And while I will examine the first consideration, it is this latter aspect in particular — that of a uniquely architectural temporality — that I will focus on. Hejduk ’s floor plan for the “Diamond House” is an inspiring struggle with the endless search for the “perfect floor plan”. Interviews with Don Wall In: Hejduk, J and Shkapich, K eds. Introduction to the Diamond catalogue [the so-called Diamond Thesis] In: Hejduk, J and Shkapich, K eds. There are architectures of dusks; their crystallizations This thesis assumes there is an oblique, always lateral spatial order endeavouring to supplant or at least get away from Renaissance frontality. Each building in the complex opens out to the harbour and lake. May 20, 2019 - Explore 兆平 吳's board "John hejduk", followed by 188 people on Pinterest. House A places L-shaped and single plane walls on the perimeter in a manner that torques the regular horizontal space volume. 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. 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). Diamond House B, Second Floor Plan, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. John Hejduk (creator) John Hejduk (architect) John Hejduk (draughtsman) John Hejduk (archive creator) Title. 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. Column or grid lines are counted both vertically and horizontally. – Eisenman, Peter. New York: Princeton Architectural Press, pp. Hejduk, in an interview with Wall, states, ‘All my houses have voided centers… Maybe my contribution to architecture is the voided center’ (1985c: 131). 16These terms come out during his interviews with Wall: ‘The place where a perspective or diamond configuration on the horizontal plane flattens out and the focus moves to the lateral peripheral edges […]. If Hejduk had not yet fully overcome Le Corbusier’s influence, he was on his way. “Notes from the Underground”, Artforum 10 (April 1972): 40-46. Eisenman, P (1980). 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. This hand drawn table is also included in ‘John Hejduk’, A+U 53 (May 1975): 73–146, 134. “Notes from the Underground”, Artforum 10 (April 1972): 40-46. 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). Deleuze, G (1989). 13The term ‘exfoliation’ is Kenneth Frampton’s, used to characterize tensions in the periphery of the Diamond Projects (1975: 141). 26 DOI: http://doi.org/10.5334/ah.cb, Jasper, Michael. Diamond House B. The Diamond Projects have been par-tially published and are regularly referred to in writings by There are architectures of dusks; their crystallizations Article by SOCKS is an online magazine. John Hejduk, en una conferencia, Praga, 6 de septiembre de 1991. And in this instance, direct time would be that function or operation that holds it all together. October 29: 32–62. 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. 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. This belief is in evidence when he writes at the time about architectural space’s actual ‘two-dimensionality’ (Hejduk, 1985b: p.49).12. Latest post from the blog. Architectural Design 55(3/4): 66–67. 3The citation is from Hejduk’s so-called ‘Diamond Thesis’ (Hejduk 1985b: 48). As produced by the Diamond Projects, diagonal time has the strange power to affirm parts that do not make a whole in space, nor form a succession in time. New York: Rizzoli International, pp. As evidence, Hejduk appears to have overcome frontality in favor of the always oblique, and moved beyond or away from a horizontal layering of regular volumes — the Domino model — toward a flat-space world of constantly vibrating and animated planes. John Hejduk, Diamond House A, 1963 Home; Famous Architectures; John Hejduk; Diamond House A; Drawings and Projects. The work was the result of a five-year Hejduk, J (1985b). “Working It Out: On John Hejduk’s Diamond Configurations”. 668 days ago. Suddenly a shift occurred, a shift in the path and the Diamond Projects appeared. The drawings and models in the exhibition also included paintings on the same theme by Robert Slutzky. 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. Like Diamond Houses A and B, a greater concentration in the vertical (top-bottom) alignment is palpable in the plans as published. Cad Blocks. 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. A+U May 197553: 141–142. Elements (fireplaces, furniture, partitions) generally abutt the column/beam bands, though not consistently. Unlike House A, the stairs have shifted: there is a switch-back stair at the bottom and two spiral stairs framing the spine. DOI: http://doi.org/10.5334/ah.cb, Jasper, M.. “Working It Out: On John Hejduk’s Diamond Configurations”. As Deleuze stated, certain kinds of aesthetic works are conceived in such a way that ‘we are plunged into time rather than crossing space’ (Deleuze 1989: xii). The project has a square plan divided by ten grid lines, at the intersection of which there are 13 round columns. John Hejduk (1929–2000), Wall House 2 (A E Bye House) Project, Ridgefield, Connecticut, isometric, 1973. 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). 20Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, John Hejduk fonds 145, Sub-file 4: Miscellaneous Diamond House Sketches, drawing dr1998_0071_006. Glass as shown Interior walls-white Exterior walls-white. 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. It was fascinating to analyze the House's layout and experiment with new methods of representation. What came next were projects that continued the form investigations of the Diamond Projects.17 Subsequent projects took on similar or related ideas and themes, replacing frontality, for example, with shear (3/4 Series, Extension House), the pinwheel (such as 1/4 House C, 1/4 House D), and the echelon (1/4 House B). As Hejduk himself states in an interview with Wall, the Diamond isometrics ‘reminded me of Le Corbusier. 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 issues of shape, organization, representation, and reciprocity. 26. On the phrase ‘kinetic equilibrium’, see Hejduk, in interview with Wall (1985c: 52). 8–20. 15-ago-2018 - Explora el tablero "JOHN HEJDUK" de Arquitectura Posmoderna, que 113 personas siguen en Pinterest. Continue reading on: John Hejduk’s Diamond House A … Perhaps he really did work it out, or was close to working Le Corbusier out of his system, by 1967. In 1967 John Hejduk exhibits a series of drawings and models that explore the architectural implications of the forty-five degree rotation of bounding elements relative to an orthogonal system. © Museum of Modern Art, New York / Scala … 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). Program Entry walk Living Dining Kitchen Music-Library Bathrooms Bedroom Surfaces Glass as shown Interior walls-white Exterior walls-white Idea-Concept One half of a square One half of a circle One half of a diamond Text by John Hejduk First floor Second floor Roof floor Projection A Projection B Projection C Projection D Latest post from the blog. 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 Diamond Projects therefore can be read as giving expression to certain characteristics of a direct or pure time and in this they constitute an appropriate interpretive category alongside the formal-spatial one emphasised by Hejduk. New York: The Cooper Union School of Art and Architecture. This immanent temporality may be a general characteristic of modernist architecture, and thus its interrogation may contribute to our understanding of parallel and different manifestations, whether architectural or from other domains.6. See more ideas about john hejduk, architecture drawing, architecture. Anonymous (1985). 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”. Providing a kind of open unity to the form relations and spatial orders at issue — voided center, peripheral tension, exploded field, volume transmuted into plane and thus creating the conditions for flat space to appear — Hejduk’s specific notion of time revealed in the Diamonds is that dimension which ensures a single whole is never completely given. Pommer, R (1978). Famous Architectures < See all the Authors < John Hejduk. 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. 48–49. 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. Architectural Histories 2 (1): Art. In the Diamonds, he works through that reliance on frontality by at least two moves already touched on above, that of voiding the center and charging the perimeter. 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? In each floor, the center is occupied by one column. The work was the result of a six-year investigation into the problem. Bernstein House; Diamond House A; One - Half House; History Architectures. A phenomenon similar to that which Deleuze discerns in the realm of philosophy and cinema and characterized as pure time, one independent of motion’s measure, can be claimed for architecture. In this, they could be interpreted as explicitly following the general disposition of Mondrian’s unfinished Victory Boogie-Woogie. Do you have more reference for the subject apart from what is provided above? In other words, a critical work on Le Corbusier’s Domino world of column-slab construction, would fully engage with the implications and effects of two kinds of architectural freedoms, those of ‘liberated space [and] liberated structure’, as Hejduk writes in a manuscript sheet from the period.14 It will take a few more projects, a few more steps, to get to what he claims was that ‘real break’ of the Wall House (1985c: 36), but certain problems explored in the Diamond configurations — voided center, frontality, perimeter warps — are evident. Hors du temps dans l’espace. Nothing Less than Literal: Architecture After Minimalism. 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. Whereas the three projects are, according to the architect, explorations of the formal implications of the “diamond canvases of Mondrian for architects of today”, each one focus on the implications of the diamond configuration via different elements such as columns (House A), planes (House B) and biomorphic shapes (Museum C). There is a sense of overwhelming antiquity and a sadness pervades. For Hejduk, from “Texas houses” to “Diamond houses”, to “Wall houses”, he tried to operate his own interpretation to modern architecture by manipulating and coding his architectural language. Secondary writings from the period and more recent scholarship on Hejduk’s work provide historical and critical context. The drawings form the primary analytic material. Text by John Hejduk. (Figure 5: John Hejduk Texas Houses: House 1-5) For me, Diamond Houses is the most interesting project in Hejduk’s early works, while Texas Houses is more fundamental and Wall Houses is more about personally metaphysics thinking and narrative. Your email address will not be published. “Out of Time and Into Space.” A+U 53 (May 1975): 2, 4, 24, – Hejduk, John. 71–75. 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. The roundness of the columns gives the plans a ‘centrifugal force and multi-directional whirl’. A collection of twelve Wall House projects by architect John Hejduk printed in color on eight by ten inch cardstock in a paper portfolio. 1 (2014): Art. The Diamonds follow his near decade-long work on the Nine-Square or Texas Houses and are themselves subsequently followed by a number of smaller studies (the 1/4, 1/2, 3/4 Series among others) and, in time, the Wall Houses.2, To take Hejduk at his word, at the time, the three projects arrived out of a desire to explore the implications of ‘the diamond canvases of Mondrian for architects of today’3 (Hejduk 1985b: 48). The thesis of simultaneity and of time independent of an observer in movement, for example, is explicit in the diagrams that Hejduk used to illustrate the history of space in architecture and give expression to the ideas in the ‘Diamond Thesis’ (Hejduk 1985b: 49, diagram 7 in particular). In 1972 it appeared in French translation in an article titled ‘Deux projets’ where, in addition to the nine diagrams of the 1969 publication, it is also illustrated by plans and isometric projections of Houses A and B but not Museum C (Hejduk 1972: 44). Linked to all these, and even if a first move, the forty-five degree rotation of the bounding envelope allows him to move beyond the Le Corbusier of the Visual Arts Center and of Villa Garches. The drawings and models in the exhibition also included paintings on the same theme by Robert Slutzky. Cambridge, Mass. 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. Perhaps these last traits are what in the end Hejduk endeavours to get beyond, to work out architecturally. The first, an expansion ‘or exfoliation’ toward the periphery and beyond.13 A second composition strategy is that of a condensation of space and mass towards an always voided center. 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. A Picturesque Stroll around ‘Clara-Clara’. 2For the Nine-Square houses, see Frampton (1980). New York: Rizzoli International [interspersed throughout]. 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. […] It’s here that you are confronted with the flattest condition. Article by SOCKS is an online magazine. The temporality rendered in the Diamonds, I suggest, is time that is always already compressed, different from that which is composed by a line of images or vignettes and thus is reliant neither on futures nor pasts. Rotation creates conditions which challenge potential bay readings and disrupt frontal/oblique factors, as everything in one sense is or has become diagonally engaged in a perimeter condition. 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). This is most easily seen in model photographs and introduces a direction in the plans to the extent that left-right grids are not treated in the same manner either in the mid-bay positions or at their points.9, In Diamond House B (Fig. 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. This site uses Akismet to reduce spam. Diamond House A investigates right-angled conditions in a diamond configuration via columns or oblique walls. -John Hejduk. Except where otherwise noted, the content on this site is licensed under a Creative Commons Attribution-ShareAlike 3.0 license. John Hejduk “Diamond Houses” 1950-60 – – 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. 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”. John Hejduk and the Cult of Humanism. To track these conditions, I will start with the voided center. Linder, M (2004). comments powered by This drawing is reproduced in Mask of Medusa in a sequence of 1/4 House projects (Hejduk 1985: 264). John Hejduk (1929–2000), Isometric, Wall House 2 (A E Bye House) Project, Ridgefield, Connecticut, 1973. 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. 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. Cad Blocks. 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. The work was the result of a five-year investigation into the problem. Page references to Hejduk’s text will be to the last and most accessible publication, that in Mask of Medusa. Sketch for a 36’-Bay House in a diamond configuration, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal. Famous Architectures < See all the Authors < John Hejduk. Could a similar reversal be said to have occurred more generally in the realm of architecture and if so, how would we recognize it? 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. Diamond House A (Fig. Hejduk is noted for his use of attractive and often difficult-to-construct objects and shapes; also for a profound interest in the fundamental issues of shape, organization, representation, and reciprocity. Is there similar evidence in Hejduk’s Diamond Projects? Secondly, I believe the Diamond Projects are also manifestations of a specific temporality. DOI: http://doi.org/10.5334/ah.cb, Jasper M. Working It Out: On John Hejduk’s Diamond Configurations. Plan tensions are introduced between a bias to the vertical against uniform extensive or explosive forces, not at the points but out to the edges of the diamond. This latter state is evident in the three Diamond Projects. Ventilated … 4See Hejduk (1985: 285). 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. If House A was an exploration of the formal implications of right-angled conditions within a diamond configuration via columns or walls in shifting right-angled or oblique relationships, then House B tests the potential using walls alone.10. An online magazine of Art, Architecture, Media, Culture, Sounds, Territories, Technology), June 30, 2016 by Fosco Lucarelli 2 Comments. Importantly, in terms of it’s potential for architecture, the temporality revealed or explored in these projects is independent of movement. This idea of the voided center confirms a move in Hejduk’s attention away from a trabeated logic of post and beam frames, of singular columnar surfaces, and of articulated roofs (clearly and methodically treated in the Nine-Square (Texas) series) toward a ground-less architecture of round columns, freestanding partitions, and flat-slab floors and ceilings. Sanctuaries: The Last Works of John Hejduk. Allen, S (1996). Please inform, […] John Hejduk’s Diamond House A (1963-1967) […], Your email address will not be published. Is there a specifically modernist concept of time, a modernist mode for the creation and expression of time? Diamond Museum C (Fig. 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. And finally, it is published in Mask of Medusa (Hejduk 1985b). An anonymous brief commentary and four drawings of House A are published in Architectural Design (Anonymous 1985). Hays refers to its existence as early as 1963 (Hays 2002: s.p.). Articles. May 5, 2013 - JOHN HEJDUK, DIAMOND HOUSE PROJECT, HOUSE A, 1980 by ABCLG via archive of affinities House B introduces double height volumes that cascade up the building and thus also disrupt a single horizontal space idea. Translation of John Hejduk's Diamond House A from plans to a model, presented through a series of projection styles, both parallel and perspective. To avoid confusion with references to other texts in Mask of Medusa — the interviews with Wall, for example, and the ‘Out of Time’ essay discussed below — the in-text citations as noted above in References will use the following convention: Hejduk 1985b. 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. The drawings and models in the exhibition also included paintings on the same theme by Robert Slutzky. Diamond House B, Plan, John Hejduk fonds, Collection Centre Canadien d’Architecture/Canadian Centre for Architecture, Montréal). Hejduk, J (1969). An examination of such projects from the point of view of time will reveal a range of formal moves and composition devices at work along with their resultant formal-spatial effects. 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. Entry walk Living Dining Kitchen Music-Library Bathrooms Bedroom. Crayon on sepia diazotope. New York: Rizzoli International. Hejduk’s Chronotope. Whenever possible we try to attribute content (images, videos, and quotes) to their creators and original sources. 78–96. 4).19 Internal partitions are arranged like a pinwheel, with the four arms at approximately similar 9, 1, 3, and 5 o’clock positions. 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). Transparency: Literal and Phenomenal. 2014;2(1):Art. Mask of Medusa: Works 1947–1983. – Hejduk, John. Then when you begin to penetrate, it becomes kinetic and dynamic’. 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. May 20, 2019 - Explore 兆平 吳's board "John hejduk", followed by 193 people on Pinterest. 2), another four-level project, parallel rows of walls replace columns, generally running vertically according to the plans as published. Form relations, concepts of space, and perhaps, as I am proposing, notions of time are all being worked on here. 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. Bois, Y A (1984). 26. 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. 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). Just as there are different space concepts, are there different architectural concepts of time, and if so, how do they work and what are the distinguishing characteristics of each? 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. — 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). At first there’s a sense of a perfectly neutral condition. According to Deleuze, a reversal in the relation of movement and time can be discerned in certain works. 7There is no site plan for Nine-Square (Texas) House 7. In the developed 1/4 House C, the site remains, gripped by those four walls whose direction — are they moving into or out of that impossible center, impossible because so compressed — is one of the many ambiguities at work. Working It Out: On John Hejduk’s Diamond Configurations. Idea-Concept. 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. 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.