of the "diamond configuration": a forty-five-degree rotation of bounding elements relative to an orthogonal system. Working It Out: On John Hejduk’s Diamond Configurations. Nothing Less than Literal: Architecture After Minimalism. A+U January 1991244: 59–65. Limited to an edition of 1000, was funded by the Mary Duke Biddle Foundation, and continues the "tradition of commitment to search for new relationships of forms—in our opinion the only possible, as well as necessary role of a school of architecture." Could a similar reversal be said to have occurred more generally in the realm of architecture and if so, how would we recognize it? Diamond House B. A collection of twelve Wall House projects by architect John Hejduk printed in color on eight by ten inch cardstock in a paper portfolio. In the rotation appears a curious, ambiguous notion of time, which Hejduk characterized as a ‘moment of the present’. This work was done out of an appreciation for Hejduk's original work and to further my own understanding of his genius. 668 days ago. 1/4 House Series, sketch for a house on a diamond-shaped site, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. What kinds of devices would be at work to give rise to a pure time, one different from a past-present-future time, that purely empirical succession of things that, for example, the promenade architectural manifested in Le Corbusier’s Visual Arts Center gives expression to? 9For model photographs, see Hejduk (1985: 244–245). The exhibition of drawings and models held at The... Richard Meier Posmodernismo Quiosco Popular Dibujos. To begin to frame the concept of a temporality specific to certain works of modernist architecture, I turn to the notion of direct time as theorised by Gilles Deleuze (1925–1995) and deployed most fully in Cinema 2: The Time Image. To go further, it might be that in these projects there is evidence of a pure or direct time in the sense framed by Deleuze. Constantin, E (1980). A Picturesque Stroll around ‘Clara-Clara’. And there is perhaps an underlying dimension related to time. 26. In 1967, Hejduk presented the three diamond projects (Diamond House A, Diamond House B, and Diamond Museum C) in an exhibition held at the Architectural League of New York, alongside paintings by Robert Slutzky. Archetypes and Free Plan: Orinda House by Charles W. Moore, Matter, Structure and Form of Life: Der Fels ist mein Haus, by Werner Blaser (1976), Herbert Bayer's Small Architectural Projects (1924), Robert Venturi, The Obligation Toward the Difficult Whole, The Ideal City of Chaux by Claude-Nicolas Ledoux (1773-1806), MICROCITIES, Architecture Cityscape, Landscape, Creative Commons Attribution-ShareAlike 3.0 license. Deleuze’s concept of direct time is one independent of movement and he finds examples of this condition in films directed by Renoir, Fellini, and Welles, among others (Deleuze 1989: xii). The project has a square plan divided by ten grid lines, at the intersection of which there are 13 round columns. Oct 23, 2017 - In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the architectural implications of the "diamond configuration": a forty-five-degree rotation of bounding elements relative to an orthogonal system. 48–49. Time is exactly the diagonal of all possible spaces made possible as a result of those two freedoms, as noted above, that Hejduk found in Le Corbusier — liberated space and liberated structure. © Museum of Modern Art, New York / Scala Florence. Diamond House A, Diamond House B, and Diamond Museum C are the three developed projects in Hejduk’s Diamond series (1962–1967). Peter Eisenman’s essay in this exhibition catalogue miraculously illustrates the architectural thinking at work in, and animates the differences among, the Nine-Square projects (see Eisenman 1980). John Hejduk's Diamond House A (1963-1967) In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the… Kugelhaus, by John William Ludowici. Though tentative, and calling for further development, I believe there is evidence of a concept of direct time at work in the three Diamond Projects, briefly considered here and whose interpretation I have sketched out above. – Eisenman, Peter. Hejduk’s most important completed project, done in collaboration with the engineer Peter Bruder, is the highly acclaimed renovation of the Foundation Building at Cooper Union built in the Italianate style in 1853 by Fred E. Peterson. New York: The Institute for Architecture and Urban Studies. Architectural Design 55(3/4): 66–67. May 5, 2013 - JOHN HEJDUK, DIAMOND HOUSE PROJECT, HOUSE A, 1980 by ABCLG via archive of affinities On the former, see Hejduk’s remarks in the ‘Diamond Thesis’: ‘a curvilinear surface would have the effect of softening the experience and impact’ as compared to the impact of confronting the diagonal with right-angled conditions (Hejduk 1985b: 49). New York: Rizzoli International. So I had to get rid of that, by working it out, by exorcising the images. Unlike the ‘Texas’ house investigations, bay counts is not a useful way to characterize the series, the number of regular four-sided bays being highly limited. 12‘The fracturing of light in an apparently simple program is maddening’ (Hejduk 1985c: 135). DOI: http://doi.org/10.5334/ah.cb. Your email address will not be published. Architectural Histories, 2(1), Art. Learn how your comment data is processed. They are given further expression and exploration in the projects that follow the Diamond series and in Hejduk’s writing. This hand drawn table is also included in ‘John Hejduk’, A+U 53 (May 1975): 73–146, 134. 14Hejduk, annotations on a sheet of unpublished sketches for Diamond House B, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, John Hejduk fonds 145, Series 2: Professional Work, File 15: Diamond Houses, Sub-file 4: Miscellaneous Diamond House Sketches, drawing DR1998_0063_005. 1) is a thirteen-column, ten-grid-line, square-bay plan. John Hejduk’s Diamond House A (1963-1967) In 1962 architect and educator John Hejduk (1929-2000) started a six-year investigation on the architectural implications of the "diamond configuration": a forty-five-degree rotation of bounding elements relative to an orthogonal system. Each building in the complex opens out to the harbour and lake. “Notes from the Underground”, Artforum 10 (April 1972): 40-46. The work was the result of a six-year investigation into the problem. This drawing is reproduced in Mask of Medusa in a sequence of 1/4 House projects (Hejduk 1985: 264). The Diamond Projects have been par-tially published and are regularly referred to in writings by A preliminary analysis of the Diamond Projects will be used to explore these propositions. Museum C achieves this by the intensity of plan figures such that the possible experience is as a section idea that goes beyond a simple horizontal layering. John Hejduk and the Cult of Humanism. As in House A, revealing a lingering tendency that might be described as cubistic, a direction as well as an eccentricity is introduced by placement and delineation of walls of different dimensions. (Hejduk 1985: 34). 2), another four-level project, parallel rows of walls replace columns, generally running vertically according to the plans as published. All three vertical circulation elements — the switchback ramp and two switchback stairs — as well as the cluster of biomorphic-shaped walls are all aligned in a top-bottom arrangement. At first there’s a sense of a perfectly neutral condition. (Figure4: the Cover of Seven Houses) The ‘Diamond Thesis’, as George Sadek and Hejduk describe the text in their prefacing paragraphs to Three Projects, has been published at least three times. In the quote that opens this paper, Hejduk reflects on the sudden drift from the Nine-Square (Texas) series that happened around 1962, identifying a shift, if not a full break, that these projects mark in his interests and style. Over three dense pages, and in the context of a longer commentary on Hejduk’s last work, Hays discusses the Diamond Thesis and the role of the Diamond Projects as leading to the Wall Houses (Hays 2002: s.p.). Bois, Y A (1984). Working It Out: On John Hejduk’s Diamond Configurations. 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