SPACE Academia

Notes

1. Hejduk, John. Mask of Medusa, Rizzoli, 1985, p. 131.

2. Ibid., p. 134.

3. It is because as such; the process of Hejduk’s exploration for the ‘authentic program’ of architecture is directly related to his later work, Masques, and the New England House is the beginning of a Masque and at the same time the first work related to the aspect of void. (Ibid., pp. 122, 128.)

4. Ibid., p. 134.

5. For example, some of his early works including the Wall House feature as masks in his Masques.

6. Hays, K. Michael. ‘Architectural Destiny’ in Sanctuaries: The Last Works of John Hejduk, Whitney Museum of American Art, 2002.

7. Hejduk, John. Ibid., p. 59.

For the architectural significance and value of Hejduk’s Wall House, refer to Lee, Jong Keun’s paper, ‘The Eye and the Gaze in John Hejduk’s Architecture’, , vol. 43 (Sep. 2005). The Wall House is a work that directly confronts a society that in architecture only celebrated the third dimension, and here, ‘society’ refers to the architectural society of modernism that has been immersed in transparent three-dimensional space based on literal transparency. His view as such can be seen in his essay, (1963), which was written just before the beginning of Wall House. As a result of confronting modernist architectural society and trying to find a possibility for a new (phenomenal) space reading, he came to the ‘flattened space’ of the Wall House, and in this paper, its significance is expressed as ‘collapse of space’.