The next formation was the creation of the Dag Hammarskj?ld Memorial. The text for the Memorial follows:

The Dag Hammarskj?ld monument results from the combining of ageometric theory with an actual physical environment.

The thrust lies in the geometric fundamentals of architecture from which the theoretical base of the square, cube, diagonal and contained field spring. These are universal tools and are put into interaction in order for adynamic equilibrium to emerge.

After visiting the United Nations site in New York the problem began to form. The site has the river to the East, the City to the West, the United Nations to the South, and nature could be introduced to the North. Here were five elements to work with, the fifth being the sky above. The initial diagram follows the combination of nature with the man-made. (Figure 1)

From the preceding diagram a geometric square and cube will emerge.

Given the cube in plan (a square) a window opening would be a square. Centralizing the roof square and projecting down to the Memorial floor surface locates the area for the geometric volume upon which Dag Hammarskj?ld’s name is placed.

This volumetric element is conceived as a 4’ X 4’ X 8’ rectangular volume split diagonally in half of which the upper four feet is further split at a diagonal.(Figure 2 & 3)

The block is entered from the North. The impact upon entry would create a visual torque. The exit would be at the opposite diagonal corner (Figure 4) but at a right angle to the entry; the weight started to shift and gave additional answers to the site development.

The entry and exit were now located, yet it was the intention that the cube remain pure (outside of the square window holes punched in). This meant that the detailing of the doors would have to present a hair line at the joints in order for the cube to read as a whole. When the doors were opened the cube becomes momentarily destroyed, a compromise to the forces of nature, yet symbolically significant.

The exact positioning of the square openings had to be determined. The roof square to the sky had been centralized; now for the other four. The view to the water and nature could be low. The view to the United Nation and the city could be high. (Figure 5 & 6)

The placement of the window facing the United Nations would be high opposite the entry. The view to water and the river would be low in a diagonal relationship to the United Nations window. These figures are similar but tipped. Now for the city and nature. They were projected from the central volume, one to the city, high; one to nature, low. (Figure 7)

Again, similar figures tipped. (Figure 8)

All five positions were now fixed.

The next problem was how to enter the cube at grade level, then rise up to the inner platform level. This was accomplished by the introduction of the right angle stairs which add to the impetus and tension of the space.(Figure 9)

The size is a 40-foot cube with a 2-foot thick supporting wall making the inner cube a 36-foot square. The roof structure is of reinforced concrete as is that of the inner wall structure. Both inner and outer surfaces are to be of a white cement.

When a cube is set on a flat plane there may be a lack of visual buoyancy. The Hammarskj?ld cube is placed on a slight pyramidal rise with the greatest leg of the pyramid at the entry side, the other three legs remaining equal.

The development of the surrounding area followed next. The contained field was one of the early a priori postulates. A contemplative area was another element desired thus the introduction of nature. A high wall would contain the total monument area with various openings for entry gate view, etc., punched into it.

Upon passing through the gate the observer is confronted by a forest of trees which have five direct paths leading through them towards the monument. The observer can choose and follow any one of the paths to the intermediate platform prior to the pyramid. Only one path is the largest and most direct of the five, being on axis with the entry of the cube. The forest can serve as a contemplative area. Upon exiting from the cube our hypothetical observer may walk to the east where there is a view to the river and a large reflecting pool, thus ending the cycle of the monument and the homage to DagHammarskj?ld.

Through the isometrics of the Hammarskj?ld memorial there began the faint murmurs of the future isometric projection systems of the Diamond Projects.?

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

接下來的信息是關(guān)于達(dá)格·哈馬舍爾德紀(jì)念堂的建造。關(guān)于這座紀(jì)念堂的文本如下：

達(dá)格·哈馬舍爾德紀(jì)念堂是抽象幾何理論與現(xiàn)實物質(zhì)環(huán)境相結(jié)合的產(chǎn)物。

其核心在于建筑的幾何基礎(chǔ)，它是正方形、立方體、對角線以及場域的理論基礎(chǔ)。而這些都是通用工具，它們相互作用，以形成某種動態(tài)平衡。

在拜訪過位于紐約聯(lián)合國的基地之后問題開始變得明晰。基地東邊是條河，西邊是城市，南面為聯(lián)合國，而大自然由北面引入。加上第五要素——頭頂?shù)奶炜?，共有五個要素需要考慮。最初的圖解源于將自然與人造物進(jìn)行結(jié)合。（圖1）

從上圖中可以看到一個幾何正方形以及（對應(yīng)的）立方體。

鑒于立方體的平面（正方形），其開窗也將是個正方形。屋頂正方形的幾何中心投射到紀(jì)念堂地面上，定義了用來放置刻寫格·哈馬舍爾德名字的幾何柱體的位置。

這個柱狀元素被設(shè)計成由一個4英尺x4英尺x8英尺的矩形柱沿對角線切成一半，然后在上部四英尺處沿對角線進(jìn)一步斜切而形成的體量。（圖2和圖3）。

這個方盒子由北側(cè)進(jìn)入。入口的影響將制造一個視覺扭矩。出口設(shè)置在對角線的另一側(cè)（圖4），并與入口形成直角關(guān)系。從而，重心開始轉(zhuǎn)移，對場地開發(fā)作出進(jìn)一步的回應(yīng)。

入口和出口的位置安排好了，然而仍意圖保持立方體的純粹（有窗洞打破了正方形的表面）。這意味著門的連接節(jié)點細(xì)部要表現(xiàn)的如發(fā)絲一般纖細(xì)以使立方體作為一個完整形體被讀解。當(dāng)門打開時，立方體被瞬間瓦解，這是對自然力量的妥協(xié)，但卻表現(xiàn)出極其重大的象征意義。

方形每一個開口的準(zhǔn)確位置需要被明確下來。屋頂對應(yīng)的天面開口已經(jīng)被居中布置，剩下另外四個。對應(yīng)河流與自然的視口應(yīng)該布置在較低位置，而對應(yīng)聯(lián)合國及城市的視口則應(yīng)布置在較高位置。（圖5和圖6）。

面對聯(lián)合國的窗口應(yīng)該設(shè)在入口正對面較高的位置。面對水與河流的窗口設(shè)置在低處與對應(yīng)聯(lián)合國的窗口成對角線關(guān)系。兩者數(shù)值（相對位置）相似但（方向）相反。接下來是對應(yīng)城市和自然的。這兩個窗口由中央柱體投射出來，一個對應(yīng)城市，位于高處；一個對應(yīng)自然，位于低處。（圖7）

同樣，數(shù)值相似但相反。（圖8）

所有五個位置現(xiàn)在都確定下來了。

接下來的問題是怎么從室外地坪進(jìn)入立方體，進(jìn)而上到室內(nèi)地坪。這是通過引入直角臺階來實現(xiàn)的，它增加了空間的動量與張力。（圖9）

正立方體尺寸為40英尺，其中承重墻厚兩英尺，從而內(nèi)部為36英尺見方的立方體。屋頂與內(nèi)墻同為鋼筋混凝土結(jié)構(gòu)。內(nèi)外墻面均涂抹白色水泥。

當(dāng)立方體被放置在平整面上，可能表現(xiàn)得缺乏視覺浮力。哈瑪舍爾德立方體被放置在微微金字塔狀隆起的場地，其中長邊位于入口一側(cè)，另外三邊保持相等。

對周邊場地條件的開發(fā)緊隨其后。其范圍是先在的基本條件之一。需要一個沉思的區(qū)域，因此引入了自然。一道高墻界定了整個紀(jì)念區(qū)的范圍，入口大門、視窗等一些列開口躍然其上。

穿過大門之后，參觀者將面對一片森林般茂密的樹林，樹林中有五條筆直的道路指引他們通向紀(jì)念堂。參觀者可以選擇沿其中任何一條走到金字塔形基地前的中央平臺。其中只有一條位于立方體入口軸線上的路是最寬闊且筆直的。這片森林可以作為沉思的地方。從立方體紀(jì)念堂出來，我們潛在的到訪者可能會散步到東側(cè)，在那兒可以看到那條河以及一大片鏡面水池，以此作為紀(jì)念堂以及瞻仰哈瑪舍爾德流線的終點。

哈馬舍爾德紀(jì)念館的正軸測圖開啟了未來“菱形宮”研究中關(guān)于正軸測投影體系的“微弱低語”。

1. 本篇英文原稿及插圖來自于Mask of Medusa，by?John Hejduk；

2. Dag Hammarskj?ld（達(dá)格·哈馬舍爾德），瑞典政治家，生于1905年，1953-1961年任聯(lián)合國秘書長，1961年9月乘飛機前往剛果調(diào)停戰(zhàn)火，途經(jīng)北羅得西亞恩多拉（今贊比亞），失事身亡。于逝世一個月后獲得諾貝爾和平獎。

3. 這個項目是平行于“德克薩斯住宅研究”進(jìn)行的。