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For the first time, and in a beautifully designed volume, the collected work projects, drawings, essays, and poems of one of America's foremost architects, architectural thinkers, and educators is brought together.

Rizzi, Renato John Hejduk. Incarnatio. Ediz. Illustrata. , Marsilio 2010 Italiano, 287 Prima Ristampa Marsilio - Anno 2010 - in Copertina Flessibile Con Alette Interne Neutre Molto Ben Conservata. Pagine All'interno Ottime. Volume in Ottime Condizioni. Disponibilità Immediata E Spedizione Con Corriere Tracciata.

First Printing in illustrated self-wraps as pictured, no markings, NOT ex-lib, binding tight pages bright, no curling, light scuffed shelf/edge wear & soil to panels, else clean tight copy; sm sq 4to; 122pp illus. Due to size, this book may require an additional shipping charge

John Hejduk (1929-2000) was one of the most original figures in American architecture and design. Best known for his visionary works and his influence upon graduates of The Cooper Union, New York, where he was dean for twenty-five years, Hejduk largely abstained from conventional practice, focusing instead on theoretical projects, usually in the form of drawings that were combined into poetic, highly personal narratives. Sanctuaries: The Last Works of John Hejduk highlights the architect's later work, in which he made successive attempts to shift his architecture away from the mathematical concerns of his earlier work - which had owed much to Mies van der Rohe and Mondrian - toward an allegorical, carnivalesque mode that he called architectural "masques." In these works, Hejduk presented his architecture in a more lyrical, painterly, and narrative way, and in the last of the works - including Enclosures, a suite of thirty-two drawings reproduced here in its entirety - returned architecture to an overtly spiritual function. The works display a stylistic range from basic geometric forms and elemental biomorphism (buildings that seem to have hair, beaks, eyes, and legs) to typological variations on theaters, periscopes, traps, chapels, and labyrinths. Employing allegorical images of angels, animals, martyrs, and machines, these works explore themes of falls from grace, itinerancy, passage and transformation, and above all, architecture as sanctuary - for art, for culture, for enduring rituals, for the human spirit itself.

This book serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it over twenty years ago.

John Hejduk (1929-2000) was one of the most original figures in American architecture and design. Best known for his visionary works and his influence upon graduates of The Cooper Union, New York, where he was dean for twenty-five years, Hejduk largely abstained from conventional practice, focusing instead on theoretical projects, usually in the form of drawings that were combined into poetic, highly personal narratives. Sanctuaries: The Last Works of John Hejduk highlights the architect's later work, in which he made successive attempts to shift his architecture away from the mathematical concerns of his earlier work - which had owed much to Mies van der Rohe and Mondrian - toward an allegorical, carnivalesque mode that he called architectural "masques." In these works, Hejduk presented his architecture in a more lyrical, painterly, and narrative way, and in the last of the works - including Enclosures, a suite of thirty-two drawings reproduced here in its entirety - returned architecture to an overtly spiritual function. The works display a stylistic range from basic geometric forms and elemental biomorphism (buildings that seem to have hair, beaks, eyes, and legs) to typological variations on theaters, periscopes, traps, chapels, and labyrinths. Employing allegorical images of angels, animals, martyrs, and machines, these works explore themes of falls from grace, itinerancy, passage and transformation, and above all, architecture as sanctuary - for art, for culture, for enduring rituals, for the human spirit itself.

Five Architects, originally published in 1975, grew out of a meeting of the CASE group (Conference of Architects for the Study of the Environment) held at the Museum of Modern Art in 1969. The purpose of this gathering was to exhibit and criticize the work of five architects--Eisenman, Graves, Gwathmey, Hejduk, and Meier--who constituted a New York school, and who are now among the most influential architects working today. The buildings shown here have more diversity than one might expect from a school, but share certain properties of form, scale, and treatment of material. Collectively, their work makes a modest claim: it is only architecture, not the salvation of man and the redemption of the earth. No matter how varied their individual theories and visions, all five architects simply share a passion for the art of architecture. Providing complete drawings and photographic documentation, this collection also includes a comparative critique by Kenneth Frampton, an Introduction by Colin Rowe that suggests a still broader context for the work as a whole, and two short texts in which individual positions are outlined. Now back in print, Five Architects serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it twenty years ago.

This book serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it over twenty years ago.

A newly-illustrated reissue of the 1934 edition retelling fifteen of Aesop's fables.

Ben Nicholson's work reflects the concerns of a generation educated and influenced by Daniel Libeskind and John Hejduk but establishes a highly individual search for rigor, precision, and craftsmanship in architecture. Here he analyzes the structure and form of everyday objects such as appliances and bread tags to construct the theoretical and physical framework for an Appliance House, a shelter from Sub-Urban life, a receptacle for all the forgotten objects of society. This book brings together numerous sketches, pencil drawings, color collages, and models that provide a detailed account of this unique four­year project. Ben Nicholson completed Appliance House as a Fellow of the Chicago Institute for Architecture and Urbanism.

Book by Hejduk, John, Shkapich, Kim

This provocative combination of inventive and deeply personal drawings and writings explores the dynamic relationship between the still life of the painter and the work of the architect. Renowned architect John Hejduk asks, "If the painter could by a single transformation take a three-dimensional still life and paint it on a canvas into a natura morta, could it be possible for the architect to take the natura morta of a painting and by a single transformation build it into a still life?"Hejduk presents a series of rich watercolor paintings, each cubist in spirit, each an assemblage and celebration of color and form. These explorations give birth to sixty-one project proposals, including serpentine structures, secret spaces, and houses constructed of horizontal and vertical mazes. Simultaneously investigated are the relationships between Eastern thought and the Western world (in terms of Hejduk's own intellectual and visual journey from the West to the East), art and architecture, and humans and nature.

Book by Hejduk, John, Shkapich, Kim

Architect and educator John Hejduk has devoted his life work to creating worlds, not only in his analytic architecture but in his mission to change the structure of architectural education. Hejduk has always accompanied all facets of his work with a haunting poetic narrative. He conceives for his projects a literary counterpoint or dramatic verbal discourse. In his books, he weaves together text and textured drawings, and he has conceived of his works as a cinematic repertory group of structures. The seventy-three poems in Lines are a construction by an architect who seeks out the complex relationships of mother and son, of angels and their mysterious flights, of mental landscapes on the earth and in the sea; it is an entire book of idiosyncratic prayer, sustaining an almost unbearable tone of directness and suffering. These powerful religious poems offer strange combinations, where Jesus, Rodin, and Braque may coexist. Hejduk details the agony of consciousness itself in wild and concentrated stanzas, offering a kind of major mass for those who understand and have the power to voice affliction and the drive to transcend it in sacred music, bringing forth a new understanding of what it means to be human within the earthly substance and the celestial air. This book of courage and despair crowns Hejduk's life work.

Architect and educator John Hejduk has devoted his life work to creating worlds, not only in his analytic architecture but in his mission to change the structure of architectural education. Hejduk has always accompanied all facets of his work with a haunting poetic narrative. He conceives for his projects a literary counterpoint or dramatic verbal discourse. In his books, he weaves together text and textured drawings, and he has conceived of his works as a cinematic repertory group of structures. The seventy-three poems in Lines are a construction by an architect who seeks out the complex relationships of mother and son, of angels and their mysterious flights, of mental landscapes on the earth and in the sea; it is an entire book of idiosyncratic prayer, sustaining an almost unbearable tone of directness and suffering. These powerful religious poems offer strange combinations, where Jesus, Rodin, and Braque may coexist. Hejduk details the agony of consciousness itself in wild and concentrated stanzas, offering a kind of major mass for those who understand and have the power to voice affliction and the drive to transcend it in sacred music, bringing forth a new understanding of what it means to be human within the earthly substance and the celestial air. This book of courage and despair crowns Hejduk's life work.

The poems of an architect whose affection for urban reality and imagined space is as evident in his writing as in his buildings and drawings.The poems of John Hejduk are almost nonpoetic: still lives of memory, sites of possessed places. They give a physical existence to the words themselves and an autobiographical dimension to the architect. Architect Peter Eisenman likens them to "secret agents in an enemy camp."Writing about Hejduk's poems in 1980, Eisenman observed, "Walter Benjamin has said that Baudelaire's writings on Paris were often more real than the experience of Paris itself. Both drawing and writing contain a compaction of themes which in their conceptual density deny reduction and exfoliation for a reality of another kind: together they reveal an essence of architecture itself." This is the first comprehensive collection of Hejduks poems to be published outside an architectural setting.

The poems of an architect whose affection for urban reality and imagined space is as evident in his writing as in his buildings and drawings.The poems of John Hejduk are almost nonpoetic: still lives of memory, sites of possessed places. They give a physical existence to the words themselves and an autobiographical dimension to the architect. Architect Peter Eisenman likens them to "secret agents in an enemy camp."Writing about Hejduk's poems in 1980, Eisenman observed, "Walter Benjamin has said that Baudelaire's writings on Paris were often more real than the experience of Paris itself. Both drawing and writing contain a compaction of themes which in their conceptual density deny reduction and exfoliation for a reality of another kind: together they reveal an essence of architecture itself." This is the first comprehensive collection of Hejduks poems to be published outside an architectural setting.

On November 13, 1971, the exhibition "Education of an Architect: A Point of View" -- featuring the work of Cooper Union student architects under the direction of the chairman of the Department of Architecture, John Hejduk, and the dean, George Sadek -- opened at the Museum of Modern Art in New York. The installation of models, drawings, and photographs, along with faculty and student statements, documented work from 1964 to 1971. At the time, Ada Louise Huxtable wrote, "This spectacularly beautiful work, elegant, formal, and totally detached from the world around it, represents a kind of counterrevolution in today's educational thought and practice." To accompany the exhibition, the Cooper Union published an extremely influential limited-edition book -- long since out of print -- of fifty-four projects by some sixty students showing their in-depth explorations of problems based on the visual discoveries of cubism and neo-plasticism as they related to architectural space and thought. This new volume is a smaller-format reprint that includes all material from the original book -- exceptional color and black-and-white drawings and model photographs -- and the original introduction by Ulrich Franzen, along with three new texts, an introduction by architectural historian and educator Alberto Pérez-Gómez; an essay by Kim Shkapich, director of the architectural archives at Cooper Union; and an afterword by Hejduk. The reprint charts the foundations of the pedagogical inventions and methodology that a spirited and independent faculty, under the aegis of John Hejduk, brought into what has been called 'the best school of architecture in the world.'