15 November 2023 Wednesday
From: White, Atonement and Incarnation, p. 39:
...metaphor as a "means for the advance of knowledge and understanding..."
Hejduk’s pessimism is a component of his critical task--to destroy the false picture of a world already finished, whose features are already decided before the architect arrives on the scene, to purge architecture of decades of accumulated biases and partitions. It is perhaps this side of his task that is easier to grasp with interpretive methods given to us by the historical avantgarde, which similarly sought to destroy the aesthetic conventions of bourgeois continuity, putting in their place either the sheer heterogeneity of deinstitutionalized urban life (as in certain forms of expressionism and dada) or the overarching autonomy of formal or technological modernization and its desubjectifying effects (as is found, in different ways, in architects as diverse as Nikolai Ladovsky, Giuseppe Terragni, Mies van der Rohe, and Ludwig Hilberseimer). A fundamental question about Hejduk’s work regards the affirmative side of his endeavor: the possible fusion of polemical and constructive tasks, of purging and restoring a world; the recognition that architecture must somehow scandalously exceed what it is given to work with, must convert its raw material into proposition as well as critique.
K. Michael Hays, "Hejduk's Chronotope (an introduction)" (1996), pp. 13-14.
It seems that architecture still has decades of accumulated biases and partitions that need to be purged.
Maison Millennium 1999
From the Collection Pierre-Adrien Pâris Dessins at the Bibliothèque municipale de Besançon:
Plan of a basilica [actually Old St. Peter's, Vatican, plus two plans in the lower left corner copied from Piranesi's Ichnographia Campus Martius]
Might this drawing actually be a Francesco Piranesi student-work?