Monster Structures

Communicating through structures shown as monsters is John Hejduk specialty towards viewing his ideas on architecture as described by Shapiro as “piercing experiments” (John Hejduk,1998, pg. 15). This is achieved by shape, windows and doors that change how we see the city within a person’s eye. His interest in shape, organisation, representation and reciprocity drove his ideas towards creating some of the most unique and distinctive structures such as the “House of the Suicide and House of the Mother of the Suicide” (Fig.1.) provoking reciprocity as its reason reinforced by its shape, how it is organised and represented though public space.

Figure 1. House of the Suicide and House of the Mother of the Suicide

Through exploration of structures with similar features to be presented and seen through as “monster” designs, had enlighten my view on a different variation to perceive structures as given form, character and life into them. Each photo shows a difference in presenting the technique in either metaphorical (Fig. 4 & 5) or literal (Fig. 6, 7 & 8) meaning which can convey the meaning of “monsters” through development while keeping a balance in between the original and alteration (Fig. 2 & 3) expressing meaning towards architecture as to how it can be seen overlooking the city through their variation and values.

Figure 2. Photograph of UTS building 11
Figure 3. Initial sketch of a balance between metaphorical and literal meaning of UTS building 11
Figure 4. Photograph of Indigo Slam
Figure 5. Initial sketch of metaphorical meaning of Indigo Slam
Figure 6. Lower view of UTS building 7
Figure 7. Higher view of UTS building 7
Figure 8. Initial sketch of a literal meaning of building 7

From development and experimentation, I had changed from a single pictorial structure into various structural designs instead which was used to show the process of change throughout the assessment. Both victims and monsters were used but were initially drawn not to any scale and at certain elements were not refined. This was done as an idea towards Hejduk’s style of showing victims as a smaller scale onto A3 paper (Fig. 9).

Figure 9. Development of ideas

My final design offers a wider range of designs, more detail in portraying monsters through a structural view instead of my initial pictorial views and that scale is considered (Fig. 10). Each aspect has its perks towards portraying victims and monsters from either size, shape or how it is organised and placed based on different views.

Figure 10. Final Design


One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.