In his introduction George Sadek writes, "The Diamond Thesis by Professor Hejduk is both creative and analytical. It imples new points of view in architectural space. It delineates with clarity the frontal facet of isometric projection in the two-dimensional space of the picture plane of the drawings. This didactic aspect of the Thesis has challenged the students who in turn have advocated its publication.
Persons, places, and particular times act as provoking forces upon a work. Ideas do act as that substance which holds a work together and makes it evolve. After the ochre light of Rome (Fulbright, 1953) the sharp intensity of heat and light in the Southwest made for precision. The Diamond genesis was somehow already inherent in that sparse landscape. Through the argumentation and associations of Colin Rowe, Bernhard Hoesli, and Robert Slutzky, during their stay at the University of Texas, architectural positions, form positions, and spatial positions began to develop. The dialogue of persons and places continued during Professor Hejduk's years at Cornell and at Yale and found its final position at Cooper Union. The idea has come full circle."
This portfolio contains Hedjuk’s Diamond Houses A and B, as well as the Diamond Museum that were exhibited in the gallery of the Architectural League in November 1967. The Diamond in Painting and Architecture was a radical exhibition and included paintings of the same theme by Robert Slutzky.
Introduction by George Sadek. Designed by Galen Harley.
NY: THE COOPER UNION FOR THE ADVANCEMENT OF SCIENCE & ART
IN COOPERATION WITH THE GRAHAM FOUNDATION FOR ADVANCED STUDIES IN THE FINE ARTS
AND THE ARCHITECTURAL LEAGUE OF NEW YORK,
35 PLATES, 18 X 18
24 ILLUSTRATIONS, 2 IN COLOR.
HOUSED IN VACUUM FORMED STYRENE BOXES