Relevant bibliographies by topics / Hejduk John

Academic literature on the topic 'Hejduk John'

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Published: 11 March 2023

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Journal articles on the topic "Hejduk John"

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Bascones de la Cruz, Gabriel. "JOHN HEJDUK: VÍCTIMAS." Proyecto, Progreso, Arquitectura, no. 19 (2018): 152–53. http://dx.doi.org/10.12795/ppa.2018.i19.09.

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Barberá Pastor, Carlos. "GABRIEL BASCONES DE LA CRUZ: FRANCESCO VENEZIA, JOHN HEJDUK Y EL ARTE DE LA MEMORIA." Proyecto, Progreso, Arquitectura, no. 27 (2022): 208–9. http://dx.doi.org/10.12795/ppa.2022.i27.13.

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El manuscrito es una reseña bibliográfica que expone la importancia, en el discurso arquitectónico, del libro titulado Francesco Venezia, John Hejduk y el arte de la memoria, escrito por Gabriel Bascones de la Cruz. El libro es una investigación que nos lleva a descubrir el arte de la memoria como ciencia a partir del análisis de las obras de Francesco Venezia y John Hejduk pasando por los teatros históricos de Giulio Camillo y Robert Fludd.
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Binet, Hélène. "From John Hejduk to Nicholas Hawksmoor." Journal of Architecture 21, no. 6 (August 17, 2016): 939–63. http://dx.doi.org/10.1080/13602365.2016.1217555.

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Bronstein, Laís. "As coleções de Aldo Rossi e John Hejduk." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP 25, no. 45 (April 27, 2018): 12. http://dx.doi.org/10.11606/issn.2317-2762.v25i45p12-27.

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Em uma análise do repertório de propostas e projetos de arquitetura que povoaram debates nos anos 1960 e 1970 no cenário internacional, torna-se patente a recorrência dos autores na criação de sistemas, a partir de um repertório formal definido e limitado. Dentre os arquitetos que se inserem nesse momento, destacam-se Aldo Rossi e John Hejduk, cujos mecanismos de trabalho revelam a existência de um universo formal próprio e restrito de figuras e elementos que reaparecem a cada novo desenho. O contato mais estreito dos dois arquitetos acontece em meados da década de 1970, quando Rossi passa uma temporada nos EUA e leciona na Cooper Union de Nova York, então dirigida por Hejduk. Rossi utiliza as formas geométricas puras e o recurso da analogia em seus croquis e desenhos. Hejduk também utiliza as formas geométricas puras na construção de suas inusitadas “estruturas”, que reaparecem a cada projeto. A ideia de coleção, como construção de um sistema, é a chave interpretativa que permite a aproximação dos dois autores, cujos mundos formais aparentam ser, à primeira vista, tão distintos.
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Estrella, Lisseth. "Problema y ejemplo: Los nueve cuadrados y la transformación del edificio fundacional de la Cooper Union." Estudios del hábitat 18, no. 1 (June 30, 2020): 083. http://dx.doi.org/10.24215/24226483083.

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Enseñar con el ejemplo es parte fundamental de la estrategia pedagógica de John Hejduk. Sin mayores explicaciones, Hejduk relaciona su proyecto de transformación del edificio fundacional de la Cooper Union con el problema de los nueve cuadrados. Es un caso singular porque el edificio, lugar de la escuela de arquitectura, presenta a sus alumnos el ejemplo del problema utilizado para introducirlos a la arquitectura. Con información de archivo y referencias de personas que formaron parte de la escuela en este período – John Hejduk, Peter Eisenman, Rafael Moneo y Lorna McNeur - el artículo identifica que tanto problema como ejemplo comparten la misma estructura y define el método para relacionarlos: utilizar los nueve cuadrados como herramienta de análisis aplicando los conceptos de centro-periferia, fluidez-contención y estructura-plemento. El resultado del trabajo ha llevado a comprender el contenido analítico del problema en relación con las herramientas del arquitecto: el paso de la planta a la sección en relación con los conceptos de espacio y tiempo.
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Víctimas, Equipo. "La memoria de las víctimas. Víctimas: Una obra de John Hejduk." Bitácora Arquitectura, no. 47 (November 15, 2021): 26. http://dx.doi.org/10.22201/fa.14058901p.2021.47.80354.

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Se presenta una reflexión sobre Víctimas: Una obra de John Hejduk, exposición realizada en el Museo Rother sobre el proyecto que el arquitecto neoyorquino planeó para Berlín como homenaje a las víctimas del nazismo. Este análisis permite vincular el proyecto de Hejduk al contexto de las víctimas que ha dejado el conflicto armado en Colombia. El tema tratado en Berlín abre la pregunta que plantea esta exposición y que busca resolver este artículo: ¿puede la arquitectura conmemorar y a la vez contribuir con su acción a la reivindicación de las víctimas?
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Passaro, Lais Bronstein. "Arquitetura e solidão: John Hejduk em Berlim." Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), no. 1 (January 1, 2003): 44. http://dx.doi.org/10.11606/issn.1984-4506.v0i1p44-58.

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Barberá Pastor, Carlos. "Hacer ver." i2 Investigación e Innovación en Arquitectura y Territorio 11, no. 1 (January 30, 2023): 5. http://dx.doi.org/10.14198/i2.24416.

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Barberá Pastor, Carlos. "Espacio de conversión entre arquitectura y pintura. El Cementerio de las Cenizas de los Pintores de Bodegones de John Hejduk." Arte, Individuo y Sociedad 34, no. 2 (January 13, 2022): 721–40. http://dx.doi.org/10.5209/aris.75288.

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La investigación estudia la propuesta titulada El cementerio de las Cenizas de los Pintores de Bodegones. El fin del trabajo es razonar el sentido pictórico y arquitectónico del proyecto desarrollado por John Hejduk a través de los dibujos a mano alzada publicados en Adjusting Foundations. Desde la comprensión cultural de occidente, cuando miramos la pintura de un bodegón, el estudio trata de referirse a este enfrentamiento a través del espacio arquitectónico proyectado por Hejduk. El sentido de los términos ’still life’ o ‘natura morta’ son un medio para desarrollar una investigación que recupera una mirada hacia la conversión entre el espacio pictórico y el espacio arquitectónico. Este vínculo trata de construir un bodegón mediante la arquitectura, desde sus condiciones pictóricas, y es llevado a cabo mediante el análisis a un poema de Stéphane Mallarmé, una pintura de Giorgio Morandi, un texto de Cézanne, el proyecto de John Hejduk y una pintura de Georges Braque. El tiempo, el espacio pictórico, el espacio arquitectónico, la descomposición de los cuerpos de un bodegón, la vida y la muerte, son a su vez objeto de la investigación que trata de dar un sentido al tiempo lineal en el mundo contemporáneo.
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Cardani, Luca. "The city as a theatre of characters. John Hejduk’s Masques." I2 Innovación e Investigación en Arquitectura y Territorio 9, no. 2 (July 15, 2021): 51. http://dx.doi.org/10.14198/i2.17415.

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The architectural work of John Hejduk (1929-2000) is marked by theoretical-design research, collected in series with titles and periods. Among these series the one entitled Masques, developed since about 1979, can be considered the nucleus of his research on the architecture of the city and the place of origin of his language of construction later developed in his realized buildings. This paper analyses the dense network of references and analogies established by Hejduk to create his Masques, trying to fix its origin in the idea of the city as a theatre of characters composed of architecture. Starting from the name chosen for the title of this series, the paper tries to trace the threads that lead from the general work of the various projects of the Masques series, to the reflections and ideas that produced it. Then, it comes back again to the observation of architecture and of a case study (Security, 1989), to understand and explain its meaning and the compositional methods involved into the process of genesis of form. Through the entire work named Masques, and its recognizable link with the buildings and installation realized around the world, Hejduk has built an archive of architectural prototypes ready to construct different parts of the city, thus highlighting the strong connection that his work establishes with reality in order "to conceive it, represent it and finally realize it".
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Dissertations / Theses on the topic "Hejduk John"

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ROSSETTO, ANDREA. "John Hejduk Cathedral." Doctoral thesis, Università IUAV di Venezia, 2013. http://hdl.handle.net/11578/278306.

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CARDANI, LUCA. "John Hejduk: la "fabbricazione" del carattere." Doctoral thesis, Università IUAV di Venezia, 2017. http://hdl.handle.net/11578/278740.

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Semerani, Francesco. "John Hejduk dalla forma alla figura all'archetipo." Doctoral thesis, Università degli studi di Trieste, 2008. http://hdl.handle.net/10077/2676.

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2006/2007
Questo studio si interroga sul significato che il progetto di architettura assume nell’orizzonte contemporaneo attraverso il pensiero espresso da John Hejduk nei suoi progetti: un architetto per il quale le riflessioni sono direttamente espresse attraverso il progetto che assume dentro di sé tanto la dimensione teorica che quella rappresentativa. Le tracce teoriche di Hejduk sono fondamentali perché definiscono il percorso di un pensiero che passa dall’astratto al figurativo, dalla forma all’archetipo. Rintracciare tale percorso significa indagare il rapporto tra dimensione assoluta e universale dell’architettura e dimensione soggettiva. Si tratta di capire cosa significa, nel modo contemporaneo, definirsi “architetto”, “urbanista” o “docente”. Si evidenzia come nel momento in cui la crisi dei paradigmi del Movimento Moderno si fa più evidente sia in Europa che in America, John Hejduk, come altri architetti americani, senta la necessità di fare i conti con l’eredità di Le Corbusier, di Mies e di Gropius, avvertendo la necessità di rivisitare il lessico e le tecniche compositive delle avanguardie europee che si erano trasferite in America, rifiutando il successo dell’International Style e cercando una distanza dal mercato. La riflessione teorica diventa così centrale e trova nella scuola il luogo ideale dove essere formulata; mentre la costruzione passa in secondo piano, il disegno diventa il vero luogo della sperimentazione. Nei progetti per Venezia (1974-1979), secondo la nostra ipotesi, c'è il momento chiave di quel processo che porta Hejduk dalle indagini sulla forma alla ricerca e definizione di nuovi archetipi. Il tema così circoscritto in un determinato periodo potrà successivamente essere allargato con una lettura dei rapporti tra il pensiero europeo e quello americano, attraverso le relazioni con figure come Peter Eisenman, Aldo Rossi, Manfredo Tafuri. Tali relazioni si verificano in un preciso arco di tempo, al centro del quale si pone l'incontro con Venezia. La nostra tesi è che in John Hejduk via via aumenti d'importanza l'idea archetipica dell'architettura. Per Hejduk l’archetipo non è la grotta o la capanna di Semper e di Laugier, ma vale piuttosto l’accezione Junghiana di “senza contenuto”. Dice Jung: “Nessun archetipo è riducibile a semplici formule. L'archetipo è come un vaso che non si può svuotare né riempire mai completamente. In sé, esiste solo in potenza, e quando prende forma in una determinata materia, non è più lo stesso di prima. Esso persiste attraverso i millenni ed esige tuttavia sempre nuove interpretazioni.” Così, attraverso il ricorso alla memoria e al significato, Hejduk cerca gli archetipi che, utilizzando i meccanismi del pensiero, possono dare nuova forma alle figure fondamentali. In questo processo l’architettura si avvicina sempre di più all’arte e acquista una dimensione poetica. Ma se, come dice Tafuri, “l’eccesso è sempre portatore di conoscenze”, è prioritario capire i passaggi e i modi in cui Hejduk cerca di liberare i meccanismi del pensiero, generando quella liberazione nell’immaginario architettonico che è il suo lascito più evidente.
XIX Ciclo
1970
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Barberá, Pastor Carlos. "Variaciones sobre la Bye House de John Hejduk." Doctoral thesis, Universitat Politècnica de València, 2014. http://hdl.handle.net/10251/37607.

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El objeto de estudio del trabajo titulado Variaciones sobre la Bye House de John Hejduk es la casa Wall House 2; proyectada entre 1972 y 1974 para la ciudad de Ridgefield, en Connecticut (U.S.A), y construida sobre el año 2000 en la ciudad de Groningen, en Holanda. Se dedican dos capítulos para analizar la Wall House a partir del material publicado en Mask of Medusa y Five Architects. Los capítulos se titulan "Presentación de la Wall House 2 (Bye House) de John Hejduk" y "Una visita a la Wall House 2 de papel". En estos dos apartados, se pone en orden la información sobre la Wall House disponible en los documentos. En estos dos primeros capítulos la casa, de papel, es visitada a través de los libros donde aparece el proyecto. En el capítulo tercero, "Una visita a la Wall House 2 construida en Groningen", se describe la visita a la casa construida en Holanda. Se comparan las explicaciones sobre la experiencia en el interior de la casa con algunas explicaciones que Hejduk da sobre la experiencia arquitectónica. Se considera que la casa surge de un proyecto y de un proceso que la origina. En el capítulo 4, titulado "La Wall House 2 como instrumento musical", se compara el proyecto de la Wall House con algunos dibujos sobre instrumentos musicales que Hejduk plantea a los estudiantes de la Escuela de Arquitectura de New York. En este capítulo se introduce la concepción de la casa como un instrumento musical. Es, en parte, un prólogo al planteamiento de la tesis doctoral, es un preludio a la exposición, donde la Wall House empieza a presentarse desde la particularidad de la casa al compararla con la música. El capítulo siguiente analiza las relaciones que vinculan el proceso de la transformación de un cuadrado, sobre el cual se fundamenta la casa, con otros proyectos anteriores, como son las Texas Houses, las Diamond Houses y otras Wall Houses. El último capítulo, "La Casa para el Habitante que se Negó a Participar en la Wall House 2", es una continuación del anterior
Barberá Pastor, C. (2009). Variaciones sobre la Bye House de John Hejduk [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/37607
Palancia
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Malmquist, Einar Bjarki. "Architecture of the ineffable : on the work of John Hejduk." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31026.

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This is a study of the work of John Hejduk---his poetry, architecture and philosophical reflection. The aim of the study is to open up a discourse on some of Hejduk's projects, in which he speculated about philosophical themes such as identity, time and geometry, questioning the possibilities and limits of architecture. A discussion of these projects is particularly relevant for our contemporary world, regarding our questions of the limits of language and geometry, ideas and evidences for architecture in a society of generalized communication.
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Pierron, Nathalie. "Architecture et culture aux Etats-Unis depuis la fin des années soixante : la déconstruction à l'oeuvre." Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10012.

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Replace dans le contexte d'une tradition specifique de l'urbain, celle des etats-unis, et des mutations que cette derniere connait a la fin des annees soixante, le concept theorique et esthetique de deconstruction est rapporte ici tant a l'hypothese d'une crise du symbolique dans l'espace de l'amerique post-moderne, qu'au role equivoque, dans cette crise, d'une conception autonome et abstraite du langage architectural. Traquant dans ses restrictions formalistes et elementaristes, dans ses interets plus discursifs ou theoriques que pratiques, la relativite de l'auto-critique a laquelle cette discipline se serait livre au cours des annees soixante-dix, ceux-ci servent a mettre en evidence son impossibilite a etablir une distance reelle vis a vis du modele esthetique, linguistique, poetique et surtout technologique, en vigueur. Dans l'optique d'une auto-analyse a laquelle se seraient exerces quelques architectes americains d'importance, le role ambivalent d'un essai theorique redige par deux des texas rangers (portant sur la distinction reel/virtuel), et ses effets historiques sur leurs proches, essentiellement john hejduk ou peter eisenman, sont ensuite precises. L'entree de l'architecture dans l'ere mediatique s'accompagne en effet des orientations esthetiques, formelles et surtout didactiques donnees a son instrumentation, quelques unes des ambiguites de la culture architecturale americaine du debut de ce siecle s'en trouvant renforcees, qu'il s'agisse de son rapport a l'histoire, a la machine, de son interet pour les questions de structure comme du role central de l'art dans ses interrogations sur la representation - et a travers elle bien sur, sur sa signification. A la vue de cette filiation, se justifiait des lors la mise en doute de la nouveaute du standard de la discontinuite des experiences deconstructivistes de la fin des annees quatre-vingts, l'accession de ces dernieres a la construction correspondant, en outre, avec l'internationalisation de la desideologisation de la production urbaine, c'est-a-dire finalement, avec le renforcement de l'existence de l'architecture comme forme autonome.
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GIUSTA, FABIAN CARLOS. "Il progetto e l'attesa : il gesto compositivo e la teoria nei progetti di Peter Eisenman, John Hejduk, Rafael Moneo per l'area di San Giobbe, Cannaregio Ovest, Venezia 1978." Doctoral thesis, Università IUAV di Venezia, 2006. http://hdl.handle.net/11578/278215.

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Gilley, Amy Bragdon. "Drawing, Writing, Embodying: John Hejduk's Masques Of Architecture." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/29724.

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The following dissertation will examine the architectural masques of architect and poet, John Hejduk. Hejduk's masques are more than the text or the drawing; like their inspiration, the Stuart Court Masque, the architectural masque is a compendium of text, symbol, history, and performance, which is meant to lead the viewer to a greater comprehension of the citizen's role in the creation of community. There has been as yet no study of the direct links to the Stuart Court Masque, the invention poet Ben Jonson and architect Inigo Jones, or what the links in Hejduk's masques to the emblem books, which are the heart of the Court Masque. The following dissertation will undertake an explication of two key Hejduk texts as means to demonstrate the architectural meaning of Hejduk's Architectural Masques as a descendant of the Stuart Court Masque. The dissertation examines Hejduk's pedagogical biography, the history of the Court Masque and emblem book (which is the basis of the Architectural Masques), Hejduk's own dumb' emblem book, Silent Witnesses, and finally, Victims, his first masque which is the application of his theory to the masque. The methodology of the dissertation involves an explication of Hejduk's texts, drawing on an understanding of his own education as an architect and educator. The examination of his two texts, Silent Witnesses, and Victims, are to be the basis for drawing out the imagination as a student and a teacher. Such textual examination is meant to encourage the reader, and future architects, of the deep influence of the past in creating art of the present and future.
Ph. D.
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Pilard, Nicolas. "Architecture, dessin, discours." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3071.

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L'art contemporain, de dé-définition en dé-définition, a évolué dans certains de ses développements, principalement sous la forme conceptuelle, vers une utilisation toujours plus prononcée du langage verbal, reléguant les préoccupations plastiques au second plan. L'architecture, art qui semble s'incarner fondamentalement dans la matérialité, connaît des évolutions analogues. Des architectes se positionnent sur le terrain du concept, faisant du discours l'outil principal de leur recherche. Partant de l'idée que pensée plastique et pensée verbale fonctionnent selon des modalités distinctes, nous avons étudié l'oeuvre, autant écrite que bâtie, d'architectes contemporains dont l'utilisation du texte est prépondérante dans la création. Nous avons distingué trois formes de discours - la forme poétique - qui fait du discours une oeuvre, la forme théorique - convoquant des concepts philosophiques, et la forme mathématique, qui ambitionne la création d'un méta-langage au service de la conception - et nous avons tenté de comprendre leur rôle respectifs dans la projétation
Contemporary art, through « de-definitions », has evolved in some of its developments, mainly in the conceptual form, into an ever more pronounced use of verbal language, relegating the plastic concerns to the background. Architecture, which seems to be embodied fundamentally through materiality, experiences similar trends. Some architects are positioned on the field of concepts, making speech the primary tool of their research. Based on the idea that plastic thinking and verbal thinking operate under separate arrangements, we studied the work, written and built, of contemporary architects for whom the use of text is prominent in creation. We have identified three forms of discourse, the poetic form - which makes speech a work of art, the theoretical form - convening philosophical concepts, and the mathematical form, which aims at creating a meta-language serving the design - and we tried to understand their respective parts in the project planning
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He, Weiling. "Flatness transformed and otherness embodied: a study of John Hejduk's Diamond Museum and Wall House 2 across the media of painting, poetry. architectural drawing and architectural space." Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/36608.

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To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.
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Books on the topic "Hejduk John"

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John Hejduk. Firenze: Aión, 2015.

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John Hejduk: Incarnatio. Venezia: Marsilio, 2010.

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Hejduk, John. The Lancaster/Hanover Masque: Le masque Lancaster/Hanover. London: Architectural Association, 1992.

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Mark, Conrad, Thån Astri, and Hejduk John 1929-, eds. Security: A work by John Hejduk. [Oslo, Norway: Aventura Forlag], 1995.

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Hejduk, John. John Hejduk: The Riga project, November 20-December 22, 1987. Philadelphia, Pa: The University, 1987.

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Giusta, Fabian Carlos. John Hejduk: Profezie figurative : il progetto per Cannaregio ovest, Venezia 1978. Padova: Il poligrafo, 2013.

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Hejduk, John. John Hejduk, práce: Míčovna Pražského hradu. Dům pro sebevraha, a, Dům pro matku sebevraha : Královská Zahrada. Příbuzní : fotografie. Praha: Obec Architektů Praha, 1991.

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Hays, K. Michael. Sanctuaries, the last works of John Hejduk: Selections from the John Hedjuk archive at the Canadian Centre for Architecture, Montreal & the Menil collection, Houston. New York, NY: Whitney Museum of American Art, 2003.

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1929-, Hejduk John, ed. Sanctuaries, the last works of John Hejduk: Selections from the John Hedjuk archive at the Canadian Centre for Architecture, Montreal and the Menil collection, Houston. New York: Whitney Museum of American Art, 2002.

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Bergh, Wim Van Den. John Hejduk. Netherlands Architecture Institute (NAi Uitgevers/, 1993.

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Book chapters on the topic "Hejduk John"

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Story, J. Kevin. "Formations of John Hejduk’s pedagogy." In The Complexities of John Hejduk’s Work, 10–28. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-1.

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Story, J. Kevin. "Introduction." In The Complexities of John Hejduk’s Work, 1–9. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-10.

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Story, J. Kevin. "Epilogue." In The Complexities of John Hejduk’s Work, 181–224. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-11.

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Story, J. Kevin. "Pedagogy of the Texas Houses." In The Complexities of John Hejduk’s Work, 29–44. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-2.

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Story, J. Kevin. "Pedagogy of the Wall House." In The Complexities of John Hejduk’s Work, 45–65. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-3.

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Story, J. Kevin. "Pedagogy of the Architectural Masque." In The Complexities of John Hejduk’s Work, 66–119. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-4.

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Story, J. Kevin. "Pedagogy of the Last Works." In The Complexities of John Hejduk’s Work, 120–66. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-5.

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Story, J. Kevin. "Pedagogy of the Cigar Box." In The Complexities of John Hejduk’s Work, 167–75. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-6.

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Story, J. Kevin. "A serendipitous life." In The Complexities of John Hejduk’s Work, 176–80. Abingdon, Oxon; New York: Routledge, 2020. | Series: Routledge research in architecture: Routledge, 2020. http://dx.doi.org/10.4324/9781351105897-7.

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"John Hejduk." In Lateness, 63–92. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvrs8zsh.9.

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Conference papers on the topic "Hejduk John"

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Guaragna, Gianfranco. "THE FABULOUS WORLD OF JOHN HEJDUK." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s17.066.

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