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Architecture acting as theoretical texts articulates itself, instead of the ordinary letters in our language. For them, architecture is not the result of the individual intentions of architects.

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Instead, it has to rely on an eternal principle which guides architects to design and construct. To search for that principle, they tried to decode and decipher classical architecture in ancient Greece and Rome or modern architecture in the early stage. Simultaneously, they generated their own coding system to explain the result of their research on that principle. There is no need to articulate the legitimacy of the system. The coding is only the externalization of the eternal principle. Columns, walls, openings, slabs, stairs, roofs, these concrete elements in architecture were displaced and manipulated in the nine-grid system.

The relationship of different elements and programs was emphasized and developed systematically from House 1 to House 7.

Histories of the Immediate Present

In Diamond Houses, Hejduk achieved a transcendence from 2-D drawing representation to 3-D spatial representation, making the connection from Mondrian to Corbusier and Mies. Time is compressed and dissolved when the diamond-plane or the square-isometric view is perceived. There is a moment that we can figure out when the formal manipulation and the perception of space take place, the viewer begins to be ambiguous and disappearing.

Do they stand outside the drawing and space? In my opinion, at this time, the architect and viewers like us are detached from the architecture, keep a distance from the architecture.

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  • The architecture becomes to be the viewer and operator of its own. The aura of architecture is captured by itself, and the autonomy of architecture is the result of this detachment.

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    • It seems that Hejduk sets up the basic principle of the manipulation and he leaves away letting the diamond house to develop by itself. Wall houses is the end of these series of the architectural experiments. In Wall houses, Hejduk completes his system of the architectural language. If there is some moments occurring in Diamond houses that Hejduk displays his homage to the history of cubism and modernism architecture, then from Wall Houses, he sets free of his architecture and make his architecture become the articulation of its own.

      The architectural elements in Wall Houses reorganize themselves creating the new order and the event by their composition and juxtaposition. It's emanating from a center; it's an explosive center. Hejduk mentioned that in the text of Thirteen Towers of Cannaregio in his architecture had moved from the architecture of optimism to the architecture of pessimism. At this time, architecture is no longer acted as a result of manipulation, becoming the text of a language. Architecture transcends its own meaning to narrate. The meaning of the noumenon of architecture gets lost, while it is endowed to a new meaning because of the system of the language.

      Many times Hejduk insisted on that someone should get into his project when they try to understand it like the Berlin Project, the new and poetic urban elements were inserted into the urban fabric. At this moment, his architecture gained the right and position equal to humans. His architecture got their souls when they made conversation with humans, archiving the autonomy of architecture.


      The completeness of the narrative in his project can be achieved through the interaction between the subjective architecture and the objective human, like his Venice project shows us. The interesting thing for me is finally Hejduk sets up his autonomous architectural language to touch the margin of architectural discipline. Conclusion In brief, what does architecture mean for Hejduk?

      In his later works, architecture is as the memory of human. For Hejduk, the autonomy of architecture is not the end of his whole-life exploration, the autonomy of spirit and human is the area he wants to approach and touch. I think in his lateness of his life, he almost was there. Michael, editor. She examines the public space of the pavilion as reinvented in the moving-image art installation of Turner Prize nominees Jane and Louise Wilson, and finds a notable combination of the artistic and the scientific to create an architecture of public intimacy in the work of artist Rebecca Horn.

      Considering the role of architecture in contemporary art that refashions our "lived space" — including the work of Rachel Whiteread, Mona Hatoum, and Guillermo Kuitca — Bruno argues that architecture is used to define the frame of memory, the border of public and private space, and the permeability of exterior and interior space. Architecture, Bruno contends, is not merely a matter of space, but an art of time. To be outside allows one a fresh perspective on the inside.

      In these essays, philosopher Elizabeth Grosz explores the ways in which architecture and philosophy, which are disciplinarily outside each another, can meet in a third space to interact free of their internal constraints. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly, and argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction.

      Drawing on the work of Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building, and proposes philosophical experiments to render space and building more mobile and dynamic.

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      Beginning with the mythical fire in the origins of architecture and moving to its symbolic representation in the twentieth century, Galiano develops a theoretical dialogue between combustion and construction that ranges from Vitruvius to Le Corbusier, from the mechanical and organic to time and entropy. Galiano points out that energy, so important to the origin of architectural theory in Vitruvius's time, has been absent from architectural theory since the introduction of the "dictatorship of the eye" over that of the skin.

      With Fire and Memory , he reintroduces energy to the discussion of architecture and reminds us that the sense of touch is as necessary to an understanding of the environment as the sense of sight. In A Landscape of Events , the celebrated French architect, urban planner, and philosopher Paul Virilio focuses on the cultural chaos of the s and s.

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      It was a time, he writes, that reflected the "cruelty of an epoch, the hills and dales of daily life, the usual clumps of habits and commonplaces. He explores them in events ranging from media coverage of the Gulf War to urban rioting and lawlessness. Some will see Virilio as a pessimist discouraged by "the acceleration of the reality of time," while others will find his recording of "atypical events" to be clairvoyant. Departing from conventional genres of architectural writing, Roger Connah's Welcome to the Hotel Architecture is a five-part "anti-epic" poem on the culture of architecture — its tribes and inventions, the spectacular and vernacular, and the processes through which names and movements are secured, erased, and manipulated.

      Using various styles and poetic approaches, Connah takes us on an eccentric hop, skip, and jump along the compound walls of architecture and eventually to the Hotel Architecture itself and a carnivalesque New Year's Eve symposium on December 31, In the foyer to the Digital Lounge, where the DITTO conference is taking place, some guests are raising their glasses to Gin and Tectonica, others saying good-bye to the rhetoric of the last century, while others cling to literary theory and philosophical thinness.

      Following midnight hour, the crews finally arrive to clean up the mess left by the architecture wars of the last century. The poems of John Hejduk are almost nonpoetic: still lives of memory, sites of possessed places. They give a physical existence to the words themselves and an autobiographical dimension to the architect. Architect Peter Eisenman likens them to "secret agents in an enemy camp. Hejduk's drawing and writing contain a compaction of themes which in their conceptual density deny reduction and exfoliation for a reality of another kind: together they reveal an essence of architecture itself.

      In this collection of overlapping essays on architecture and art, John Rajchman attempts to do theory in a new way that takes off from the philosophy of the late Gilles Deleuze. Starting from notions of folding, lightness, ground, abstraction, and future cities, he embarks on a conceptual voyage whose aim is to help "construct" a new space of connections, to "build" a new idiom, perhaps even to suggest a new architecture. Along the way, he addresses questions of the new abstraction, operative form, other geometries, new technologies, global cities, ideas of the virtual and the formless, and possibilities for critical theory after utopia and transgression.

      In Architecture as Metaphor , Kojin Karatani, Japan's leading literary critic, detects a recurrent "will to architecture" that he argues is the foundation of all Western thinking, traversing architecture, philosophy, literature, linguistics, city planning, anthropology, political economics, psychoanalysis, and mathematics. Here he analyzes the complex bonds between construction and deconstruction, thereby pointing to an alternative model of "secular criticism," but in the domain of philosophy rather than literary or cultural criticism.

      As Karatani claims, because the will to architecture is practically nonexistent in Japan, he must first assume a dual role: one that affirms the architectonic by scrutinizing the suppressed function of form and one that pushes formalism to its collapse by invoking Godel's incompleteness theorem. His subsequent discussions trace a path through the work of Christopher Alexander, Jane Jacobs, Gilles Deleuze, and others.

      Finally, amidst the drive that motivates all formalization, his speculation turns toward global capital movement. Earth Moves , Bernard Cache's first major work, conceptualizes a series of architectural images as vehicles for two important developments. First, he offers a new understanding of the architectural image itself.

      Following Gilles Deleuze and Henri Bergson, he develops an account of the image that is non-representational and constructive — images as constituents of a primary, image world, of which subjectivity itself is a special kind of image. Second, Cache redefines architecture beyond building proper to include cinematic, pictorial, and other framings.

      Complementary to this classification, Cache offers what is to date the only Deleuzean architectural development of the "fold," a form and concept that has become important over the last few years. For Cache, as for Deleuze, what is significant about the fold is that it provides a way to rethink the relationship between interior and exterior, between past and present, and between architecture and the urban. Combining these philosophical inheritances allows him to reinvoke the human subject without referring to classical humanism or announcing the death of the object.

      His retrospective review of the disciplines of art and architecture, particularly as they have developed since World War II, provokes him to design, draft, and ultimately build a description of modernism's lineage of subjectivity. The result is a provocative construction of fluid "topographies" that articulate, rather than depict, the shaky ground on which our current artistic and architectural production rests.

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      About Releases. About Magazine Books. About Exhibitions. Subscribe to Log. A Topology of Everyday Constellations by Georges Teyssot "One of the six best books of " — Architect magazine Today, spaces no longer represent a bourgeois haven; nor are they the sites of a classical harmony between work and leisure, private and public, the local and the global. Project of Crisis: Manfredo Tafuri and Contemporary Architecture by Marco Biraghi "Tafuri's analyses of modern architecture have lost nothing of their sharpness and relevance.

      The Possibility of an Absolute Architecture by Pier Vittorio Aureli In The Possibility of an Absolute Architecture , Pier Vittorio Aureli proposes that a sharpened formal consciousness in architecture is a precondition for political, cultural, and social engagement with the city. Histories of the Immediate Present: Inventing Architectural Modernism by Anthony Vidler Foreword by Peter Eisenman Architecture, at least since the beginning of the 20th century, has suspended historical references in favor of universalized abstraction.

      Strange Details by Michael Cadwell Foreword by Nader Tehrani RIBA Finalist for Book of the Year, Confronted with the intricate construction details of Carlo Scarpa's Querini Stampalia Gallery — steel joined at odd intervals, concrete spilled out of concatenated forms, stone cut in labyrinthine pattern — Michael Cadwell abandoned his attempts to categorize them theoretically and resolved instead to appreciate their idiosyncrasies and evoke their all-embracing affects.