The trade of the signs | Marcelo Gardinetti

In to say of Immanuel Kant, the architecture makes concrete as an art of the forms, a knowledge before conceived of an object that though it must answer to a usefulness, since artistic fact is not governed by a certain end and therefore, his form does not have his beginning in the nature but in an arbitrary end. This arbitrariness considered as an element of value per se, establishes the basal point in John Hejduk’s architectural story. A statement been founded on pictorial – morphologic exercises established in the deformation of the cubic forms, the incorporation of the wall like element of design and in infinite expeditions to the plastic character of the work of Le Corbusier.

Wall House 2, John Hejduk | Photography: Liao Yusheng

In this argument, the unnatural bucket and the plane they end for composing the principal signs of his architecture, a scene where the Wall House 2 coordinates the manifest of these conceptions. Designed in 1973 by order of the landscape painter Arthur Edward Bye, the project is established in the confrontation of two axes in which the wall informs as element computer: a horizontal axis where the wall operates as element connector and other one in vertical sense where the wall acts as barrier. This disposition of planes consolidates the intention of isolating the program in autonomous spaces, where the wall is defined as a symbolic, not structural element, which propitiates a dynamic tension. But in addition it represents the time in the moment of step, a fleeting step assumed by Hejduk in the thinness of the partition.

Opposite to the irruption of the volumes, the protagonism of the plane promotes the criterion of unit. The entities that by all appearances emerge of the wall as bodies in projecting install an iconography in which every volume adopts an own sign, in correspondence with a particular function. This autonomy gets excited in the separation between floor and ceiling of every volume and is ratified in the irruption of transparent elements between the wall and the volumes.

Wall House 2, John Hejduk | Photography: Liao Yusheng

In plant, the wall unfolds the activities. In one of his sides he arranges the principal functions: bedroom, dining room and room of being. In other one, the functions of service: stairs and baths. In vertical the program also fragments: the first level lodges the bedroom, second the dining room and the third party the room of being. At the far end, the study links itself to the rest of the program for a long corridor that ends in the stairs of access.

The interior does not allow a static contemplation, the dynamic intention of the project forces to going out of a space to deposit other one, a segmentation that contrasts with the interaction of spaces promoted by the modern movement.

Wall House 2, John Hejduk | Photography: Liao Yusheng

The chromatic differentiation established in the exterior affirms the individuality of the elements. The choice of the colors constitutes an analogy to the palette that Le Corbusier used in the Maison La Roche. Hejduk was a supporter of working with pure colors used like the neoplasticistas, but from vivenciar the colors in The Roche brings them over to the grey to make them softer. Red, blue, yellow, green and violet, like that attenuated, they correspond to a volume and to a specific function. The wall of gray color represents the neutrality.

Hejduk sends the colors used by Le Corbusier in the Maison La Roche to Jean Auguste Ingres’s work and particularly to his painting“Louise de Broglie, Contesse d’Haussonville” de 1845.

Wall House 2, John Hejduk, 1973

The house was destined to be constructed on an area in the suburbs of Connecticut, but a sumatoria of disadvantages motivated the owner to desisting from the work. In the year 2001, some months after Hejduk’s death, a project businessman propitiated his construction in the city of Groningen, Netherlands.

The Wall House 2 is an ambiguous and contradictory work, of complex functionality, which can be valued by identical certainty as an experience of architectural forefront or as a pictorial three-dimensional exercise. Hejduk establishes an organism that exposes the parts taken off of his skin. The perfect one of ideas represented in the trade of the signs.

Marcelo Gardinetti . architect

La Plata. juny 2013

Marcelo Gardinetti

No voy a hablar de la penumbra, mejor voy a ver si puedo despertar.

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