Architectural Histories 2, no. Out of Time and Into Space. — In an insightful and nimble chapter on Hejduk’s Wall Houses, which also includes observations on the Diamond Projects, Mark Linder refers to slight variations in Hejduk’s text on exhibition panels in the 1967 Architectural League show compared to later published versions (Linder 2004: 269 n16). Dates of creation [1963-1985, predominant 1963-1967] Level of archival description. “Working It Out: On John Hejduk’s Diamond Configurations”. In My Father’s House Are Many Mansions In: Frampton, K ed. 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. The Nine-Square series is most fully documented in John Hejduk: 7 Houses (Frampton 1980). The brise soleil blades are on a two-thirds grid-line rhythm that continues without interruption around the full diamond perimeter, aligning with every other grid line. 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. To track these conditions, I will start with the voided center. In order to frame the larger question to which the present study contributes, one might ask: how are buildings and projects composed such that time is confronted? 5Visual Arts Center is what Hedjuk, and Le Corbusier in the Complete Works, call what is more commonly known today as the Carpenter Center for the Visual Arts. House B introduces double height volumes that cascade up the building and thus also disrupt a single horizontal space idea. 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. These three conditions — columns, planes, biomorphic shapes — are the most basic form questions addressed, as Hejduk’s synoptic table diagramming his work between 1955 and 1972 suggests.4. 4).19 Internal partitions are arranged like a pinwheel, with the four arms at approximately similar 9, 1, 3, and 5 o’clock positions. 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. 13The term ‘exfoliation’ is Kenneth Frampton’s, used to characterize tensions in the periphery of the Diamond Projects (1975: 141). The Diamond Projects have been par-tially published and are regularly referred to in writings by It’s also the quickest condition, the fastest timewise in the sense that it’s the most extended, the most heightened; at the same time, it’s the most neutral, the most at repose’ (Hejduk 1985c: 90). 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. 1 (2014): Art. 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). Required fields are marked *. Please feel free to write us if you notice misattributions or wish something to be removed. DOI: http://doi.org/10.5334/ah.cb, Jasper, M. (2014). Eisenman, P (1980). 21The thesis of simultaneity is claimed by Hejduk in his essay on the Visual Arts Center: ‘the major thesis — the thesis of simultaneity’ (Hejduk 1985a: 71). Hors du temps dans l’espace. 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. In its final state, Victory has eight horizontal rows of small color swatch tapes, and the display cases in Museum C roughly align with these. Floor scoring continues as in House A: wall-width scores in the regular bay pattern. John Hejduk or the Architect who Drew Angels. […] It’s here that you are confronted with the flattest condition. Photogallery. Nothing But Architecture In: Hays, K M ed. There is no tension; rather there is a state of ambiguous equilibrium, all the architectural energy having been moved to the perimeter. Working It Out: On John Hejduk’s Diamond Configurations. Partial publication of the 1/4, 1/2, 3/4 series is most easily accessible in Hejduk (1985). A Picturesque Stroll around ‘Clara-Clara’. 7There is no site plan for Nine-Square (Texas) House 7. Bernstein House; Diamond House A; One - Half House; History Architectures. Diamond House A, Second Floor Plan, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. In other words, there is no outside, no house-site relationship.7. 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. Certainly this cluster of events can be conjectured as a primary cause of that shift in his thinking and practice announced in the opening citation: Hejduk’s experience of the Visual Arts Center in 1965 and Le Corbusier’s death in August of the same year; the desire by Hejduk to get out from under or go beyond the influences of Mondrian and the Le Corbusier of Garches and in particular the limits of frontality; the Domino spatial idea; a chronological notion of time. Firstly, they can be seen as an effort to overcome a number of architectural biases Hejduk traces to the Le Corbusier of Villa Garches and the Visual Arts Center at Harvard University.5 In particular, Hejduk tries to escape from the biases of frontality and the horizontal stratifications of space idealized in the Domino diagram and traced by Hejduk to the Villa Garches. 18. The roundness of the columns gives the plans a ‘centrifugal force and multi-directional whirl’. Hays refers to its existence as early as 1963 (Hays 2002: s.p.). Jasper, M. (2014). John Hejduk, en una conferencia, Praga, 6 de septiembre de 1991. Architect: John Hejduk. Courtesy of wall house 2 website See more ideas about john hejduk, architecture drawing, architecture. 4See Hejduk (1985: 285). In these paintings Mondrian created 90° relationships between the lines on the canvas, while tipping the square of the canvas 45° to the viewer’s space, thus forming the diamond. Jasper, M., 2014. Traditionally, architectural plans have been oriented rectilinearly so that the edges of the drawing are parallel to edges of the page. To understand the impact or potential of the Diamonds, it is helpful to review Hejduk’s period writing and examine what was happening around him. A+U May 197553: 141–142. See more ideas about john hejduk, architecture drawing, john. Architectural Record, April 4 1980: 111–116. 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.). In Cinema 2, Deleuze proposes that in some mid-twentieth-century films a new relationship of movement and time is made visible. Tomlinson, H and Galeta, R trans. Rowe, C and Slutzky, R (1963). SOCKS is a project by Fosco Lucarelli and Mariabruna Fabrizi of MICROCITIES, Architecture Cityscape, Landscape. Sub-series: Diamond House B, [1963-1985, predominant 1963-1967] People. DOI: http://doi.org/10.5334/ah.cb, Jasper M, ‘Working It Out: On John Hejduk’s Diamond Configurations’ (2014) 2 Architectural Histories Art. 1, 2014, p. Art. 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. The following image is Hejduk ’s floor plan for a utopian”Diamond House” Hejduk ’s floor plan for the “Diamond House” is an inspiring struggle with the endless search for the “perfect floor plan”. "T o fabricate a house to make an illusion" was the enigmatic motto that John Hejduk placed across the full width of a color sketch showing the side-elevation of his Wall House … Selections from the John Hejduk Archive of the Canadian Centre for Architecture, Montreal & The Menil Collection, Houston. 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. The perimeter agitation of light in House A that Hejduk found so troubling twenty years later is not present in House B.11 A constant floor slab overhang continues, interrupted in this case only by glass blades extended along eight of the grid line extensions, all continuing the top-bottom alignment of the major internal walls and further reinforcing the direction. 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. 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). 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