Feature 1: John Hejduk, Reprint
Feature 2: Perceptual Space
Feature 1:
John Hejduk, Reprint
Who is John Hejduk?, a first year architecture student asked. We were in studio, year 2009, browsing through the Mask of Medusa: Works, 19471983, admiring the drawings, sketches, texts; appreciative of the line weights, the layout of the drawings, the narrative, and the exploration of the language of architecture.
I replied that he is an inspiration, someone who opened a world of imagination, extended the boundaries of architecture beyond built architecture to the realm of dream, poetry and creation. He is a role model in the pursuit of finding expressions of the language of architecture; an influential educator, Dean of the Irwin S. Chanin School of Architecture at the Cooper Union from 1972 to 2000, where he opened the path for conversation of various people and disciplines.
Peter Eisenman in the catalogue for IAUS, John Hejduk: 7 Houses in 1980, wrote, Hejduk is first and foremost a teacher, it was an accident of both time and place that Hejduk became a teacher, he thought and still thinks of himself as a builder. He explains the 7 houses featured in the catalogue and the particular drawing technique where Hejduk used fine pencil, the brittle 8H and 9H, where drawings inherently began to suggest architectural content where to see the houses casually as Palladian or Miesian is to miss the energy impacted in each small gesture, gestures so filled with architectural content. That one must look hard to find their delicate, almost imperceptible energy this tradition suggests a work on the language of architecture.
Daniel Libeskind in the introduction to the Mask of Medusa in 1984 wrote, What is decisive about his work is that it leads to a different place, on which is both alien and inalienable: a place which consecrates Architecture with mysteries that are no longer decipherable within the ordinary code of mimesis Hejduks work unconceals what cannot be seen when one only looks at cities, bridges, towers, swing-sets, prisons, ferris-wheels, even farmland. His architecture apprehends the Invisible in them.
Perceptively, a second year student observed: Hejduks drawings evoke forgotten memories, images of the modern project in the 1920s and 1930s: expressionism, futurism, constructivism, suprematism, purism, de Stijl, cubism, etc, though expressed in a different language. I add, that it seems that the seeds of the modern project manifested in those times and seemingly halted by historical accidents, are projected into the changing need of the 1970s, 1980s and 1990s. Timely, indeed NOW, that this opens a dialogue with the works of Hejduk on the possibilities of the language of architecture.
The a+u special feature on John Hejduk in January 1991, opened a decisive encounter. The reprint of the issue, continues the pursuit of the language of architecture, making it possible to remember forgotten dreams and projects, and encourage the courage to create alternative forms of making and expressing architecture. This reprint is a vital reminder for an old man like me, as it is a decisive encounter too for the first year student of architecture asking, Who is John Hejduk?
Erwin J.S.Viray / Assistant professor at the National University of Singapore
Essay: The Wall as Event
Michael Hays
Interview: Shigeru Ban
What I Learned From John Hejduk
The Wall House #2
Editors Introduction
Essay by David Shapiro
An Introduction to John Hejduks Works: Surgical Architecture
A Poem for John Hejduk by David Shapiro
After a Lost Original / The Snow Is Alive / Walter Benjamin: A Lost Poem / In Germany / After Asturiana / You Are Tall and Thin / Prayer For My Son / To My Son / House of The Secret / For Victims
Conversation Between John Hejduk and David Shapiro:
The Architect Who Drew Angels
LONDON Collapse of Time
OSLO Security
ATLANTA The House of The Suicide and The House of The Mother of The Suicide
Essays and Poem by John Hejduk
Architecture and The Pathognomic
Evening in Llano
The Sleep of Adam
Feature 2 :
Perceptual Space
One of the defining characteristics of architecture, one that makes it what it is, is that people can touch it and go inside it. It is fair to say that architecture is what it is because it has interior spaces, and that interior spaces exist because of architecture. Also, compared to architecture itself, interior spaces are closer to human bodily perceptions.
Recently we are seeing more interior designs that represent crystallizations of interactive relations between people and space. These designs reveal the poverty of the view that regards interiors as nothing more than decoration. Looking outside architecture, we also see a transition away from the previous emphasis on materials and visuals and toward designs that stimulate all five of our senses. Instead of closure as the goal, we see designs that leave something open to explore in the future an approach that resonates with the recent trend toward sustainability and lessening the burden on the environment.
This issue introduces some of the most prominent representatives of this moment in interior design, and examines from a variety of perspectives the fertile relationships between space and human perceptions.
We can feel a new wind blowing, one that is bringing not more show but more reality.
Naomi Shibata
Spring/Summer 2010 PRADA Men&Women Fashion Show
Background of Design: Collaboration between OMA/AMO and PRADA
Jean NouvelLes Bains des Docks
Background of Design: Formcoating Technology used in Play Area for Children
Karim RashidChelsea Loft
Background of Design: Karim Rashid Universe
Background of Design: Making Mobile Building
John PawsonMonastery of Our Lady of Novy Dvur
Background of Design: Detail Drawings of Monastery of Our Lady of Novy Dvur
Frédéric Flamand + Humberto & Fernando Campana
Background of Design: To Recycle is to Metamorphose
Philippe RahmInterior Gulf Stream
Background of Design: Designing Space is Designing Climate
Zaha Hadid
JS Bach / Zaha Hadid Architects Chamber Music Hall
Background of Design: Acoustic Design for JS Bach Music Hall
Maison Martin Margiela After Party Show
Background of Design: New Perspective by Maison Martin Margiela
Zecc Architecten Church of Living
Background of Design: Zeccs Vision on Restoration between Different Functions
Smart Sustainability
Sustainable Dance Club / Parupu / 10-Unit System
Momentary Space
How to Create Fahion Shows / Les Sept Planches de la Ruse / Die Frau ohne Schatten
Perceptions of Art Space
we know nothing about space / Dialogue in the Dark /
Flow 5.0 / Dune 4.1
NEXT architects + Claudia Linders, House M&M
51N4E, WET89
Arkitekturverkstedet i Oslo / Asplan Viak, WeSC Concept Store
Sebastian Mariscal, Pio Pio Restaurant
Serie Architects, Blue Frog Acoustic Lounge and Studios
Office dA, BANQ
Point Supreme Architects, Aktipis Flower Shop
Toshiba + takram + Ryo Matsui, Overture
Lissoni Associati + Highland Associates + Erwin Hauer, Elie Tahari Fashion Studio
Camenzind Evolution, Googles new EMEA Engineering Hub
J. Mayer H. Architects, positive.negative
UXUS, McVillage
Merkx + Girod architects, Bookstore Selexyz Dominicanen
Heatherwick Studio, La Masion Unique Longchamp
Ryuji Nakamura, Snow/Jins Global Standard Aoyama
Ronan & Erwan Bouroullec
Opening Soon Anniina Koivu
Feature 2 Editor/Art director: Naomi Shibata