apposing the shells of architectural thought
Unlike the transcendentalizing schematism of Behrens's exhibition projects, or its reprise in the conceptual formalism of American Minimalism, Hejduk's work has never excluded the psychological or physiological. Even the most cubic and reduced of his early projects, the memorial to Dag Hammerskjold from the mid-1960s, is not only a pure and clear architectonic (in his words "a geometric fundamental"), but an apparatus for viewing the context in unexpected and stimulating ways. Set on the lawn of the United Nations, the monument anticipated a moving observer experiencing the object in its surroundings and then perceiving its surroundings through the object. Like so much of his later work, this cube is hollow and almost entirely devoid of openings. However, five small apertures direct the observer's gaze to selected views of the UN Building, the water, nature, city, and sky. Instead of structuring the subject to conform to the a priori categories of the mind, Hejduk's cube mediates between observer and environment (subject and object), setting up possibilities for relational "experiences" without determining their content, duration, or sequence.
Quondam © 2020.03.10