Museum 1 begins Frame 2 (1954) and Museum 2 completes Frame 2 (1963). The museums had to do with the structural infilling of space, Museum 1 along the horizontal plan (from periphery columns to central walls); in Museum 2 the structural infilling of space formed along the vertical section. In both cases a structural densification of space takes place confronting the idea of the diminutive cycle. Museum 1 developed the idea of the concentric diminishing square, the periphery edge structured with columns, then a gradual doubling of columns until the columns became walls. It also developed the idea of the space between the columns (following the concept of complete openness to complete closeness; from open air, to clear glass, to translucent glass, to opaque glass to … ). Museums confront the emptiness of space . . . the voidness of space. Museums are the sacred coffins of art. I can hardly imagine being in any museum alone.

Parallel to the Texas House work (Section B) a series of other projects were produced. One series was the study for wood frame houses. The other series was called “Piano” House or “Variations on a Theme.” The “Piano” Houses were done in steel, reinforced concrete, masonry, stucco and plaster. They ranged from single storey structures to three storey structures. The study of the syncopation of the three storey house facades was of prime interest. The spatial play of the geometric window openings in the facade-plane positioned against the cell-frame structure (implied structure), produced the counterpoint. The slippage of planes, the movement upon the frame of time were the essential cerebral issues, and also the visual ones.

The house facade studies were carried over into an intense investigation of a six storey apartment block. The floor plans of the apartments related to the setting up of the window placements upon the four exterior elevations (as notes in music). The apartment plan was a very complex system, very difficult. I was working into a deep square field in order to capture and relate to the peripheric elevations. As in the early researches into Texas House 3 in the plans and elevations here in the apartment house facades were the first probes into De Stijl-Mondrain musical notations.

During this period two designs investigating large span structures were undertaken, one an Airplane Hanger, the other a Factory. Regarding the Factory Program (one of the most difficult programmatic problems), the question was “How to combine a program that contains large span (column free) spaces (singular space), with a multitude of smaller office spaces?” There was an attempt to establish some kind of prototype. The front elevation of the Factory office element again addressed the idea of structural frame counter pointing to a symmetrical-asymmetrical rhythm of window openings, playing on the frame of time, completing a cycle (as in the Row House study sketches).

The years 1954-1963 were primarily a monochromatic period; practically no color was used. It was purposefully dry, sparse, hard, reductive; a search for certain essences. It should be pointed out that when the Texas House series was commenced in 1954, there was a plan to spend ten years on that particular study, hoping to complete one house per year. The Texas House studies were terminated in 1963 after having worked on seven houses. Suddenly a shift occurred , a shift in the path and the Diamond Projects appeared.

以下為嘗試翻譯稿，請(qǐng)謹(jǐn)慎閱讀。如有誤導(dǎo)，概不負(fù)責(zé)。

第二部分的研究從博物館1號(hào)開(kāi)始（1954年）到博物館2號(hào)結(jié)束（1963年）。這兩個(gè)博物館研究的是空間的結(jié)構(gòu)引入，博物館1號(hào)結(jié)構(gòu)沿平面布置（從外圍柱到中心墻體），博物館2號(hào)的空間結(jié)構(gòu)引入則沿垂直剖面生成。在這兩個(gè)方案中，面對(duì)“微小循環(huán)”的概念都產(chǎn)生了一種結(jié)構(gòu)致密化的空間。博物館1號(hào)發(fā)展出“同心遞減方陣”的概念，外圍邊界由柱子構(gòu)成，然后逐漸將柱子翻倍直到形成墻壁。同時(shí)也發(fā)展了“柱間空間”的概念（遵循從完全開(kāi)放到完全封閉的概念；從了無(wú)遮擋，到透明，半透，直到完全不透......）。博物館遭遇了空間的虛無(wú)...空間的失效。博物館是藝術(shù)的神圣棺槨，我很難想象獨(dú)自一人待在任何一座博物館里。

平行于德克薩斯住宅的研究（B面），一系列其他項(xiàng)目被建造。其中一個(gè)系列是木框架房屋的研究。另外一些則是所謂的“鋼琴住宅”，或稱(chēng)“變奏主題”?！颁撉僮≌庇射摬?、混凝土、磚石、灰泥和石膏建造。它們從單層結(jié)構(gòu)到三層結(jié)構(gòu)不等。其中三層住宅外立面切分音研究是最有意義的。外立面幾何形窗格與結(jié)構(gòu)框架單元（隱性結(jié)構(gòu)）對(duì)應(yīng)布置的空間操作，形成了一種對(duì)位關(guān)系。立面表皮沿時(shí)間框架的滑移既是基本的理性問(wèn)題，同時(shí)也是視覺(jué)問(wèn)題。

建筑外立面研究被帶到對(duì)一棟六層公寓大樓的深入研究。公寓樓各層樓平面與四個(gè)外立面上窗戶(hù)位置的設(shè)置關(guān)聯(lián)（如同音樂(lè)中的音符）。這個(gè)公寓樓平面是一個(gè)非常復(fù)雜的系統(tǒng)，相當(dāng)有難度。我在一個(gè)很深的方形區(qū)域里進(jìn)行操作，以俘獲和關(guān)聯(lián)到外立面。正如早期德克薩斯住宅3號(hào)的平面和立面研究一樣，這棟公寓樓住宅的外立面是對(duì)風(fēng)格派蒙德里安“音符”的第一次探討。

在這期間，曾進(jìn)行過(guò)兩個(gè)研究大跨度結(jié)構(gòu)的設(shè)計(jì)，一個(gè)是飛機(jī)庫(kù)設(shè)計(jì)，另一個(gè)是工廠(chǎng)設(shè)計(jì)。關(guān)于工廠(chǎng)的項(xiàng)目（最難的項(xiàng)目難題之一），其問(wèn)題在于“怎么協(xié)調(diào)（單一、無(wú)柱）大空間與一系列的小的辦公空間？”有嘗試建立一些原型。工廠(chǎng)辦公單元正立面再次強(qiáng)調(diào)了將結(jié)構(gòu)框架與對(duì)稱(chēng)-非對(duì)稱(chēng)的開(kāi)窗韻律相對(duì)位的概念，在時(shí)間框架上進(jìn)行“演奏”，完成一個(gè)循環(huán)（就像聯(lián)排住宅研究草圖里那樣）。

聯(lián)排住宅草圖

1954-1963年基本上是一段以單色進(jìn)行研究的時(shí)期，幾乎沒(méi)有使用任何顏色。這段研究有意地干澀、孤立、深入、還原，探尋某種特定的本質(zhì)。需要指出的是，當(dāng)?shù)驴怂_斯住宅研究于1954年開(kāi)始的時(shí)候，有一個(gè)計(jì)劃是花十年時(shí)間進(jìn)行這項(xiàng)專(zhuān)題研究，并希望每年完成一個(gè)住宅。但德克薩斯住宅研究在完成了七所房子之后于1963年終止了。方向突然發(fā)生了轉(zhuǎn)變，菱形住宅項(xiàng)目開(kāi)始出現(xiàn)。

本篇英文原稿及插圖來(lái)自于Mask of Medusa，by John Hejduk；