ABSTRACT
Eduardo Cadava's writing on the after-the-event aspect of photography, of capturing what has been, allows another reading of post factum documentation. According to Cadava, the temporality of the photographic structure interrupts history and opens up another possibility of history, one that spaces time and temporalizes space. The project reflects John Hejduk's theoretical position regarding temporality, but more than this, the aberrant design and construction processes allow for an extension of this thinking. Rather than focusing on the Wall House 2 as built object, but on its documents, representations and artefacts, demonstrates the possibilities of architecture's temporality. The project then has a time of making, of inhabiting, and of recollecting and repositioning. The book, as both artefact and exhibition, gathers together documents of architecture and binds them in a way which intersects with various notions of 'times' within architecture. Examining the drawing as an artefact demonstrates the passage of time, through the artefact's positioning within different temporal contexts.
