A study on the meaning and spatial characteristics of wall in john Hejduk's architecture
Methods for marking the boundaries of time and space in architecture. An exploration of the meaning and concept of the "wall" described and defined by John Hayduk. Exploring Wall House Design Tools. The wall as a neutral state and moment of passage.
| Рубрика | Строительство и архитектура |
| Вид | статья |
| Язык | английский |
| Дата добавления | 16.09.2021 |
| Размер файла | 284,1 K |
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INHA University
A study on the meaning and spatial characteristics of wall in john Hejduk's architecture
Kim Na-Yeon, Koo Young-Min
Incheon, Korea
Abstract
The study purposes to analyze the works of John Hejduk who has expressed the reality of the abstract form of the wall, and redefined the wall as a design tool. Abstract written to investigate the meaning and concept of the 'wall' he described and defined, and finally to examine the various meanings of 'wall' against space in modern architecture, based on spatial characteristics and composition reflected in his works.
Keywords: John Hejduk, wall, space, meaning.
This research was supported by Basic Science Research Program through the National Research Foundation of Korea(NRF) funded by the Ministry of Education (NRF 2018R1D1A1B07048054)
Introduction
Background and Purpose of the study. Walls freed from a structure due to the advance of modern architectural technology, has made free plane possible. In respect of the fact that the wall is not only a basic component that constitutes the boundaries of space but also a morphological element that enables the space to be determined in architecture, composition of space through the wall itself creates the space and form simultaneously. In architecture, space is the essence of thinking architecture as well as the conceptual substance of construction. [1, с.1] Thus, saying of 'walls disappear'[2, с.95] indicates that the interrelationship in between spaces has been redefined and multi-dimensional spatial composition has become possible. The study intends to examine the spatial application of temporality by analyzing ideological and constructive relationship between 'wall' and 'space' through the architecture of John Hejduk, to redefines the wall as the basis of design thinking, and to address the possibility of a new methodology of space composition.
Object and scope of the study. Raising questions about the meaning of walls in modern architecture, and focusing on the works of John Hejduk showing the role of walls and creative representation, the study attempts to investigate the meaning and concepts of the 'wall' mentioned and defined by John Hejduk, and to explore the spatial characteristics and composition displayed in his works, which reflect above ideas. The main argument is focused particularly on how to review and reactivate the existing architectural conventions through the present moment in flatness,[3, с.62] the threshold signifying the edge of time and space, and uncanny from elimination of frontality.
Architecture of John Hejduk
The Conceptual Evolution in John Hejduk's Works. John Hejduk, known as a paper architect, was a member of the New York Five, had served as the dean of Cooper Union for a long time to lay the foundation for creative and fundamental architectural education through many programs and ideas. His early works were inspired by Mondrian's painting. Then, he architecturalized forming the walls and pillars in the process of constructing elevations, by drawing a series of different and repetitive planes through the diamond of the elementalist Theo van Doesburg. (Seen in his early works, Texas House and Diamond House)After then, he has abstracted geometry, segregation between the subject and space-time, and the experience and narratives in the transitional architectural space through a medium of 'wall' in the Wall House series.
In Wall house Drawing, he redefined the wall as a design device on the basis of the concept of 'uncanny' to raise objections to the conventional ways of representation in the existing architecture. Most of his works have been made to series. They have shown signs of a development with continuous repetitions, revisions, and gradual adding to the current work, which has been referred to by a 'natural evolution'. [4, с. 148] Evolved through the differences and repetitions in the entire series, John Hejduk's works involve not only his own recreation and reinterpretation but also the contemporary discourse and thoughts accompanying the changes. [5, с. 149156.]
John Hejduk'snotion of wall. Hejduk mentioned about the "moment of hypotenuse", namely "wall," of a diamond house as follows: “The wall is a neutral condition. That's why it's always painted grey. And the wall represents the same condition as the `moment of the hypotenuse ' in the Diamond houses - it's the moment of greatest repose, and at the same time the greatest tension. It is a moment of passage. The wall heightens that sense of passage, and by the same token, its thinness heightens the sense of it being just a momentary condition ... what I call the moment of the `present.'” [6, с. 134] The hypotenuse of the right triangle (moment of present) appears later to be translated into 'the wall'. “the quickest condition, the fastest timewise in the sense that it's the most extended, the most heightened” is exists as a line segment on the plane, it must be a wall in architecture.For Hejduk, the wall is the moment of the present, namely the space of the present where the past and the future are erased, and the moment of transition, which always exists as an illusion.
Fig. 1. Diagram of `moment of the hypotenuse'
Spatial Characteristics in John Hejduk's Architecture
Flatness (Chronotope )- Diamond House
Wall of Diamond house. John Hejdukarchitectically interprets the tension on the edges, a boundary of, and the determinacy arisen from the relationship between outside and inside of the canvas in Mondrian's painting. Hejduk said that people see a rectangular building in two dimension since they tend to give up the fixed viewpoint of the past by moving around or inside the building, and that an expression of the structure or form of the planes can make a continuous mutual relationship, which produces a true image of the whole. What Hejduk referred to by “the true image” is spatial abstraction, because a reconstruction of perceived images is represented as a painters' flat canvas in the viewer's mind, which is shifted to a flat spatial abstractions. [7, с.257] Accordingly, the overlapped fragments in the cubist painting is not insinuating a spatial depth, but is read as a flatted spatial abstract by removed depth. Therefore, the wall shown in his work is, as a flat plane, an embodiment of the moment of present that exists as a line. In other words, even though the hypotenuse in the <Diamond House> is always changed in accordance with the observers' movement, but at the moment when they pass through the 'present moment', it becomes a flat plane to be embodied to a vertical line representing the 'presence' that is, a wall in reality.
Flatness. To John Hejduk, "Flatness" signifies the collapse of space. This is well shown in his Diamond House isometric. John Hejduk 's Diamond Project demonstrates the will to embody Mondrian abstract painting in a three dimensional space by expressing Mondrian' s two dimensional drawings which are seen as only a flat painting, in a three dimensionally spatialized building.[3, с.49] In this experiment, when a diamond in plan is drawn in isometric, it is transformed into a square, and when the diamond plan has been layered on more than one floor, the isometric forms are not any more three dimensional, but read as two dimensional plane. Accordingly, the spatial abstraction [7, с.259]їз made through the flatness caused by the collapse of space. For him, flatness signifies the moment of latent memory, that is, the moment of present [3, с.62], of which the moment of transition is the threshold as the point of entry.
Fig. 2. John Hejduk's Diamond House A, 1963-1967
Frontality and Uncanny - series of wall house
Wall of wall house. John Hejduk's Wall House raises questions about the meaning of wall in human experience. The wall in the Wall House becomes a vertical ground, a main body making each element grow horizontally, of which both sides required space is being generated to be hung. The wall serves as a paradoxical reference plane that either consociate independent elements with each other, or separates them. Independently standing seemingly without any functional purpose, however, the wall distinguishes living zone from circulatory zone by placing space for living such as a living room, a dining room, a bedroom on the one side of the wall while at the same time, allocating the circulatory elements including ramp, stairs, and elevator to the other side. According to John Hejduk, "Over time, the entire arrangement is likely to generate more than just an awareness of the flow of time between a past, represented by the circulation spaces, a future represented by the views from the living spaces, and a present represented by the experience of the threshold". In other words, he sees the wall as a momentary path through which a sense of passing is provided and by the same token, its thinness heightens the sense of momentary being. For Hejduk, the wall always remains illusionary; that is, a present moment; the space of the presence, in which the past and the future are removed. In other words, the wall in the Wall House is an architectural device that clearly represents the presence between the past and the future, and at the same time, that conducts observers' internal and external experiences. space wall architecture hayduk
Frontality. Gilles Deleuze said that it is the face that is the center of signifying mechanism and that makes subjectivation. In 'Visagd', he asserted that "face is a map"[8, с.325]. When this visage(faceness) is erased, however, the gazing person experiences anxiety and fear. It is, therefore, either facelessness or mask that causes unfamiliarity and uneasiness due to an absence of identity. Resisting post-modern architecture, John Hejduk either removed the "face" as an image or put a mask on it. [9, с.257] The Frontality he mentioned is a visual indication of the pathos. Hejduk always insisted on the time to keep the possibility from the vision.[10, с.257] In the Wall House series, with the deletion of visagd(faceness), we perceive anxiety and fear, namely a sense of uncanny. In this work, John Hejduk presents an architectural vocabulary to generate a sense of uncanny by a wall resembling an expressionless mask.
Fig. 3. John Hejduk, Wallhouse 2, 1973
Fig. 4. John Hejduk, Wallhouse 1, 1973
Uncanny. Uncanny is a translation of Freud's term “Unheimlich” into English, which means unfamiliarity and uncomfortableness with the prefix "un" onto the "heim" signifying "home" or "comfort". The distorted perspective displayed in John Hejduk'stwo dimensional drawing is an act of overturning the conventional system of architectural representation, thereby he created an intentional rift between architecture and its representing drawing. Liberated by columns' undertaking structure, walls virtually became not only freed from architecture but also an autonomous component of space composition, which independently generate form and space. For this reason, diversely formed spaces are able to be hung onto walls already constructed instead of dividing the space by walls, and windows and doors that were subordinate to the walls were freed, as well as breaking the hierarchy between the exterior and interior. Therefore, the more independent architectural elements and spaces become, the stranger the forms are developed. As such, architectural elements and meaning, the differentiation of functions and the resulting change of hierarchy, have brought architecture the strategy of 'Uncanny'.[11, c.62]In other words, the wall in the Wall House, in terms of its reestablished design device, objection to the conventional representation of the existing architecture, and starting point of analyzing and operating new architectural conventions such as shapes, contexts, and scales, can be considered in the same vein of uncanny strategy.
Fig. 5. John Hejduk, Wallhouse 2, 1973.
Conclusion
In the study, we analyzed the conceptual experiment and the meaning of walls in John Hejduk's architecture, contemplated how the 'moment of the hypotenuse' is substituted for the wall in the Diamond House, and acknowledged he presented the wall as a neutral condition and a moment of passing. We also got to know the fact that two dimensional diamond house's plane with the flatness without depth signifies the moment of latent memory, that is, the boundary in the two different space and temporality through, in terms of time, the moment of presence in which the past and the future are erased. Investigating the Wall House series, we acquired another architectural vocabulary generating a sense of uncanny, anxiety and fear followed by erasing visagd(faceness). Throughout the study, we learned that John Hejduk represented the 'wall' as the moment of presence in the flatness in which temporality is removed, and as a 'threshold' signifying the edge of time and space. We also found the wall was redefined as a design tool by uncanny caused by an elimination of frontality, and finally what John Hejduk sought after was new ways of thinking about wall in order to reestablish contemporary architectural practices from the different point of view.
References
[1] HaeJin Cho, Young Min Koo,Study on the development of a model for educational fundamentals in architectural space composition : focus on analysis of space in modem architecture of earty 20th century and of the meaning of walls with regard to space composition, 2003,p1
[2] GIOPONTI, AmateL'Architettura,youlhwadang, 1990,p95
[3] John Hejduk, “Mask of Medusa", Rizzoli, 1985, p62
[4] Bae Yoon-Cheon , Lee Kang-Up, A Study on the Serialism in the Early Architectural Experiments of John Hejduk in the 1950-60s, The Architectural Institute of Korea, 2008,148
[5] Lee Jong-Keun, Kim Soo-Hyun, A Study on the Meaning of 'Mask of Medusa' in John Hejduk's Architecture, The Architectural Institute of Korea, 2012,149-156.
[6] John Hejduk, David, Shapiro, The Architect Who Drew Angels, A+U, 1991,134
[7] Lee Jong-Keun, Hejduk's Notion of Abstraction, [Aesthetics] , p257-259
[8] Gilles Deleuze and Felix Guattari, A Thousand Plateaus
[9] Kim HyungRae , Film and Face -on the White Wall-Black Hole System by Deleuze&Guattari,,Contemporary Cinema Research Institute, 2018
[10] K.michael Hays, "Sanctuaries : The Last Works of John Hejduk", Whitney Museum of American Art,2002,
[11] Kim Hyoyoung, The study of architectural design on the analysis of Rene Magritte's 'Depaysement' ;Rowhouse renovation, , paper of masters degree Kyonggi University, 2004
Абстракт
Исследование значения и пространственных характеристик стены в архитектуре Джона Хейдука
Ким Наён, Ку Ян Мин
Университет ИНХА, Инчхон, Корея
Цель исследования - проанализировать работы Джона Хейдука, который выразил реальность абстрактной формы стены и переопределил стену как инструмент проектирования. Статья написана затем, чтобы исследовать значение и концепцию «стены», которую он описал и определил и, наконец, исследовать различные значения «стены» против пространства в современной архитектуре, основываясь на пространственных характеристиках и композиции, отраженных в его работах.
Ключевые слова: Джон Хейдук, стена, пространство, смысл.
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