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8 _plasters splatters

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9 _forms

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10 _forms: opposite view

5 _greasing forms

11 _forcibly removing mold

6 _skewer rebar and insulation filler

12 _plaster ruins

Alien Baby - 12.02.18

India 2010on the roof ofmy apartment

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“I was hoping to go out in a flashof blazes, but I’ll probablyjust go home”-Steve Zissou

Motion structures: deployable structuralassemblies of mechanisms

Prince George - Sandblast

Ejection seatcorythosaurus

tyrannosaurus rex mortuary pole from villageAnk’idaaNass River BC

[ Richard Serra: to see is to think ]-fragility and force - story of life-modernity: materials and production-”japanese gardens - void/space = structurebetween things felt through time-redefine definition of site in terms of sculpture -[content] and [structure] is unfolding of process = identical -becomes subject matter-contingent realityinternal-greater degree of unforsee-ability“intensify” because you have to [ pay attention ] to the world-anti zombie-space in between you register somatically-non-thinking is the enemy of art and architecture-trivial = enemy[ FABBRICA ] is Italian for factoryHead space: mind place and memory“space can be both physical and psychological there is an inner realm where emotions,memories and fantasies occupy the infinite corners of our minds.Artists often consider the relationship between physical locations and memory.AGO - 12.02.24

-The space of secrets: Sarah Anne Johnson’s ‘House on fire’-New York Times - CIA sponsored brainwashing in Montreal-excessive doses of electro shocktherapy, untested drugs, LSDspeed, medically induced prolonged periods of sleep-startling scenes in a doll house= staircase tilted on its sidedead-ending in a wall

DRAN

12.02.23

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GEB [26]. Essential abilities for intelligence are certainly:-to respond to situations very flexibly;-to take advantage of fortuitous circumstances;-to make sense out of ambiguous or contradictory messages;-to recognize the relative importance of different elements of a situation;-to find similarities between situations despite differences which may separate them;-to draw distinctions between situations despite similarities which may link them;-to synthesize new concepts by taking old concepts and putting them together in new ways;-to come up with ideas which are novel;Godel, Esher, Bach

[251] Perhaps the most concise summaryof enlightenment would be:[transcending dualism]-Dualism is just as much a ‘per’ceptualdivision of the world into categoriesas it is a ‘con’ceptualdivision. Human perception is by nature a dualistic phenomenon

-spice jet-indigo-kingfisher-jetsairways4:45 5:25indigo 5:55am-7:40amkingfisher 9:30-11

thunder rolls back and forthacross the sky andthe air is wet with sound.an orange red sunglows through thepalm trees asthe first drop of the stormsplashes against the back of my neck

Kavya CheralaDeccan Chargers

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[ SHOP architects ] - design/build New York-”architecture and disjunction” -Tschumi-”Delirious NY” -Koolhaus

Pewter wingsGolden HornsStone veils

[ Sentences on the houseand other sentences ]

“the stairs of a house aremysterious because theymove up and down at thesame time”

“frosted windows are thedrawing boards of a house”

“night stars are an indicationthat it is snowing in the universe”

“books are female; amysterious ritual lieswithin them”

“the sound of books canonly be heard internally”

“the tablecloth is thrilledby the touch of plates andawaits further violations”

“the china closet senses allthe lips that have touchedits inhabitants”

“the house objects to thesea’s fluidity”

“the sea coaxes the houseinto its undertow”

Hejduk dared to expand the boundaryof the discipline of architectureby claiming territory withinour imagination.“this is the time fordrawing angels”-Hejduk

[ Soundings ] 19. So the moment you startthinking about the poetic ambiguityof its title, you are part of thisinvolvement, part of a kind ofinvolving space. In the same waythat the concept of the labyrinthis evoked by the complex involvementof matter and space, the involvementof this book and title with each other evokes ideas of space, thespace of a book, of a volume at first,then the space of sounding, of depth and of density

But after going into the bookitself you realize that the wholevolume is somehow about this kindof involving spacethis involving space can bedescribed only by an apparentparadox: dense space.

[ Imply ] from middle english ‘multiplein,’from, old french, ‘multiplier’ from Latin ‘multiplicare,’ from multiplex,having many folds: [ Multi - Many +Plex - Fold ]

Intuition, however, tends to inventwords - often paradoxical ones - circum-scribe that which oneis not able to de-scribe. Themoment you start thinking aboutthese intuitive words they beginto create a fascinating logic oftheir own, they start weaving a textfolding a mental space, involvingyou in your own fascination.

[20] All those forms generated by readingextra-dimensions in the circle, thesquare, the triangle, are not forms in the sense of shapes, but forms inthe sense of ideas

Hejduk is a text-operator, a formulator,and like Sade, Fourier, and Loyola, the inventor of a way of writing, thus generating an extraspatio-temporal dimension, a dimensionthat has always existed in architecturebut that has to be discovered overand over again to stay alive. This meansthat he creates, he writes signsby reading signs. Within the spaceof architecture, Hejduk discoversand brings to life an extradimension, a poetic dimension, inhis work he liberates the spatio-temporal language of architecturefrom its solid referential powersby isolating it, by revealing it, and most important, by taking pleasurein it.

The second rule Barthes lists isarticulation. There is no languagewithout distinct signs, no languageunless these signs are reprised ina combinative, and that is whatHejduk does. He deducts, combines,arranges, he endlessly produces rules of assemblage.

The third operation is ordering,not merely the arrangement ofelementary signs, but the subjectionof the larger sequence to a higher order, in this case that of theidea, the form. This new discourse

has a director, to inspire, but notto regiment, whether a title or animagined program, an institution oran invented subject. The logothesisdoes not satisfy itself with theconstitution of a kind of ritualor style, because the languagefounder would be nothing morethan the author of a systemto embed a new language, afourth operation is required:

>Theatricalization

not the decorationof the depiction, the design of asetting, for representation, butto make the language boundless,to produce text. So every logo-thete is a kind of scenographer:one who loses oneself in thedevised framework and who arrangesAd Infinitum.

As Barthes sees in the work of SadeFoirier, and Loyola the victorious deploy-mentof the significant text, theterrorist text, so we can see inHejduk’s work. Because, as Bartheswould say, the intervention of a textin the discipline-not necessarilyachieved at the time the text appears-is measured not by the popularityof its audience or by the fidelityof the so-called reality it containsor projects, but rather by theviolence that enables it to exceedthe laws that a discipline, an ideologya philosophy establishes in order to agree among themselves in a finesurge of historical intelligibilityand this excess for Barthes is calledwriting.

objectivity of the book. So what wewould be dealing with here is thekind of pre-face that in its reflectionnot only conforms but performs thebook, the sort that aims forpersistency and not just consistency

[ Evolve ] from latin evolvere to rollout, unfold: e-, out from, exe, + volvere, to roll.

[ uni-cursal ] running in one direction, isthe term used to distinguish thestructures of the labyrinth and the maze. The modern understandingof the word ‘labyrinth’ indicatesa diagram in which an unbranchedcircuitous route, a uni-cursal path,leads inevitably, if at great length to the center and then backout again. In contrast to theuni-cursal labyrinth, the wordmaze indicates a multi-cursalstructures, which contains manypoints of choice between two or more paths, some of which dead end.

[ text ] is understood not only as a written text, but in generaltext as a weaving, a weaving ofthoughts that can be expressedin words as well as in images.>from medieval latin textus,scriptural text. From latintextus, literary compositionwoven thing, from texere,to weave, from indo-germanic

root teks, to weave, also to fabricateespecially with an axe, also to makewicker or wattle fabric for(mud-covered) house walls; latintexere, to weave, fabricate, latintela, web, net warp of fabric; teks-on, weaver, maker of wattle forhouse walls, builder;>Greek tekton, carpenter, builder,archi-tekton, artificer, architect;teksna, craft (of weaving orfabricating); Greek tekhne, art,craft, skill.

[22] Gadda is, as Italo Calvino wrote inhis six memos for the nextmillennium, one of the writers whodeal with the conemporary novelas an encyclopedia, as a methodof knowledge, as a network of connections between the eventspeople, and objects in the world.He views the world as a systemof systems, in which each systemconditions the others and is conditioned by them: The world as dense space. The fact that every system is partof every system means that theworld itself is simultaneouslyabout and in. What Gadda is pointingout here is the existence of an ‘other’kind of in-volvement, one that ridiculesthe problem of objectivity. It is an in-volvement that in itsreflection does not look forconsistency, that does not literally

fold inward to con-form, but anin-volvement that simultaneouslye-volves, one that requires per-sistencyone that per-forms. This is the persisting way to continuallyshow us the blind spots of thediscipline of archtiecture.

Deathmemory ITo begin at the end

(1)He threw his voiceinto the diminishingperspectiveas she recededleaving himan echo.

(5)“Feel my bodyarchitectso your planswill not be so rigidlisten to the soundof my voiceso you will knowwhat volume is my soul is madeof no substanceyour space mightbe the same

I am made for birthand you?”

Hejduk’s “discovery”of the first wallhouse around 1969(it seems as if ithad always beenthere in the architectureunconscious)

[ Quartet ]Studio for four printmakersfour houses for four printmakersfour exhibition rooms for four printmakers

1 > plan // footing // concrete // Gide2 > section // foundation // wood // Proust3 > elevation // floor // steel // Flaubert4 > detail // wall // brick // Hawthorne5 > perspective // window // stone // Hardy6 > isometric // door // glass // Robbe-Grillet7 > axonometric // flue // synthetic // Blanchot8 > flat projection // roof // earth // Mann

[109](5)he looks backthrough theparticles of sandand vaguely seesher contour unfoldinghe hears her voicediminishingin sounds likethe movementof the palmsduring a soft wind

(12)Pilate dipped and washedhis hands in a silver discand demanded more waterfrom the pewter jug

[ 7. structure for earth ]

MANafternoon/evening…hollowness of air/movementthe internment of sun moon stars

WOMANdawn/day…crystallization/exposure of lightthe unearthing of sun moon stars

“Reading texts and not books,”Barthes writes, “turningupon them a clairvoyancenot aimed at discoveringtheir secret, their ‘contents’,their philosophy, but merelytheir happiness of writing,I can hope to release Sade,Fourier and Loyola fromtheir bonds (Sadism, Utopia,Religion).”

[ Scenographer ] one who designs and paintstheatrical scenery[ Word ] Greek > Logos

David Brooks - Political writer[ Seven memos on the geometry of pain ]Wim Van Den BerghFrom Hejduk - Soundings NA 2000H45

-They are the kind of books thatyou constantly - out of necessityor pleasure - return to that give you the specific feelingof owning a personal universeof knowledge, like possessinga pocket-sized infinity. It isthese volumes - like dictionaries or manuals, notebooks or catalogues- amazing collections embodied in the spaces, the densespaces of those books - to whichI am referring here.[21] >Paradoxically, a preface canonly be written afterwards;it reverses the order ofbeginning and end, developingfrom back to front. It literally de-velops; it unfoldsor un-rolls the plan of the text. It implies, like Ariadne’s thread, the labyrinthinecomplexity of the text

-Tao

1 > poem // stone // the house of the poem // solo // density of stone // bass // stone mason // black granite

2 > house // wood // the mother’s house // duo // texture of wood // woodwind // carpenter // ebony

3 > building // metal // the protection of memories // trio // metallic sound // flute brass // metal man // black iron

4 > tower // air // architecture for the amplification of lost sound // chorus // breath air // voice // lament // night air

5 > arbor // water // for roses // quintet // reed // oboe // florist/gardner // black rose

6 > structure // paper // the library // sextet // range of extension // violin/harpsichord // reader // charcoal paper

7 > earth/sun/moon/stars // earth // the site // quartet / plasticity // cello/viola // poet // black earth

three-dimensional object orregion of space, “but-and this is interesting-always in relation to something with another spatial density, another substantiality, likea liquid, a gas or just abstractspace (with zero density). Or, volume indicates “the amplitude or loudnessof sound, “its density in space orability to penetrate space.

Thus the idea of the book as a body, or as a volume, starts tointerweave with an idea of space,and with ideas of density and sound,creating a logic of their own.But the other words alsostart to take their positionsin the text. Astonishing, if one looks at this word as such - and one knows it means to fillwith sudden wonder or amazement-seems to refer to an idea of“”A-stonshing,” a turning into stone.The word, however, comes fromthe vulgar latin ‘extonare,’ tostrike with thunder, to stun;from latin ex-, out of, ‘by means of, +tonare, to thunder. And there is also the idea of echoing, ofresounding, which starts to folditself into the textual fabric ofintuitive words.

maps of the cyberspaceDode, MartinKitchin, Rob“Atlas of cyberspace, 2001”

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Feb 28/2012

Myths are deepest psychologicaltruth

Fuller projection of earth asone land mass

[ to point to other modes of seeing = job of the artist ]

Cathy Gillis - 54 different labyrinthsfrom around the world

Art object as stats acquisition

[ star axis ] - solar realm and earthly realm-we are made of stars-changing view of environment-connect to the universeearth below/sky above and how arecentered - sacred site[ here matters ]

[ Japanese shinto ] [ Chinese Tao ]-sacred earth and response to landscapewe are of the earth-specific site response-brings horizon into focus-iroquois creation myth-draws the land into place-art for sales sakecollection - status - society-sounding board-people not part of“nature”-Magnetic/invisibleforces[ re-integration with nature ]-become animalsde-volve?-artificial world-cycles of life-virtual world-our bodies are sensing instruments-making visible what your body isalready perceiving-chowchesku - Danube Dam dismantled-sugar sculpture

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[ one flew over the cuckoo’s nest ][216] We’d just shared the last beerand slung the empty can out thewindow at a stop sign and werejust leaning back to get the feel of the day, swimming in that kind of tasty drowsiness that comes

over you after a day of going hardat something you enjoy doing.Half sunburned and half drunk andkeeping awake only because youwanted to savor the tasteas long as you could.

I was feeling better than I’d remembered feeling since Iwas a kid, when everything wasgood and the land was stillsinging kids’ poetry to me.

[239] wire blier, limber lock, threegeese inna flock… one flew east, one flew west, one flew over the cuckoo’s nest…

[241] where is she?high high high in the hills, high in a pine tree bed, she’s tracing thewind with that old hand,counting the clouds with thatold chant: …three geese ina flock…

[242] there had been times when I’dwandered around in a daze foras long as two weeks after ashock treatment, living in thatfoggy, jumbled blur which is a wholelot like the ragged edge ofsleep, that gray zone betweenlight and dark, or between sleepingand walking or living and dying,where you know you’re not

unconscious an more but don’t know yet what day it is or whoyou are or what’s the use ofcoming back at all for two weeks.

[265] he was in his chair in thecorner, resting a second beforehe came out for the next round-in a long line of next rounds.The thing he was fighting, youcouldn’t whip it for good. Allyou could do was keep onwhipping it, till you couldn’t comeout any more and somebody elsehad to take your place.

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His menagerie of angels, animals,martyrs, and machines

“Sanctuaries” the last works of-John HejdukHis stylistic preference forbasic geometric forms andelemental biomorphism (bldgs that seem to have hair, beaks,eyes and legs) combined withtypological variations on theaters,periscopes, funnels, traps, chapels,and labyrinths; his thematic explorationsof falls from grace,itinerancy, passage, and transformationand above all, his belief inarchitecture as sanctuary -

sanctuary for art, for culturefor the enduring rituals thatmark us as human, for the human spirit itself.

If the primitive condition of architecture is the square, the square is, nevertheless,generated as the isometricprojection of a diamond, making thediamond paradoxically prior to or moreprimitive than, the square. Yet, ifthe diamond is understood perceptuallyas the plain diagram of anarchitectural space rather than asshape, then the more fundamentalpercept of the space of the diamondis another square, one that resultsfrom collapsing the two legs ofthe diamond’s right angle, nowprojected as vertical planes or wallsonto a picture plane. In other wordsthe diamond returns to the squarewhen it is perceived in perspective.This is true whether the vieweris outside the diamond plan -the protruding exterior cornerreduced to an invisible line onthe perceptual plane - or insidethe plan, the corner nowretreating, but with no perceivable difference between the two perspectives.

against received formal paradigmsthat insist on diverse objectsof a composition being heldtogether by a unifying datum orground, the wall houses broachthe possibility of presenting dissonant,elemental architecturalfigures without ground, in the sense that for Hejduk the wallis not ground so much as anotherfigure

As with Lacan’s gaze, which he oncetermed “the presence of others assuch,” so with Hejduk’s masques:in both we confront the fact thatour subjectivity depends on the symbolic ratification of the ‘other.’

When we recognize that we existonly by and for some ‘other,’ wemay react with horror, but alsoperhaps, with renewed ambition anddetermination. Jean-Paul Sartre’s ‘being and nothingness’ of 1943 fromwhich Lacan draws his own meditations on the gaze,

characterizes the decentering ofthe self in terms of an insistentlychristian thematics: our self-definition, our dependency on the‘other’, is a lapse into a “fallen” statethat is registered as a visualexchange between subject andobject.

As well as being spatially andtectonically precise, the crossis the focus of the themes ofindividuality and collectivity,unspeakable loss and humbling plentitude,that Hejduk returns to again and again in his later work

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“Visual notes for architects and designers”-Norman Crowe, Paul Laseau

[111] “Sketching is a skill of the handthat becomes a tool of themind. To document a space, the process of sketching is a way tosee order. In seeing a place acertain image may generate manysketches. As the sketches stray from reality they become ideas.To think in images is to generatea dialoge: sketches as a sourceof ideas, sketches as a record ofthoughts. Sketching is thinkingwith a pencil.”

-Protestant, northern european=modern style, early 20th C.-consciously borrowed as oppposed tocontaminated-cross polinated

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[4] Although basic factual information is inert and without an intrinsic value,the very act of gathering thematerial, selecting, sorting, and“getting it down” can disclose newassociations and promote a deeperunderstanding than any superficialobservation could provide.

Communication, whether, it isthrough literature, mathematics, music, or graphics, is at the veryheart of creativity which thrives upon relationships drawn betweensymbols and ideas. The extent ofone’s creativity is related tothe depth of one’s experience of the world in which one lives.Imagination is built upon therichness of perceptions gleanedfrom an active and consciousparticipation in that world ofthoughts and substance

A long while later they board the returning train and sit in the same compartment. Asthe train moves from the station, she looks out the train window and thinks shesees a grey panther running parallel to the tracks, he looks out the windowand does not believe in anything at all.

Reves de jourTopor, Roland1964-1974[ Volume ] in english this word first and

foremost refers to: “A collection of written or printed sheetsbound together, so a book, “whichfinds its origins in the scroll,the roll of parchment (the ancientbook) indicated by the latin, volumen,from volvere, to roll, to turn. InDutch, however, this referenceof volume to the (ancient) bookdoes not exist at all. Herevolume, as it does in english,means first and foremost“the size or extent of a

[ Matt Edwards ]If it were to succeed in convincingreaders that ‘listening’ is better than ‘seeing,’ it would not achieveits desired end. It does not setout to make a subtractive argument;and will not advocate taking the‘eye’ out of architecture

It would have been possible to have done all of these things, andyet, while they are all interesting,doing so may not have allowed thisthesis to reveal anything about theexperience of sound, ‘really.’

‘Deep listening’The brief definition isexperiencing heightenedor expanded awarenessof sound and silence… andsounding. So it’s exploringattention - exploring anddistinguishing the differencebetween hearing and listening

-If I must tell you why the kite is able to fly,I might say it is because the skyhas fallen in love

-structure as instrument/performer-activated by natural forces

“sound is this weird threshold space,you can’t touch it or see it; ithas no material and yet itoccupies space.” -Taraka Larson

R Murray Schafer:“The soundscape, our sonic environment and the tuningof our world.”

[ Rhizome ] Botany - An elongated, usuallyhorizontal, subterraneanstem which sends out roots andleafy shoots at intervals alongits length

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[ Tony Soprano ] Pilot - Your great grandfather and his brotherFrank, they built this place.Stone and marble workers. They came over here from Italy and theybuilt this place. Two guys on a crew of labourers. They didn’t design it, but they knew how tobuild it. Go out now and findme two guys that could putdecent grout around yourbathtub.

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Rhizome - [4] There is no difference betweenwhat a book talks about and howit is made

we have been criticized for over-quoting literary authors. But whenone writes, the only question is

Which other machine theliterary machine can be pluggedinto, must be plugged in to work

Binary logic is the spiritual reality ofthe root-tree.

The tree is already the image of theworld, or the root the image ofthe world tree.

The law of the book is the law ofreflection, the one that becomestwo.

[ William Burroughs’s ] cut-up method: “thefolding of one text onto another,which constitutes multiple and evenadventitious roots (like a cutting)implies a supplementary dimensionof folding, unity continues its spirituallabor. That is why the most resolutely fragmented work canalso be presented as the totalwork or magnum opus

A strange mystification: A book all themore total for being fragmented

There are no points or positions in a Rhizome, such as those found in astructure, tree, or root. There are only lines. When Glenn Gould speedsup the performance of a piece, heis not just displaying virtuosity,

he is transforming the musical points into lines, he is making thewhole piece proliferate.

The ideal for a book would beto lay everything out on a planeof exteriority of this kind, on asingle page, the same sheet:lived events, historical determinations,concepts, individuals, groups, socialformations. Kleist invented a writing of this type, a broken chainof affects and variable speeds, withaccelerations and transformations,always in a relation with theoutside. Open rings. His texts, therefore, are opposed in every way to the classical or romantic book constituted by the interiorityof a substance or subject

“Drunkenness as a triumphant irruptionof the plant in us.” Always followthe Rhizome by rupture, lengthen prolong, and relay the line offlight; make it vary, until you haveproduced the most abstract andtortuous of line of n dimensionsand broken directions

As Barthes would say, the ultimatesubversion does not necessarilyconsist of saying that whichshocks public opinion, but of inventing a [ paradoxical discourse. ] Invention and not provocationis a revolutionary act, and itcan be accomplished only bysetting up a new language.So Hejduk’s greatness liesnot in provocation or radicalism,but in the invention of a vast discourse founded in itsown repetitions, showing usthe vanishing points of or discipline.

[22] Dictionaries, like other examplesof this category of books, do not really have a beginning, end or a main line; they have many possibleones. Their textual space is not uni-cursal, but multi-cursal, and a preface here can never bemore than a set of rules that oneis given the rules according towhich the book is structured andaccording to which it functionsbut rules that do not have anymeaning outside of themselves, asthey only simulate an objectivityto ensure communication, to enablereading the same book withothers, this also means that therules may be changed at willwithout destroying the relative

[ Scenographer ] one who designs and paintstheatrical scenery[ Word ] Greek > Logos

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