Archive for March, 2010

Voicing a Concern for Hejduk’s Tower


I will tell you why I like the air I breathe, of course it keeps me alive, but there is a more important reason. It is because when I breathe the air in I breathe in all the voices since the beginning of time. All the voices that have placed thoughts into the air, that is, thoughts escaping from the soul through the voice into the air which I breathe in. Sounds that I cannot hear – silent sounds filling the air that generations have spoken into. Consequently filling me with words that are an invisible text. An invisible sound text which mingles with my thoughts that are invisible. In essence an internal communion takes place giving the sense of the sublimity of silent transference.

John Hejduk Berlin Night

Concern is growing for Hejduk’s Kreuzberg Tower, Berlin. Whilst a proposed refurbishment is to be welcomed for one of the few built projects of this architect and educationalist, the manner in which it is to be undertaken is not. Help prevent the mutilation of its eyelids and other defacement by signing the following petition:




A society grows great when elders plant trees whose shade they will never sit in.

Greek Proverb





Only when we are capable of dwelling can we build;
dwelling is the basic property of existence.

Martin Heidegger

Yellow Lines




Architecture is born of this original discrepancy between the two spaces – the horizontally oriented space of our experience and the vertically oriented space of nature; it begins when we add vertical walls to the horizontal surface of the earth.
Through architecture a piece of natural space is as it were set on its side so as to correspond to our experience-space. In this new space we live not so much against the earth as against the walls; our space lies not upon the earth but between walls.
This space brings a completion to natural space that allows it to be brought into relation with our experience-space; at the same time it allows our specifically human space to be assimilated into the homogenous order of nature.

from Dom Hans Van Der Laan, Architectonic Space                       (E.J. Brill, Leiden, 1983) p 5

Jonathan Safran Foer (part 1)


ELENA, 10 POINT: This typeface – conceived of by independent typographer Leopold Shunt, as the moon set on the final night of his wife’s life – disintegrates over time. The more a word is used, the more it crumbles and fades – the harder it becomes to see. By the end of this book, utilitarian words like the, a and was would have been lost on the white page. Henry’s recurrent joys and tortures – bathwater, collarbone, vulnerability, pillowcase, bridge – would have been ruins, unintentional monuments to bathwater, collarbone, vulnerability, pillowcase and bridge. And when the life of the book dwindled to a single page, as it now does, when you held your palm against the inside of the back cover, as if it were her damp forehead, as if you could will it to persevere past its end, God would have been nearly illegible, and I completely invisible. Had Elena been used, Henry’s last words would have read:

From ‘About the Typefaces Not Used in This Edition