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What is Minimalism?
How did it come about?
How has it impacted art and architecture?
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Early Modernism
Erik Gunnar Asplund (1885-1940, Sweden)
Was originally known as a neoclassical architect but adopted
Modernist design sensibilities during the period between world wars.
Frequently collaborated with Sigurd Lewerentz, and Alvar Aalto
considered him to be a major influence.
Minimalism
Donald Judd (1928-1994, America)
Studied philosophy and acquired a masters degree in Art History.
Sustained himself by writing art criticisms for magazines and
maintained working friendships with artists such as Dan Flavin and
John Chamberlain.
Contemporary Minimalism
Peter Zumthor (1943-, Switzerland)
Apprenticed as a carpenter, attended an Arts Academy in Switzerland
and completed his architectural training at the Pratt Institute.
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Donald Judd
The 1960s:
During a time of social revolution,
including the Civil Rights Movement,
Vietnam war protests and the
beginning of the Gay Rights
Movement, Donald Judd rejected
the usual way of composing nonrepresentational art by adding
his own kind of clarity to art
making. Judd had a difficult time
understanding
and
producing
abstract expressionism which gave
way to believing that art did not need
to be representational.
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Peter Zumthor
Contemporary Society:
Technology has helped to create
a world where people move too
quickly through space and are
disconnected from physical reality.
Peter Zumthor wants people to slow
down, and rejects the virtual world
as he designs for an architecture
that needs to be experienced in
person.
He comes from a hands-on
background of carpentry and
woodworking, refuses to have a
website showcasing his works, and
writes very little about his projects.
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Donald Judd
15 WORKS IN CONCRETE
The works are comprised of pure geometries
resting on the floor or cantilevered from
the wall. Vibrant primary colours and
manufactured materials clearly define the
edges.
I was surprised when I made those first two
freestanding pieces, to have something set
out into the middle of the room. It puzzled
me. On the one hand, I didnt quite know
what to make of it, and on the other, they
suddenly seemed to have an enormous
number of possibilities.
-Donald Judd
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Peter Zumthor
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SKOGSKAPELLET
Deliberate preservation and addition
of trees exaggerate the contrast
between the rough and dark texture
of the forest and the geometric purity
of the chapel and its brightly lit interior
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SKOGSKAPELLET
A central skylight illuminates the
white painted interior of the chapel
Peter Zumthor
The collection of interior spaces of the thermal baths
engage the user, through a variety of sensory experiences. Light acts as a procession through the
collection of spaces. Movement is not directed or
controlled but the user is free to be draw to certain
light sources, with blue and red lights indicating the
temperature of pools in each chamber. A stip lighting
detail is used in the ceilings, to allow the natural light
to penetrate the spaces and act as a guide along
corridors and around corners.
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Donald Judd
LIGHT
Towards the end of his career, Judd became
interested in materiality and light. His works
developed a sensitivity to natural light, exploring changes in character and solidity at different times of the day. Coloured plexiglass,
relective metals and smooth painted surfaces
allowed him to create complexity with simple
surfaces.
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WOODLAND CEMETERY
A three dimensional grid system utilizes
abstract walls and columns to arrange
and compose the built forms.
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Donald Judd
CHAIR
The concept of structure coexists with
the overall shape of the object. Object
and structure become one and the
same, without an indication of structural hierarchy. Judd attempts to blur
componential aspects into one primary object, emphasizing its wholeness
and simplicity.
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Peter Zumthor
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Peter Zumthor
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SKOGSKYRKOGARDEN
The extent of the Woodland Crematorium is defined by a wall. The buildings appear to dissolve
into the forest behind like a ruined, ancient city
while the low wall provides a hard edge to the
rest of the open, manicured site
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Donald Judd
15 WORKS IN CONCRETE
The natural landscape is just another plane
for the art object to rest upon. The art creates an internal atmospsphere negating external relationships.
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Peter Zumthor
Zumthor elegantly respects the surrounding
context by enhancing site characteristics. The
Thermal Baths masterfully sit into the hillside of
Vals, acting as a natural rock form in the landscape. The stone that makes up the floor and
walls surfaces of the baths is quarried from the
local hills. He frequently employs local materials,
like the wood in the Chapel of St. Benedict.
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Donald Judd
ORDER
Judd insists on the independance of things - a
commitment fundamental to his art and life.
Modular objects at regular intervals reinforces
a lack of hierarchy, and the equal status of
each element.
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Peter Zumthor
VALS THERMAL
BATHS
An early diagram of the Thermal Baths demonstrates that
rom inception the project is
crafted by how one moves
through a series of interior
spaces. The diagram demonstrates the ideology of
how the user engages the
building. The experience of
spaces are key in the amplification of the sensory experience one has as they move
through the baths.
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Donald Judd
CONTAINMENT
Judd experimented with room-sized
installations where the experience became the entire facilitation, not just
the art. Using contemporary material,
Judd uses expansion and contraction
of space around the enclosure to define atmpsphere. He then moved onto
works about openess and defined the
space.
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Peter Zumthor
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Donald Judd
REPETITION
Repetition allows for multiple points of view of the
same object at once. Variations of form occuring
at regular intervals have no sense of hierarchy; all
parts are equally valued providing a sense of unity. Together simple elements become complex.
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Peter Zumthor
Donald Judd
VOLUME
Judd was fascinated with working with real
space - not the illusion of depth created by
paintings on a flat canvas. He defined volumes
with the edges of forms (ex. in between repeated elements, space between disconected
objects, and negative spaces), and through
subtraction. from pure geometries.
PRINCIPLES
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Peter Zumthor
Peter Zumthors architecture is ideology is the
creation of an architecture that enhances the
image of the surrounding fabric. His volumetric forms, are traditionally geometric always
elegantly fitting into the context. The volumetric
form, is the housing of the interior, and interior
that must ultimately enhance the functions of
a project. His volumetric manifestations are
resultants of the needs and uses of the interior
spaces.
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Donald Judd
ESSENCE
He believed that art did not need to represent
anything, not figure, gesture or movement that it could be understood simply as art - and
that materials, colour and volume could have
power in themselves.
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Peter Zumthor
Zumthor wants his buildings to allow the user to
experience themselves - through emotional response and physical sensations - and connect
to a place. He believes that architecture does
not need an underlying meaning to be powerful.
Architecture is not a vehicle or a symbol for
things that do not belong to its essence. In a
society which celebrates the inessential, architecture can put up a resistance, counteract the
waste of forms and meanings, and speak its
own language.
-Peter Zumthor from Ruby, Sachs and Ursprung, Minimal Architecture, 2003, p18.
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SKOGSKYRKOGARDEN
Asplund employs many means to
reinforce the themes of aging, death
and birth at the Crematorium.The
railroad station clock is bent over as
if exhausted.
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SKOGSKYRKOGARDEN
The lamps in the forecourts of the
chapels are in the form of candle
snuffers and the entrances to the
cremation ovens in the shape of
caskets
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Donald Judd
EXPRESSION
Judd did not grasp Abstract Expressionism - the prevalent art force in New York
during the 1950s. Instead, he outsourced
the manufacture of his pieces, denying the
need to demonstrate the artist and human
emotion in his work. He embraced machine-made materials so that the art could
speak for itself.
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Peter Zumthor
MINIMALISM
Minimalism
Develops as a reaction and rebellion against disputed contextual ideologies and institutions, such as
nationalism, expressionism, excess and detachment from the physical world.
Works are stripped down to their most fundamental features, but find complexity in the study of light,
materiality, structure and volume.
Power and meaning is to be found in the work itself. Historical and expressive content is reduced to a
minimum, if not non-existent.
Detailing is careful and essential to achieving the reductionist aesthetic.
Geometric forms, equality of parts, repetition of elements, neutral suraces and industrial materials are
common characteristics of minimalist works.
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Resources
Batchelor, David. Minimalism, Cambridge University Press,1997.
B. Jones, Peter. Modern Architecture Through Case Studies. Architectural Press. Oxford. 2002. p. 161-176
Cantz, Hatje, Donald Judd: Architecture, MAK Applied Arts, Germany, 2003.
Donald Judd, The Vancouver Art Gallery, Vancouver, 1978.
Donald Judd, Waddington Galleries, London, 1986.
Paavilainen, Simo. Hundred Years from the birth of Asplund. Arkkitehti, 1986. No.4. p. 52-59
Plummer, Henry. The Architecture of Natural Light, The Monacelli Press, China, 2009.
Ruby, Sachs and Ursprung, Minimal Architecture, Prestel, Munich, 2003.
Treib, Marc. A Reconciliation with History: Gunnar Asplund and an Architecture of the past. Architecture and Urbanism, April 1991. p. 38-65
Wrede, Stuart. The Architecture of Erik Gunnar Asplund. MIT Press. 1980
www.installationart.net
www.juddfoundation.org
www.moma.org
Images:
Corbusier image:
www.worldarchitecturenews.com
Thermal Baths:
Plummer, Henry. The Architecture of Natural Light, The Monacelli Press, China, 2009.
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Resources continued...
15 Works in Concrete:
Ruby, Sachs and Ursprung, Minimal Architecture, Prestel, Munich, 2003.
www.chinati.org
www.unc.edu
Steel boxes in Mafta, Texas gallery space:
Cantz, Hatje, Donald Judd: Architecture, MAK Applied Arts, Germany, 2003.
Ville Snellman Elevations:
http://diffusive.wordpress.com/2009/09/22/gunnar-asplund-villa-snellman-1917-18/
Gothenburg Law Courts Interior Piazza
http://upload.wikimedia.org/wikipedia/commons/4/4d/Asplund_R%C3%A5dhusannexet_G%C3%B6teborg_06_(pho
to_by_Seier_on_flickr).jpg
http://www.flickr.com/photos/pg/2362888941/
http://upload.wikimedia.org/wikipedia/commons/e/e2/Asplund_R%C3%A5dhusannexet_G%C3%B6teborg_04_(phot
o_by_Seier_on_flickr).jpg
Skogskapellet Interior
http://www.skogskyrkogarden.se/en/media/
Skogskapellet Exterior
http://www.flickr.com/photos/pg/2814171363/
Skogskapellet Sections and Elevations
Treib, Marc. A Reconciliation with History: Gunnar Asplund and an Architecture of the past. Architecture and Urban
ism, April 1991. p. 38-65
Stockholm City Library Exterior
http://cavin2009.com/japan/sweden/stockholm
http://www.panoramio.com/photo/33316
Gothenburg Law Courts Exterior
http://www.flickr.com/photos/pg/2362865621/
Woodland Cemetary
Wrede, Stuart. The Architecture of Erik Gunnar Asplund. MIT Press. 1980
Stockholm Exhibition
http://www.arkitekturmuseet.se/ung/utstallning/modernismen/english/default.html
http://www.aggregat456.com/2010/06/impure-opticality-or-when-urban-screens.html
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