Volume 21 by chinatifoundation

Chinati Foundation newsletter vol 21

Contents Contenido

Letter from the direCtor C a r ta d e l a d i r e C t o r a

Jenny moore 4

r o b e r t i r w i n , u n t i t L e d ( d aw n t o d u s k ) , 2 016 : t h e o p e n i n g r o b e r t i r w i n , s i n t í t u l o ( e l a m a n e C e r a l ata r d e C e r ) , 2 016 : l a i n a u g u r a C i ó n

david tompkins, photographs by / fotografías de alex marks 12

d o n a L d J u d d i n m a r fa d o n a l d J u d d e n m a r Fa

photographs and text by / fotografías y texto de Laura wilson 24

donaLd Judd: the ConCrete buiLdings donald Judd: los ediFiCios de hormigón

richard gachot 93

ConCrete buiLdings ediFiCios de hormigón

donald Judd 94

artists in residenCe a r t i s ta s e n r e s i d e n C i a

ricky swallow, matt Connors, ben thorp brown, sylvie auvray, uri aran, Jen rosenblitt 108

Chinati membership edition: erin shirreff ediciones para los afiliados de Chinati: erin shirreff

109

staff news noticias sobre nuestro personal

111

internship program Programa de becarios

112

funding, membership Financiación, afiliación

120

Visitor information información para visitantes

staff/board; Credits/Colophon Personal/Consejo ; reconocimiento/Colofón

the impact it has had on our visitors, is like nothing else. i believe it to be the culmination of his life’s work. irwin’s installation would not have been possible without the tremendous faith and generosity of Chinati’s current and past trustees, who remain committed to the idea that Chinati is a place that follows where artists lead. we are grateful for their enduring support. thank you to the hundreds of people who gave generously to our capital campaign: lead funders patrick Lannan and the Lannan foundation, Vernon and amy faulconer, Louisa stude sarofim and the brown foundation, the glimchers and pace gallery, John p. de neufville and John and Jill walsh, fayez sarofim and the sarofim foun-

sin título (el amanecer al atardecer), diecisiete años después de invitarle a hacerlo y días después de que el artista tomara sus decisiones finales sobre la creación de la obra. desde luego, siguió dándole vueltas. hay muchas personas que ayudaron a que esto fuera posible y no podemos mencionar sus nombres con la suficiente gratitud. así que, aprovecharé una nueva oportunidad en esta carta para hacerlo. ante todo, nuestro agradecimiento a robert irwin. durante más de sesenta años, bob se ha dedicado a una línea de investigación que le ha propulsado a través de la pintura y la escultura hasta las instalaciones en emplazamientos condicionados y la creación de experiencias que nos permiten meternos más profundamente en el acto de la percepción. todo esto al servicio de “descubrir el potencial para experimentar la belleza en todo” y “desvelar la naturaleza hermosa de ser.” nuestra experiencia respecto a su obra sin título (el amanecer al atardecer), y la oportunidad de ver en sólo unas cuantas semanas el impacto que ha tenido en nuestros visitantes, no tiene comparación. Creo que es la

when robert irwin was invited by marianne stockebrand to consider a permanent work for Chinati in 1999, he replied: “it’s such a special opportunity that i don’t want to shortchange the invitation. so i think i’ll keep everything in play for a while.” irwin did so for more than a decade and a half, keeping the faith and keeping his ideas for what the work could be alive and evolving. and so it was with joy, and no small amount of amazement, that Chinati opened irwin’s untitled (dawn to dusk) to the public for the first time on July 23, 2016, seventeen years after the invitation was extended and days after the artist made his final decisions in creating the work. keep it in play, indeed. there are many people who helped make this possible and we can’t mention their names in gratitude enough. so i will take one more opportunity in this letter to do so. first and foremost we thank robert irwin. for more than sixty years, bob has pursued a line of inquiry that has propelled him through painting and sculpture into site-conditioned installations and the creation of experiences that enable us to engage more deeply in the act of perception. all of this in service to “discovering the potential for experiencing beauty in everything” and “revealing the beautiful nature of being.” our experience of his untitled (dawn to dusk), and the opportunity to witness in just a few short weeks

culminación de la obra de toda su vida. la instalación de irwin no habría sido posible sin la tremenda fe y generosidad de los actuales y antiguos consejeros de Chinati, que siguen comprometidos con la idea de que Chinati es un lugar que sigue dónde guían los artistas. agradecemos su apoyo duradero. gracias a los cientos de personas que donaron generosamente a nuestra campaña de recaudación de capital: a los financiadores principales Patrick lannan y la Fundación lannan, a Vernosn y amy Faulconer, a louisa sarofim y la Fundación bronw, a los glimcher y a la galería Pace, a John P. de neufville y a John y Jill walsh, a

Cuando robert irwin fue invitado por marianne stockebrand a que considerase crear una obra permanente para Chinati en 1999, él respondió: “es una oportunidad tan especial que no quiero defraudar la invitación. así que, creo que seguiré dándole vueltas de momento.” irwin hizo eso durante más de una década y media, manteniendo la fe y manteniendo sus ideas respecto a cómo podría ser la obra, manteniéndola viva y en evolución. Y así, con alegría, y una cantidad considerable de asombro, por primera vez Chinati inauguró al público el 23 de julio de 2016 la obra de irwin

dation, david booth, the kirkpatrick family fund, still water foundation, Via art fund, and the individuals and foundations, many of whom gave not just once but a second or even a third time to help Chinati raise over five million dollars in a very short period of time. a particularly devoted group of people enabled this work to become a reality: rob weiner, Jeff Jamieson, kelly sudderth, peter stanley, anna grace irwin, Joey huppert, kyle wilhelm, Cooper Jamieson, Larry bamburg, and the entire staff at Chinati, John gutzler, gary Coombs, ford powell and Carson, dave gohlke, drew roberts, mark rutland, gabriel navejas, and whiting turner. they have our deepest gratitude for their commitment to irwin’s installation. the full roster of people who made a contribution is listed on page 112.

Fayez sarofim y la Fundación sarofim, a david booth, al Fondo de la Familia Kirkpatrick, a la Fundación still water, al Fondo de arte Via y a los individuos y las fundaciones, muchos de los cuales donaron no sólo una vez sino dos o incluso tres veces para ayudar a Chinati a recaudar más de cinco millones de dólares en un periodo de tiempo muy corto. un grupo de personas particularmente dedicado permitió que esta obra se hiciera realidad: rob weiner, Jeff Jamieson, Kelly sudderth, Peter stanley, anna grace irwin, Joey huppert, Kyle wilhelm, Cooper Jamieson, larr y bamburg y todo el personal de Chinati, John gutzler, gary Coombs, Ford Powell y Carson, dave gohlke, drew roberts, mark rutland, gabriel navejas y whiting turner. tienen nuestra más sincera gratitud por su compromiso con la instalación de irwin. la lista completa de personas que hicieron un donativo

ro b ert irw in at the Co nstruC tion site of his insta LLati on at C hi nati , oC tob er 2 015 . p hotogra p h b y a Lex m a rk s.

our thanks to each and every one of them. we would also like to recognize one of Chinati’s longest-serving trustees, brooke alexander, who stepped down from the board this year. donald Judd invited brooke to join the board over thirty years ago because he trusted brooke and knew that this small group of like-minded friends would protect what Judd had worked so hard to create. brooke has served the museum—its collection, staff, and fellow trustees—with boldness and wisdom. we wish to extend our gratitude for his deep friendship and everything he has done to foster and guide the spirit and well-being of Chinati. “what’s next?” i’ve been asked many times since irwin’s installation opened. while Chinati continues the education programs, artist residency, Chinati Presents series, internships, and many other endeavors (reports on all are included in this newsletter) that remain an essential part of the museum, we have begun the process of creating a master plan. we look forward to sharing the plan and hosting a symposium to present its findings in 2017. an aspect of Judd’s vision for Chinati that is considered in the master plan, a large unfinished project that stands at the far reaches of

se encuentra en la página 112. nuestros agradecimientos a cada una de ellas. también nos gustaría reconocer a uno de los consejeros más antiguos de Chinati, brooke alexander, que dejó la junta este año. donald Judd invitó a brooke a unirse a la junta hace más de treinta años porque confiaba en brooke y sabía que este grupo reducido de amigos de ideas afines protegería lo que Judd había creado con tanto trabajo. brooke ha servido al museo –a su colección, a su personal y a sus consejeros compañeros– con valentía y sabiduría. deseamos expresar nuestra gratitud por su profunda amistad y por todo lo que ha hecho para fomentar y guiar el espíritu y el bienestar de Chinati. “¿Y ahora qué?” me han preguntado muchas veces desde la inauguración de la instalación de irwin. mientras Chinati sigue con los programas de educación, las residencias para artistas, la serie Chinati Presenta, los periodos de prácticas y otros muchos empeños (hay informes sobre todo esto incluidos en esta publicación informativa) que siguen siendo una parte esencial del museo, hemos iniciado el proceso para crear un plan maestro. esperamos compartir el plan y organizar un simposio para presentar los hallazgos

the museum grounds, is the focus of this publication. the project consists of a series of ten buildings meant to house a range of Judd’s work in the permanent collection, and we are pleased to have recently installed for the very first time two of the largest sculptures—multi-part pieces in stainless steel (u and v channel)—in the ice plant in downtown marfa. the presentation of these never-beforeexhibited works will be celebrated over Chinati weekend 2016, when we will also inaugurate a yearlong program honoring Chinati’s 30th anniversary. there is, without a doubt, a renewed sense of possibility here, inspired by the opening of irwin’s installation, the commencement of a master plan, and the continuation of everything that makes Chinati so special. many of our friends, members, supporters, and visitors feel this excitement too. i believe it is rooted in the conviction first expressed by Judd and now continued by irwin that in this land of light and space, amongst peers and friends, a wonderful “situation for art” would take shape and remain here, to stand the test of time.

de esta publicación. el proyecto consiste en una serie de diez edificios cuyo objetivo es albergar una variedad de obras de Judd en la colección permanente, y nos complace ver recientemente instaladas por primera vez dos de las esculturas más grandes –piezas formadas por múltiples partes en acero inoxidable (canales u y v)– en el almacén ice Plant en el centro de marfa. se celebrará la presentación de estas obras, que nunca habían sido expuestas con anterioridad, durante el Fin de semana de 2016, cuando también inauguremos un programa de un año conmemorando el 30° aniversario de Chinati. hay, sin duda, una renovada sensación de posibilidades, inspiradas por la inauguración de la instalación de irwin, el inicio de un plan maestro y la continuación de todo lo que hace que Chinati sea tan especial. muchos de nuestros amigos, miembros, partidarios y visitantes también sienten esta emoción. Creo que está arraigada en la creencia expresada en primer lugar por Judd y continuada ahora por irwin de que en esta tierra de luz y espacio, entre colegas y amigos, tomaría forma y permanecería aquí un maravilloso “lugar para el arte”, que resistiría el paso del tiempo.

en 2017. un aspecto de la visión de Judd respecto a Chinati que se está considerando en el plan maestro –un gran proyecto inacabado que se encuentra en los confines del terreno del museo– es el enfoque

my warmest regards from marfa, Jenny moore

mis más cordiales saludos desde marfa, Jenny moore

robert irwin, untitled, (dawn to dusk), 2016 the opening, saturday, July 23, 2016

daVid tompkins

un cielo de color salmón mientras nos juntábamos en el patio. todo parecía

photographs by

muy nuevo: el edificio en sí, la hierba

early on friday, July 23, a few friends and visitors from elsewhere met for a sunrise viewing of the new robert irwin building at Chinati. a waning moon hung to the west in a salmon-colored sky as we assembled in the courtyard. it all looked very new—the building itself, the blue grama grass and palo Verde

aLex marks a primera hora del viernes, 23 de julio, unos cuantos amigos y visitantes de otras partes se reunieron a la salida del sol para una visita al nuevo edificio de robert irwin en Chinati. una luna menguante estaba suspendida al oeste en 4

grama azul y los árboles Palo Verde en sus lechos de acero corten, el cuadro de basalto levantado en el centro. dentro del edificio aún era bastante oscuro. aquellos de nosotros para los que ésta era la primera visita, hubo sorpresas de inmediato: la altura del techo, la anchura del corto pasillo de conexión del edificio en forma de u

trees in their beds of corten, the basalt tableau standing in the center. inside the building it was still fairly dark. for those of us whose first visit this was, there were immediate surprises: the height of the ceiling, the width of the u-shaped building’s short connecting corridor (much wider than the two long arms). the building is level but positioned so that the hill on which it rests seems to rise and gently envelop it. as a re-

sult, there is the subtle sense—a suggestion, really— that you’re walking uphill or downhill inside. the “light” side of the building (installed with translucent white scrim) delivers, through its untinted outward-facing windows, views of tall sky, strips of scrubby land, and spiky desert plants. the “dark” side (installed with black scrim) seems very different. it’s less sky-oriented or empyreal. it feels

(mucho más ancho que las dos secciones largas). el edificio está nivelado pero está posicionado para que la colina sobre la que descansa parezca subir y envolverlo suavemente. Como resultado, hay una sutil sensación –una sugerencia, en realidad– de que dentro se está caminando cuesta arriba o cuesta abajo el lado “claro” del edificio (instalado con tejido blanco translúcido) muestra, a través de sus ventanas exteriores no 5

tintadas, vistas del cielo alto, franjas de terreno cubierto de maleza y plantas del desierto con púas. el lado “oscuro” (instalado con tejido negro) parece muy distinto. no está tan orientado hacia el cielo ni es tan empíreo. Parece más terroso, ofreciendo, a través de sus ventanas tintadas, vistas (a esa hora todo estaba entre siluetas) del terreno de al lado con su casa, su cobertizo y su jardín lleno de cosas. lo que se ve es una imagen imperfecta de

earthier, offering, through its tinted windows, views (at this hour, all in silhouette) of the lot next door with its house, shed, and yard full of stuff. what you see is picture-imperfect marfa. the views ground the building in the west texas dirt. as the sun rose, it activated the eastside dark scrim wall in ways that were difficult to predict. as more light filled the building, subtle optical effects slowly grew complex. it

was hard to specify or elucidate the precise physics at work. you had to be patient and watch. these things take time. on either side of the building, in the first fully enclosed area, two windows look out into the open antechamber—one side tinted, the other left clear. irwin makes his methods plain, even if the results are not. he shows his hand, makes his mark.

marfa. las vistas encallan el edificio en la tierra del oeste de texas. a medida que salía el sol, se activó la pared con tejido oscuro en el lado este de maneras difíciles de predecir. a medida que la luz llenaba el edificio, unos sutiles efectos ópticos se volvían lentamente complejos. era difícil especificar o elucidar la física precisa que había en acción. se tenía que ser paciente y mirar. estas cosas requieren tiempo. en ambos lados del edificio, en la 6

primera zona totalmente cerrada, dos ventanas tienen vistas a la antecámara abierta: un lado está tintado, el otro se ha dejado transparente. irwin provoca que sus métodos estén a la vista, incluso si los resultados no lo están. muestra sus intenciones, deja su marca. de nuevo afuera, en el patio, mientras llegaba un grupo nuevo de visitantes, un gallo nos seguía sigilosamente. saltó encima de una maceta, se paseó hacia dentro y cacareó. he aquí otro

back outside in the courtyard, as a new group of visitors arrived, a rooster stalked in from the street. he hopped up onto a planter, paced further in, and crowed. here was another marfa element—a local, making himself at home. robert irwin was asked to consider a project for Chinati on the site of the former fort hospital in 1999. seventeen years later, the work is complete. it is the first addition to

the permanent collection since the John wesley gallery in 2004 and the dan flavin project in 2000. it is the only building-artwork—conceived not as a showcase for art but as a work of art itself—made by irwin anywhere. people have waited a long time to come see it. many—artists, art historians; colleagues, friends, and family of irwin and the museum—made the trip for the inaugural July week-

elemento de marfa: un residente local sintiéndose como en casa. a robert irwin se le pidió en 1999 que considerase un proyecto para Chinati en el emplazamiento del antiguo hospital del fuerte. diecisiete años después la obra está finalizada. se trata de la primera adición a la colección permanente desde la galería John wesley en 2004 y el proyecto de dan Flavin en 2000. se trata del único edificio-obra de arte –concebido no como una vitrina 7

para el arte sino como una obra de arte en sí misma– hecho por irwin en cualquier lugar. la gente ha esperado mucho tiempo para verlo. muchos –artistas, historiadores del arte; colegas, amigos y parientes de irwin y del museo– realizaron el viaje el fin de semana de la inauguración, en julio. la noche del viernes, en una recepción en la arena, andrew Cogan, presidente del consejo de Chinati, y Jenny moore, directora

end. on friday night, at a reception at the arena, Chinati board president andrew Cogan and director Jenny moore saluted robert irwin and thanked the numerous people who over many years helped make the project possible. on saturday morning, the artwork opened to the public at dawn and streams of visitors moved through it (or stationed themselves at fixed points to watch the changing patterns of light) all

day. up the hill a bit, Judd’s outdoor concrete pieces, his works in mill aluminum, and the dan flavin buildings were open for viewing so that guests could see how each artist, like irwin, orchestrated an experience of light, land, materials, and sky. on saturday afternoon at the Crowley theater in downtown marfa, associate director rob weiner talked with Jeff Jamieson, who works

de Chinati, saludaron a robert irwin y dieron las gracias a las numerosas personas que, a lo largo de muchos años, ayudaron a hacer posible el proyecto. la mañana del sábado, la obra de arte fue abierta al público al amanecer y oleadas de visitantes se movían por ella (o se colocaban en puntos fijos para ver las formas cambiantes de la luz) a lo largo del día. un poco cuesta arriba, las piezas de hormigón de Judd al aire libre, sus obras en aluminio con 8

acabado de molino y los edificios de dan Flavin estaban abiertos para que los invitados pudiesen ver cómo cada artista, al igual que irwin, orquestó su experiencia de la luz, el terreno, los materiales y el cielo. la tarde del sábado en el teatro Crowley del centro de marfa, rob weiner, director adjunto, habló con Jeff Jamieson, que trabaja estrechamente con irwin y se especializa en la instalación de sus piezas de tejido,

closely with irwin and specializes in the installation of his scrim pieces, about the history of the Chinati project. in many ways the story was one of long-term associations and relationships. Jamieson and weiner both worked for donald Judd. irwin was friendly with Judd and Judd collected irwin. marianne stockebrand curated an irwin exhibition at the kölnischer kunstverein in 1994; when she became director of China-

ti following Judd’s death, she invited irwin to consider a project for the museum. Jamieson became involved after an introduction by weiner. Jamieson and weiner showed slides documenting how irwin’s concept evolved over time. the old hospital’s open state—with no roof, it framed views of the land and sky—was a first inspiration, but when preserving it proved to be impossible, irwin resolved to erect a new building in

acerca de la historia del proyecto en Chinati. en muchos aspectos, se trataba de una historia de asociaciones y relaciones de largo plazo. tanto Jamieson como weiner trabajaron para donald Judd. irwin era amigo de Judd y Judd coleccionaba obras de irwin. marianne stockebrand comisarió una exposición de irwin en el Kölnischer Kunstverein en 1994; cuando se convirtió en directora de Chinati tras la muerte de Judd, invitó a irwin a que considerase 9

un proyecto para el museo: proyecto al que Jamieson se integró tras una presentación de weiner. Jamieson y weiner mostraron diapositivas documentando cómo evolucionó el concepto de irwin a lo largo del tiempo. el estado abierto del antiguo hospital –sin tejado, enmarcaba las vistas del terreno y el cielo– era una primera inspiración, pero cuando resultó imposible conser varlo, irwin decidió erigir un edificio nuevo siguiendo la

the footprint of the old. his design went through many iterations; the process took years. Construction finally began in 2015. there were challenges, unforeseen developments, and adjustments. Certain elements became clear to irwin only after periods spent on (and off) site. these things take time. Jamieson explained that his scrim-installation technique took years to develop. the scrim installation in the new

building took months. the help of irwin’s daughter anna grace was fundamental: she applied 38,000 staples; Jamieson 30,000. now that work is concluded, weiner noted, “we’ve just started learning about the building.” a community dinner at the arena saturday night featured barbeque, a mariachi band, and the opportunity for a sunset visit to the irwin building to bookend the day. now

planta del antiguo. su diseño pasó por muchas fases; el proceso duró años. la construcción acabó finalmente en 2015. hubo retos, desarrollos imprevistos y ajustes. Ciertos elementos le parecieron claros a irwin sólo después de pasar temporadas en (y fuera de) el emplazamiento. estas cosas requieren tiempo. Jamieson explicó que le costó años desarrollar su técnica para la instalación del tejido. la instalación del tejido en el edificio nuevo llevó meses. la 10

ayuda de la hija de irwin, anna grace, fue fundamental: ella aplicó 38,000 grapas; Jamieson 30,000. ahora que el trabajo ha concluido, weiner señaló, “sólo ahora hemos empezado a conocer el edificio.” la noche del sábado, una cena comunitaria en la arena incluyó una barbacoa, una banda de mariachis y la oportunidad de hacer una visita al atardecer al edificio de irwin para dar comienzo y final al día. ahora era el

it was the light wing that was mobilized as the sun sank to the west. here the windows look not back into town but out into open land. you could watch the light, the lights, dwindle and fade both within and without. full dark was a long time coming. in his essay “illusions,” emerson wrote: “the chapter of fascinations is very long.” things take time. Judd was patient; Chinati devel-

oped slowly. irwin visited for many years before finalizing his design. his artwork now stands as an invitation to take the time to visit—to visit and take the time to look. it invites people to come stand in the building and watch today’s light—to live and live in the day. this is the perpetual lure, the perceptual spell, of Chinati.

ala claro la que se movilizó a medida que el sol se ponía hacia el oeste. aquí las ventanas no miran hacia el pueblo sino al terreno abierto. se podía ver la luz, las luces, disiparse y desvanecerse tanto adentro como afuera. la oscuridad total tardó mucho en llegar. en su ensayo “ilusiones,” emerson escribió: “el capítulo de las fascinaciones es muy larga.” las cosas requieren tiempo. Judd era paciente; Chinati se desarrolló de forma lenta. irwin realizó 11

visitas durante muchos años al emplazamiento antes de finalizar su diseño. su obra de arte se presenta ahora como una invitación a tomarse su tiempo para visitarla –visitarla y tomarse su tiempo para mirarla–. invita a la gente a ponerse de pie en el edificio y mirar la luz de hoy – vivir y vivir el día. este es el atractivo perpetuo, el hechizo perceptual, de Chinati.

donald Judd in marfa

crete installations and reconstituted army barracks. Judd first came to this remote part of the country in the 1950s, when the army sent him cross-country by bus. the bus stopped in Van horn which was then, as it is now, west even of marfa. “Like a shack thrown up around a gumball machine,” Judd said. in marfa, all those years later, i photographed his concrete and mill aluminum works, his collections of navajo blankets and silver concho belts, and a mound of arrowheads which seemed to me to be as high as an elephant’s eye. in town i photographed his collection of european furniture and then the beautiful, curved 12-foot-high stone wall enclosures on his remote ranch. Just now, going back through my negatives to pull images for this newsletter, i am struck by how happy Judd looked then, how animated and easy. he seemed to enjoy the photographic process. Could i, meeting him that first time, have been mistaken? perhaps he was never suspicious. perhaps, it was i, upon meeting such an unusual person, someone so confident and sure of the strength of his vision that he had no need to adjust to anyone’s request, who was apprehensive and anxious. at the end of five days of hard work, Judd and i left on the same plane, he to missouri to see his parents and i back to my home in dallas. he told me he didn’t feel well; he said he’d picked up giardia from a stock tank’s bad water. as it turned out, sadly, Judd was mistaken. it was cancer. Judd never returned to marfa. two months later, he was dead. i was the last person to photograph him.

photographs and text by Laura wiLson

“i like bagpipes because they prohibit conversation,” donald Judd told me. he was talking about the music at the big fall barbeque he held each october with free brisket, beans, and beer for anyone who walked in, or rode in, or flew in, to marfa, texas. Local families, out-of-town visitors, and international art collectors all ate together at long wooden tables set right down the center of main street. a bonfire, like an exclamation point, lit up the night sky. the atmosphere, as you might imagine, was festive. but Judd expected everyone to sit in absolute silence once the pibroch piping started. donald Judd’s contradictory nature was immediately apparent to me. i had been sent in november 1993 by London’s Sunday Times Magazine to photograph Judd. at the time, there was great fascination in europe with Judd and his work. i had been asked to find him and contribute a photo essay on him—on where he lived and on how he lived. Judd had agreed, reluctantly, to the shoot because he was considering a large exhibition in London at whitechapel gallery. when i arrived in marfa, i found him suspicious of me, which made him difficult to photograph, and ornery, which made me like him. after a tentative first afternoon, Judd warmed to the process. i was then given the run of his spectacular location on the grasslands of far west texas where antelope roamed among the con-

donald Judd en marfa FotograFías Y teXto de laura wilson

“me gusta la gaita porque impide la conversación,” me dijo donald Judd. hablaba de la música en la gran reunión de otoño que organizaba cada octubre con barbacoa, alubias y cerveza gratuitas para todo el que llegaba a marfa a pie, en coche o en avión. las familias locales, los visitantes de fuera de la ciudad y los coleccionistas de arte internacionales comían juntos frente a largas mesas de pino en la arena. una hoguera, parecida a un signo de exclamación, iluminaba el cielo nocturno. el ambiente, como uno puede imaginar, era festivo; no obstante, Judd esperaba que todo el mundo se quedara totalmente quieto al comenzar las canciones Pibroch o Ceol mor. la naturaleza contradictoria de donald Judd me resultó bien visible de inmediato. la revista Sunday Times Magazine, de londres, me había enviado en noviembre de 1993 para fotografiar a Judd. en aquel entonces, había una gran fascinación en europa por Judd y su obra y me habían pedido que realizara un ensayo fotográfico de él, dónde vivía y cómo vivía. Judd había accedido, a regañadientes, a la sesión de fotos. Cuando llegué a marfa, él desconfiaba de mí, lo que le hacía difícil de fotografiar, y estaba malhumorado, lo que hizo que me cayera bien. 12

Yo tenía el uso exclusivo de su espectacular ubicación en las praderas del lejano oeste de texas donde los antílopes deambulaban entre las instalaciones de hormigón y los barracones reestructurados del ejército. Judd vino a esta parte del país por primera vez en la década de 1950, cuando el ejército le envió a atravesar el país en autocar. el autocar se detuvo en Van horn que, en aquel entonces, era un pueblo muy pequeño. “Parecido a una chabola montada alrededor de una máquina de bolas de chicle,” dijo. en marfa, fotografié sus obras de hormigón y de aluminio con acabado de molino, sus colecciones de mantas y cinturones navajo y una pila de puntas de flecha que me pareció tan alta como la de un ojo de elefante. Fotografíe su colección de muebles europeos y los hermosos y cur vados muros de piedra de 12 pies de altura en su remota hacienda. Justo ahora, mientras he estado revisando mis negativos para escoger imágenes para esta publicación informativa, me sorprende lo feliz que parecía Judd, estaba animado y relajado, y como parecía disfrutar del proceso fotográfico. ¿Podría haberme equivocada? tal vez nunca desconfió. tal vez fui yo –al conocer a una persona tan inusual, una persona tan confiada y segura de la fuerza de su visión que no necesitaba ajustarse a nadie– quien fuera aprensiva y ansiosa. al final de cinco días, marchamos en el mismo avión. Él se dirigía a missouri para ver a sus padres y yo volvía a dallas. me dijo que no se encontraba bien, que había contraído giardia mientras bebía de un tanque para ganado. se equivocaba. era cáncer. Judd nunca volvió a marfa. dos meses después, estaba muerto. Fui la última persona en fotografiarle.

do naL d J udd with inte rn s teV e rog er s in the arChite Cture of fiCe .

d o na Ld J ud d w ith intern s teV e rogers in the a rC hiteC ture of f i C e.

do na Ld J ud d in a rChiteC ture s tud io .

do naL d J udd at his ConCret e work s, Chinati fo un datio n.

donaLd Ju dd with as sistan t J effre y ko p ie in Chinat i fo un datio n barne tt ne wm an ex hibition .

d o na Ld J ud d w ith a s s is ta nt J ef f rey kop ie in C hinati f oundation a rti sts i n resi denC e a ndrea s ka rL sC huLz exhi b i ti on.

do naL d J udd in bus ines s offiCe .

do naL d J udd in Ch inati fo undation artis ts in r eside nCe an dreas kar L sChuL z ex hibitio n.

do naL d J udd in bank buiLd ing.

Richard Gachot is an associate professor of Art and Design at Lamar University. From 2005 to 2014 he was director of the Interior Design Program at Lamar. His publications include a monograph on a Russian émigré architect, Nicholas B. Vassilieve: from Art Nouveau to Modernism, and an upcoming critical reedition of W.K. Oltar-Jevsky’s Contemporary Babylon to be published by Kolo Editions in St. Petersburg, Russia.

Richard Gachot es profesor asociado de arte y diseño en la Universidad de Lamar. Desde 2005 hasta 2014 fue director del programa de diseño de interiores en Lamar. Sus publicaciones incluyen una monografía sobre el arquitecto ruso exiliado, Nicholas B. Vassilieve: from Art Nouveau to Modernism, y una futura reedición crítica de la obra de W. K. OltarJevsky, Contemporary Babylon, que será publicada por Kolo Editions en San Petersburgo, Rusia.

The Concrete Bu i l d i n g s Don al d J u dd

Richard Gachot

donald Judd: los edificios de hormigón Part i riChard gaChot

en la lejana esquina suroeste del complejo de la Fundación Chinati, en una 1. d o na Ld Jud d . ho riz o nta L wa LL pieCe (pro g res s io n), b uiLt f o r the Co nCrete b uiLd ings by 1980. tempo ra ry ins ta LLatio n.

colina adyacente a una carretera rural que lleva al pueblo fronterizo de rui-

lite complex to exhibit new work as well as to provide residential and offi ce space. this essay is an attempt to reconstruct a narrative around Judd’s concrete buildings, tracing their development and evolution, and concluding with possible directions for the future. the information was gathered beginning in the fall of 2013 and the narrative will undoubtedly evolve.

dosa, se encuentran dos edificios de hormigón con una distintiva línea de tejado en forma de bóveda. estas estructuras están aisladas de las demás en el Fuerte russell y ni siquiera están visibles desde la carretera arterial que sigue el arco de los barracones milita-

centro de la ciudad como, más tarde, en los terrenos del Fuerte d.a. russell. las ansias que sentía Judd por la construcción, la renovación y la planificación fueron motivadas por su búsqueda de una visión alternativa a la instalación del arte, que buscaba una perma-

donald Judd: the concrete buildings

res. un camino de tierra proporciona el

bles ahora sólo por sus vestigios en el

origins

de la mansana de Chinati, un laborato-

part i

suelo. ambos edificios están inacaba-

rio en continua evolución donde vivir,

riChard gaChot

acabado, sólo le faltan la puerta cen-

the concrete buildings are integrally tied to donald Judd’s permanent move to marfa (he became a resident in 1975) and his subsequent building projects, both downtown and, later, on the grounds of fort d. a. russell. Judd’s thirst for building, renovation, and planning was motivated by his pursuit of an alternative vision of art installation, which sought a permanence and congruence with its surroundings that was nearly impossible in the commercial temporality of the new york City art world. Judd began in 1973 with his development of the mansana de Chinati complex, a continually evolving laboratory for living, working, and art installation on an urban scale, which became known as “the block” because it took up an entire

acceso a las estructuras, después de un paseo de diez minutos por el emplazamiento de un antiguo campamento de prisioneros de guerra alemanes, visi-

que era casi imposible en la temporalidad comercial del mundo del arte en la ciudad de nueva York. Judd empezó en 1973 con su desarrollo del complejo

das y desgastadas. el primero está casi tral y los espacios para las ventanas. el segundo, con sus muros exteriores y sólo una de cinco secciones del tejado

in the far southwest corner of the Chinati foundation complex, on a hill adjacent to a country road that leads to the border town of ruidosa, sit two concrete buildings with a distinctive arcing roofline. these structures are isolated from the rest of the old fort russell and are not even visible from the arterial road that follows the arc of the army barracks. a dirt path provides access to the structures after a ten-minute walk across the site of a former german pow camp, now visible only in ground traces. both buildings are unfi nished and worn. the first is almost complete, missing only its central door and window bays. the second, with its exterior walls and just one of fi ve roof sections fi nished, opens to the blue sky, the bright sun casting dark shadows on a heavy timber framework intended as a temporary support for the unmade roof sections. while their patina suggests these structures might be vestiges of the original fort compound, they are in fact all that remain of donald Judd’s unfinished concrete buildings project: a group of ten structures designed by the artist as a major satel-

nencia y congruencia con su entorno

acabada, se abre al cielo azul, el sol brillante que proyecta sombras oscuras en un armazón pesado de madera destinado como soporte temporal de las secciones no construidas del tejado. aunque su pátina sugiere que estas estructuras podrían ser los vestigios del recinto del fuerte original, en realidad son todo lo que queda del proyecto inacabado de edificios de hormigón que hizo donald Judd: un grupo de diez estructuras diseñadas por el artista como una filial mayor, para exhibir obras nuevas así como para proporcionar espacio residencial y de oficina. este

trabajar e instalar arte a una escala urbana, que se conoció como “la mansana” porque ocupaba una manzana entera del centro de marfa. luego, en 1979, se sintió alentado por expandir su “proyecto marfa.” heiner Friedrich, director de la dia art Foundation, propuso que el artista estableciera una ubicación permanente para el arte en los terrenos de una propiedad aún más grande: una base del ejército abandonada justo al sur de la ciudad, el Fuerte d.a. russell. Judd optó por centrarse en la obra de tres artistas: dan Flavin, John Chamberlain y en sí mismo. Financiado por dia, Judd llegó a un acuerdo contractual para transformar los edificios existentes y los 340 acres de la pradera circundante en un complejo para obras creadas específicamente

ensayo es un intento de reconstruir una

para el emplazamiento e instaladas de

narrativa alrededor de los edificios de

forma permanente. el contrato encargó

hormigón de Judd, siguiendo su desa-

a Judd la creación de arte nuevo, inclu-

rrollo y evolución, y concluyendo con

yendo cien piezas de aluminio para los

posibles directrices para el futuro. la

salones de los hangares existentes de

información fue reunida a partir del

artillería que pertenecían al fuerte, una

otoño de 2013 y la narrativa evolucio-

serie de grandes obras de hormigón al

nará sin duda.

aire libre para el campo adyacente y dieciocho piezas adicionales para ser

orígenes

instaladas en emplazamientos aún por

los edificios de hormigón están unidos

determinar.

íntegramente al traslado permanente

estas dieciocho obras de arte incluían trece obras horizontales (“progresio-

de donald Judd a marfa (se convirtió en residente en 1975) y sus posteriores

2. CLa ud e a rms tro ng . La ma ns a na d e Chinati w ith pro po s ed b uiLd ing s . und ated . (hig hLig hted b y a utho r).

proyectos de construcción, tanto en el 26

nes”) [fig. 1], tres “pilas” verticales y dos piezas independientes. todas las

block of downtown marfa. then, in 1979, he was encouraged to expand his “marfa project.” dia art foundation director heiner friedrich proposed that the artist establish a permanent situation for art, on the premises of an even larger property, an abandoned army base just south of the city, fort d. a. russell. Judd elected to focus on the work of three artists: himself, dan flavin, and John Chamberlain. funded by dia, Judd entered into a contractual agreement to transform the existing buildings and 340 acres of surrounding prairie into a complex for site-specifi c and permanently installed work. the contract commissioned Judd to create new art, including one hundred aluminum pieces for the halls of the fort’s extant artillery sheds, a series of large outdoor concrete works for the adjacent field, and eighteen additional pieces to be installed in sites yet to be determined. these eighteen artworks included thirteen horizontal works (“progressions”) [fig.1], three vertical “stacks,” and two freestanding pieces [u and v channel; see back cover]. all the pieces were purchase-ordered by

piezas fueron fabricadas antes de 1980 y posteriormente almacenadas. “después de un tiempo,” Judd se dio cuenta, “se hizo evidente que no había planes para su instalación.” 1 dado el alcance y la complejidad de los proyectos que Judd tenía en construcción entre 1980 y 1985 –el desarrollo de la mansana y los edificios de lana y angora en el centro, así como los dos hangares de artillería, los múltiples barracones militares, la arena y las quince esculturas de hormigón en el campo del emplazamiento del Fuerte russell–, no sorprende que las dieciocho obras de Judd almacenadas aún no hubiesen encontrado un hogar. aún así, una ano-

4. d o na Ld Jud d . new ea s t b uiLd ing f o r La ma ns a na d e Chinati, a ug us t 12, 1984. Judd foundation arChiVes.

tación fechada el 30 de marzo de 1983 confirma que el artista siguió buscando una solución. también incluye la primera mención del proyecto de los edificios de hormigón: Proporcionar nuevos edificios necesarios para la instalación de mis piezas hechas bajo el primer contrato, progresiones, pilas y dos grandes piezas de acero. los edificios tendrán una estructura con un marco de acero y de hormigón vertido y cada uno medirá cuarenta pies por cuarenta pies. 2

5. d o na Ld Jud d . new w es t b uiLd ing f o r La ma ns a na d e Chinati, no V emb er, 1984. Judd foundation arChiVes.

1980 and subsequently put in stor19 age. “after a while,” Judd realized, “it became evident that there were no plans for their installation.”1 given the scope and complexity of the projects Judd had under construction between 1980 and 1985—development of the block and the wool and mohair buildings downtown, as well as the two artillery sheds, the multiple army barracks, the arena, and the fifteen concrete sculptures in the field on the fort russell site—it’s not surprising that Judd’s eighteen works in storage had not yet found a home. even so, a note dated march 30, 1983, confirms that the artist continued to look for a solution. it also includes the fi rst articulation of the concrete buildings project:

3. donaLd Ju dd. sit e p L an fo r L a man s a na d e C h i nat i . und at e d . t h i s d r aw i ng f o r t h e b L o Ck Co mpLex s how s prop o se d st ru C t u re s in C L u ding t h e e a s t b ui L d i ng t o t h e L e f t o f t h e C i r C L e a nd t h e new w es t buiLding to t h e rig h t o f t h e C irC L e . J ud d f o und at i o n a r C h i Ve s .

mientras Judd trabajaba en los esbozos para el proyecto del Fuerte russell, también incubaba ideas para los edificios de hormigón. PreCedente

la mención que hace Judd de los edificios hechos de “una estructura con un marco de acero y de hormigón vertido y cada uno medirá cuarenta pies por cuarenta pies” es extrañamente específica y de hecho señala directamente a la fuente del proyecto de los edificios de hormigón. en abril de 1983, Judd comenzó a diseñar dos edificios nuevos para su casa en el complejo de la mansana de Chinati [figs. 2, 3]. incluirían espacios para la residencia y la instalación del arte y se erigirían en ambos lados del eje central del recinto. el edificio este [fig. 4], adyacente

provide new buildings necessary

a las dependencias residenciales exis-

for the installation of my pieces

tentes, iba a tener una planta cuadrada

done under the fi rst contract, pro-

mientras que el edificio oeste [fig. 5],

gressions, stacks and two large

colocado en un espacio abierto, sería

steel pieces. the buildings are to

rectangular. ambos estaban armados

be steel frame and poured concrete

en acero, con paneles de relleno de

construction with each measuring

hormigón, y sus formas eran sencillos

forty feet by forty feet.2

volúmenes cúbicos rematados por teja-

en la renovación de su edificio de hierro fundido en la calle 101 spring de la ciudad de nueva York (1968) y en la creación de su primera casa en marfa, la mansana de Chinati o “the block” (1974). siguieron otras renovaciones de edificios en el centro de marfa, la transformación del abandonado Fuerte russell en la Fundación Chinati (1979) y su casa en una antigua posada suiza, eichholteren (1989). Paralelamente, combinaba esta práctica “arquitectónica” con su trabajo en el diseño de muebles a partir de 1973. la biblioteca personal de Judd en la 6 . Quons et hut “rede sig n “ wit h V e rt iC aL side wa L L s , pat e nt e d i n 19 41 . phot o undated.

7. a Ld o ro s s i. d raw ing f o r the V iLLa at b o rg o tiCino . 1973.

while Judd worked on sketches for the fort russell project, he was also incubating ideas about the concrete buildings.

occurred simultaneously. with their visual similarities and overlapping dates, the projects were even confused in a 1991 book on Judd’s architecture by peter noever, published in conjunction with an exhibition at the museum of applied arts in Vienna.

mansana de Chinati refleja este interés, con docenas de libros sobre arquitectura y

dos redondeados en bóveda de cañón. el edificio este iba a albergar piezas de Chamberlain instaladas en la planta baja, mientras que la segunda planta iba a albergar una galería de “dibu-

PreCedent

jos y grabados antiguos” rodeando un

Judd’s mention of buildings made of “steel frame and poured concrete construction … each measuring forty feet by forty feet” is curiously specific, and indeed points directly to the concrete buildings project’s source. in april 1983, Judd began designing two new buildings for his home in the mansana de Chinati complex [figs. 2, 3]. they would include spaces for living and for art installation, and were to be erected on either side of the compound’s central axis. the east building [fi g. 4], adjacent to the existing residential quarters, was to be square in plan, while the west building [fig. 5], placed in open space, would be rectangular. both were framed in steel, with concrete infi ll panels, and their forms were simple cubic volumes topped by round barrel-vaulted roofs. the east building was to have Chamberlain pieces installed on the ground floor, while the second floor was to house a gallery of “old drawings and prints” surrounding a bedroom. the west structure was larger and divided into quadrants. one space was marked for the exhibition of artifacts indigenous to the northwest coast, a second for old paintings, a third for Judd’s horizontal progression works, and the fourth for a purpose yet to be designated. Later drawings, dated november 1984, indicate a second floor, its purpose not specified. these buildings were never erected, although a one-story temporary structure currently follows the perimeter of the planned western building. Judd’s design of the concrete buildings and his project for new structures at La mansana de Chinati apparently

dormitorio. la estructura oeste era más

urbanismo,

prefiriendo

los

modernistas y mostrando una debilidad particular por louis Kahn. Judd citaba a menudo el museo Kimbell que hizo Kahn en Fort worth, texas, y su perfil puede ser visto como una influencia para la forma de los edificios de hormigón. Judd daba conferencias en muchas escuelas de arquitectura y escribía

grande y estaba dividida en cuadrantes. un espacio estaba destinado a la

arChiteCture

ensayos sobre el tema así como reseñas

exposición de artefactos indígenas de

it is worth noting that Judd had a longstanding engagement with architecture and design. in 1947, while in the army and before entering college, he wavered between pursuing a career as an architect or an artist. the need to “deal with clients and the public” and “the business of a firm” persuaded him to choose the latter. nevertheless, architecture remained a lifelong interest that found its fi rst manifestations in the renovation of his cast-iron building at 101 spring street in new york City (1968) and the creation of his first home in marfa, La mansana de Chinati or the block (1974). other building renovations in downtown marfa, the transformation of the abandoned fort russell into the Chinati foundation (1979), and his home in a former swiss inn, eichholteren (1989), followed. paralleling this “architectural” practice was his work in furniture design, beginning in 1973. Judd’s personal library at La mansana de Chinati refl ects this interest, with dozens of books on architecture and urbanism, favoring modernists and showing a particular fondness for Louis kahn. Judd often cited kahn’s kimbell museum in fort worth, texas, and its profile can be seen as one source of the concrete buildings’ form. Judd lectured at many architecture schools and wrote essays on the subject as well as critical reviews. “most buildings are far inferior to engineering projects,” 3 he famously wrote in his review of the Twentieth Century Engineering exhibition at the museum of

críticas. “la mayoría de los edificios

la costa noroeste, un segundo espacio para cuadros antiguos, un tercer espacio para las obras de progresiones horizontales de Judd y el cuarto espacio para una finalidad aún por determinar. unos dibujos posteriores, fechados en noviembre de 1984, indicaban una segunda planta, cuya finalidad aún estaba por determinar. estos edificios nunca fueron erigidos, aunque actualmente una estructura temporal de una planta recorre el perímetro del edificio oeste planificado. al parecer, el diseño de Judd para los edificios de hormigón y su proyecto para las estructuras nuevas en la mansana de Chinati tuvieron lugar de manera simultánea. Con sus similitudes visuales y fechas coincidentes, los proyectos incluso fueron confundidos en un libro de 1991 sobre la arquitectura de Judd escrito por Peter noever y publicado en colaboración con una exposición en el museo de artes aplicadas de Viena. arQuiteCtura

Vale la pena señalar que Judd tenía un

compromiso

duradero

con

arquitectura y el diseño. en 1947, mientras ser vía en el ejército y antes de entrar en la universidad, se debatió entre hacer carrera como arquitecto o como artista. la necesidad de “tratar con los clientes y el público” y “el negocio de un estudio” le persuadieron para escoger esta última opción. no obstante, la arquitectura siguió teniendo un interés duradero que encontró sus primeras manifestaciones 28

son muy inferiores a los proyectos de ingeniería,” 3 escribió de manera célebre en su reseña de la exhibición Twentieth Centur y Engineering en el museo de arte moderno en 1964. Judd contrastó la arquitectura con el arte, vinculando la una con la función y caracterizando al otro como “inútil,” pero también distinguió la arquitectura de la construcción, diciendo que la primera era intencionada mientras que la segunda era conveniente. 4 Con respecto a la arquitectura, Judd parece haber preferido un intercambio de ideas, de forma y de estructura dentro de un contexto dado. en marfa, sus materiales eran los de los edificios locales industriales y militares. Para la forma esencial, recurrió a lo tipológico y a lo vernáculo. los arcos en forma de bóveda de cañón y las bases cúbicas de los edificios de hormigón, por ejemplo, hacen referencia a las cabañas Quonset [fig. 6]. tal y como él explica, debido a la existencia previa de los edificios, mi interés por la arquitectura es secundario. si pudiera comenzar de nuevo, los dos intereses serían congruentes. Pero he intentado incorporar con cuidado los edificios existentes en un complejo completo. no han sido cambiados, sólo pulidos. Cualquier idea bonita pero rudimentaria que había, como el claristorio, ha sido llevada a su finalización. es muy importante que todas las estructuras funcionen juntas, que sean “modestas y atrevidas” entre sí. los edificios viejos no deberían arrastrar a los nuevos ni los nuevos denigrar a los viejos. los conflictos que se

modern art in 1964. Judd contrasted architecture and art, linking the one with function and characterizing the other as “useless,” but he also distinguished architecture from building, calling the former intentional and the latter expedient.4 with regard to architecture, Judd appears to have favored a cross-fertilization of ideas, form, and structure within a given context. in marfa, his materials were those of local industrial and military buildings. for the essential form, he looked to the typological and the vernacular. the concrete buildings’ barrel-vaulted arcs and cubic bases, for example, reference the construction of local Quonset huts [fig. 6]. as he explains,

ven por todas partes entre lo viejo y lo

de la planificación urbana y, posible-

nuevo son evitables. 5

mente, podría haberle tomado prestada su característica puerta/ventana de cuatro cuadros.

Judd era muy crítico con las referencias historicistas hechas por el actual posmodernismo arquitectónico de Philip

el Primer diseÑo

Johnson y michael graves. era igual-

los primeros dibujos que se conocen

mente crítico con la novedad gratuita

para los edificios de hormigón fueron

del emergente movimiento deconstruc-

hechos el 30 de diciembre de 1985,

tivista, particularmente el formalismo

10. d o na Ld J ud d . f Lo o r pLa n f o r1s t s Cheme w ith s teeL f ra me a nd Co nCrete pa neLs . d eCemb er 30, 1985. J ud d f o und atio n a rChiV es .

de Frank gehry. a mediados de los 80, Judd trabajó con la arquitecta italiana

justo dos meses después de una serie de esbozos para las estructuras nuevas en la mansana de Chinati. los dibujos

lauretta Vinciarelli, y es posible que se

ever nice but rudimentary ideas

para los edificios de hormigón tienen

sintiera atraído por la escuela europea

that were there, such as the clere-

una sorprendente semejanza con el

del “regionalismo crítico,” tal y como

story, are taken to completion. it’s

proyecto anterior, tanto en el uso de

destacó en un ensayo trascendental

very important that all the structures

una estructura con marco de acero con

Kenneth Frampton, colega de Vinciare-

work together, be “meek and bold”

paneles de hormigón como en el uso

lli en la universidad de Columbia. 6 el

among themselves. the old build-

formal de una base cuadrada con un

regionalismo crítico buscaba una com-

ings should not drag down the new

tejado abovedado semicircular, como

due to the prior existence of the

prensión no reductiva de la arquitectu-

or the new denigrate the old. the

se puede ver en dos esbozos de alzado

buildings my interest in architecture

ra modernista, reflejando las influen-

confl icts you see everywhere be-

[figs. 8, 9]. la principal diferencia es la

is secondary. if i could start over

cias regionales en lugar de un “estilo

tween old and new are avoidable.5

adición de un par de ventanas de cua-

the two interests would be congru-

internacional.” aún así, la arquitectura

ent. but i’ve carefully tried to incor-

vernácula moderna propia de Judd está

porate the existing buildings into

un poco en deuda con arquitectos euro-

a complete complex. they are not

peos como aldo rossi [fig. 7], del cual

changed, only cleaned up. what-

podría haber aprendido mucho acerca

tro cuadros encima de la puerta y sin

Judd was highly critical of the historicist references being made by the current architectural postmodernism of philip Johnson and michael graves. he was equally critical of the gratuitous novelty of the nascent deconstructivist movement, particularly the formalism of frank gehry. in the mid -1980s, Judd worked with the italian architect Lauretta Vinciarelli, and he may have been drawn to the european school of “critical regionalism,” as outlined in a seminal essay by Vinciarelli’s colleague at Columbia university, kenneth frampton. 6 Critical regionalism sought a nonreductive understanding of modernist architecture, reflecting regional influences rather than an “international style.” even so, Judd’s own modern vernacular is not without some debt to european architects such as aldo rossi [fi g. 7], from whom he may have learned much about urban planning and possibly borrowed his signature four-square door/window.

8. donaLd Ju dd. e L e Vat io n fo r 1 st sC he m e w i t h s t e e L f r a m e a nd C o nC r e t e pa ne L s f o r 2 - s t ory b uiLd ing . deCember 30, 19 8 5 . J u dd fo u n dat io n a r C h i Ve s .

adornos en el proyecto para la mansana de Chinati. Cinco hojas de dibujos fueron hechas el 30 de diciembre: tres alzados, un plano de planta y una hoja de detalles. los alzados muestran de nuevo los edificios con un marco de acero expuesto y paneles de relleno de hormigón: uno es para un edificio de una sola planta y los demás para un edificio de dos plantas. el plano de planta muestra un cuadro de cincuenta-por-cincuenta pies con una única puerta central giratoria [fig. 10]. es un poco más grande que el edificio este de aproximadamente treinta-por-treinta propuesto para la mansana de Chinati. un pequeño plano del emplazamiento, dibujado al lado de uno de los alzados, muestra una cuadrícula de nueve cuadros con ocho edificios que siguen el perímetro y que dan a un módulo central abierto. el número total de edificios necesarios para albergar las piezas de Judd serán siete u ocho: uno para las pilas verticales, dos para las piezas independientes y cuatro o cinco edificios para las trece

9. donaLd Ju dd. e L e Vat io n fo r 1 st sC he m e w i t h s t e e L f r a m e a nd C o nC r e t e pa ne L s f o r 1 - s t ory b uiLd ing . deCember 30, 19 8 5 . J u dd fo u n dat io n a r C h i Ve s .

First sCheme

progresiones horizontales.

the first known drawings for the concrete buildings were made on december 30, 1985, just two months after a series of sketches for the new structures at La mansana de Chinati. the concrete buildings drawings bear a striking resemblance to the preceding project, both in the use of a steel-frame structure with concrete panels and the formal use of a square base with a semicircular vaulted roof, as seen in two elevation sketches [fi gs. 8, 9]. the principal difference is the addition of a pair of four-square windows above the door, which is unadorned in the project for La mansana de Chinati.

el sistema estructural con marco de acero y paneles de hormigón aparece esbozado tanto en el plano como en la hoja de detalles [fig. 11]. aparecen señaladas unas vigas i de seis pulgadas, pero aún no está claro si los paneles de hormigón han de ser insertados en el reborde de la viga i o enganchados como revestimiento externo: parece que se están considerando ambos enfoques. el muro insertado está marcado como de 4.5 pulgadas de grueso, con tres divisiones iguales de 1.5 pulgadas, tal vez sugiriendo un sistema de paneles de hormigón estructuralmente aislado. otros dos esbozos sugieren paneles externos de 1.5 pulgadas de

grosor enganchados a un marco de acero interior. una escalera central conduce al segundo nivel del edificio de dos plantas. en esta fase, no se ha señalado el propósito de la planta superior; luego fue designada como espacio residencial y oficinas. la iluminación parece provenir enteramente de fuentes naturales: una 11. donaLd Judd. s tru C t u raL de taiL drawin g s f o r 1 st sCheme w ith s te e L frame an d C o C re t e pane L s . d e C e mber 30, 1985. J u dd fo u n dat io n arC h iV es .

five sheets of drawings were made on december 30: three elevations, a floor plan, and one detail sheet. the elevations again show buildings with an exposed steel frame and concrete infill panels: one is for a single-story and the others for a two-story building. the floor plan depicts a fifty-byfifty-foot square with a single central pivoting door [fig. 10]. this is slightly larger than the roughly thirty by thirty east building proposed for La mansana de Chinati. a small site plan, drawn to the side of one of the elevations, shows a nine-square grid with eight buildings following the perimeter and facing an open center module. the total number of buildings necessary to contain Judd’s pieces is to be either seven or eight: one for the three vertical stacks, two for the freestanding pieces, and either four or five buildings for the thirteen horizontal progressions. the steel-frame and concrete-panel structural system is sketched on both the plan and the detail sheet [fig. 11]. six-inch i-beams are indicated, but it is not clear yet whether the concrete panels are meant to be inserted into the i-beam flange or attached as external cladding—both approaches

puerta y ventanas superiores acristaladas. no se menciona nunca la iluminación artificial o la electricidad en el proyecto de los edificios de hormigón. el emPlaZamiento

el emplazamiento considerado en un principio para los edificios de hormigón estaba al lado del complejo de la arena, un antiguo cobertizo de equitación convertido en un espacio residencial. 7 no obstante, esta idea fue abandonada en favor del emplazamiento más aislado ubicado al oeste, entre 12. ma p o f ma rfa , tex a s , s ho w ing d o w nto w n J ud d pro perties a nd f o rt d . a . rus s eL (Chinati foundation). s ite o f Co nCrete b uiLd ing s is hig hLig hted in red . Jud d f o und atio n a rChiV es .

los barracones militares y la carretera del Cañón Pinto (Fm 2810) [fig. 12]. la

seem to be under consideration. the inserted wall is marked as 4.5 inches thick, with three equal 1.5-inch divisions, perhaps suggesting a structurally insulated concrete panel system. two other sketches suggest 1.5-inchthick external panels attached to an interior steel frame. a central stair leads to the second level of the two-story building. at this stage, the upper floor’s purpose was not indicated; it was later assigned to living space and offi ces. the lighting appears to be entirely from natural sources: a glazed door and upper windows. no mention is ever made of artificial illumination or electricity in the concrete buildings project.

ubicación encima de una colina proporcionaba una vista de gran alcance al este del Fuerte d. a. russell y, más allá, de las llanuras y las montañas. hoy en día, todo lo que queda del campamento usado para albergar a prisioneros alemanes durante la segunda guerra mundial son los cimientos del edificio y dos caminos de hormigón que conducen a los barracones [fig. 13]. Judd tenía la intención de conser var estos vestigios: el emplazamiento es alto y, como es habitual, la vista se extiende largamente. el terreno es, aparentemente, una zona de pastoreo abierto pero en la hierba se encuentran los cimientos y los caminos –incluso un par de pequeños jardines de rocas– de un complejo

que albergaba prisioneros de guerra alemanes durante la segunda guerra mundial. el terreno ya estaba usado y dañado y estará más limpio, comparado con sus inicios, cuando el complejo nuevo esté finalizado. los edificios están colocados directamente en la zona de pastoreo sin límite o transición y el drenaje de los tejados se conser va para que los edificios no se vean bordeados por las malas hierbas. 8

el concepto de “terreno dañado” es importante en la opinión de Judd con respecto a la conser vación de recursos naturales: se negó a construir en terreno virgen. todas las ideas, aparentemente sencillas y fáciles, son difíciles de comprender para la gente. una de las más difí-

site

the site originally considered for the concrete buildings was next to the arena complex, a former riding shed converted to living space.7 this, however, was abandoned in favor of the more isolated site, located to the west, between the army barracks and the pinto Canyon road (fm 2810) [fi g. 12]. the hilltop location provided a sweeping easterly view of fort d. a. russell and the plains and mountains beyond. today all that remains of the camp used to house german prisoners during world war ii are building foundations and two concrete walks that led to the barracks [fig. 13]. Judd intended to preserve these vestiges:

1 3 . photograph of C o n C re t e bu iL din g sit e sho w i ng t r a C e s o f p r i s o ne r o f wa r b a r r a C k s on ground in fro n t o f we st bu iL din g . ( taken b y a ut h o r ) .

ciles es la de dejar el terreno en paz: dejarlo en paz o devolverlo a su estado natural. 9

ColaboraCión Con robert KirK

Judd colaboró en el proyecto de los edificios de hormigón con robert d. Kirk, arquitecto cualificado por la universidad texas a&m, que luego fundó una empresa de consultoría de hormigón arquitectónico en dallas. durante la década de los 70, Kirk trabajó en varios proyectos con el arquitecto Philip Johnson (incluyendo la Kennedy memorial Plaza de dallas) y actuó como consultor en numerosos proyectos en los estados unidos, China y la república dominicana. Kirk vino a marfa por primera vez para asesorar sobre las

the site is high and as usual the

piezas de hormigón al aire libre que

view is long. the land is apparently

se estaban construyendo en el campo

open rangeland but in the grass

adyacente a los hangares de artillería.

there are foundations and walks—

la construcción (por parte de la C r s

even a couple of little rock gar-

Company de midland, texas) había

dens—of a complex which housed

empezado en septiembre de 1980. no

prisoners of war from germany

obstante, la calidad de las primeras seis

during world war ii. the land was

piezas demostró ser insatisfactoria y en

already used and damaged, and

1982 Kirk fue contratado para reparar

will be cleaner when the new com-

los daños a consecuencia de un trabajo

plex is finished than when it began.

deficiente y para asegurar la calidad de

the buildings are placed directly

las obras restantes. las últimas cuatro

on the rangeland without any bor-

piezas fueron diseñadas y construidas

ders or transition and the drainage

bajo su dirección. Kirk también colaboró

of the roofs is conserved so that the

con Judd en otros varios proyectos y voló

buildings are not bordered with

de nueva York a europa para asegurar

weeds.8

la instalación correcta de sus obras de

ideas, often adding his own suggestions. in traditional architectural design, a schematic design phase (the development of several schemes) leads to a design development phase (the focusing and refinement of one scheme, with attention to certain details and materials) and culminates in a construction document phase (a drafted set of all architectural plans, elevations, and details, accompanied by engineered structural design drawings and a mechanical and electrical design set). after construction documents are produced, the drawings are sent out for construction bids. the drawings in the Chinati and Judd foundation archives suggest that the schematic design phase was elaborate and lengthy, with new ideas continuing to materialize for almost three years. while kirk made attempts to lock in and clarify Judd’s designs, the process was interrupted by the many other projects in which Judd was engaged. this was also the artist’s first opportunity to work on entirely new buildings, and he took it as a chance to explore architectural form and tectonics, which he apparently enjoyed tremendously. former Chinati offi ce manager and Judd assistant monty o’neal suggests that the buildings may have been treated more as “sculpture” than architecture. this would explain the unusual design process, which did not adhere to standard architectural protocol.

hormigón. su relación era cordial. Kirk

the concept of “damaged land” is important to Judd’s position with regard to natural-resource conservation: he refused to build on untouched land.

trabajó con Judd en el proyecto de los edificios de hormigón desde su arranque en 1985 hasta su abrupta parada en otoño de 1988.

all ideas, seemingly simple and easy, are difficult for people to un-

el ProCeso de diseÑo

derstand. one of the most difficult

Kirk y Judd tenían una relación de tra-

is the one of leaving the land alone:

bajo muy informal. normalmente, Judd

leave it alone or return it to its natu-

hacía los esbozos y luego se reunía con

ral state.9

Kirk para hablar del proyecto. Kirk regresaba a su oficina en dallas y ha-

C o l l a b o r at i o n w i t h r o b e r t K i r K

cía dibujos que resumían las ideas de

Judd collaborated on the concrete buildings project with robert d. kirk, an architect trained at texas a&m, who later established an architectural-concrete consulting company in dallas. during the 1970s, kirk worked on several projects with architect philip Johnson (including the kennedy memorial plaza in dallas) and served as a consultant on numerous projects in the united states, China, and the dominican republic. kirk fi rst came to marfa to consult on the outdoor concrete pieces being built in the field adjacent to the artillery sheds. Construction (by the C r s Company of midland, texas) had begun in september 1980. however, the quality of the first six pieces proved unsatisfactory, and in 1982 kirk was hired to repair damage resulting from poor craftsmanship and assure the quality of the remaining works. the last four pieces were designed and constructed under his direction. kirk also collaborated with Judd on a number of other projects and flew to new york and europe to insure the correct installation of his concrete works. their relationship was cordial. kirk worked with Judd on the concrete buildings project from its onset in 1985 to its abrupt halt in the fall of 1988.

Judd, añadiendo a menudo sus propias sugerencias. en el diseño tradicional arquitectónico, una fase de diseño esquemático (el desarrollo de varios diseños) conduce a una fase de desarrollo del diseño (el enfoque y el refinamiento de un diseño, con atención a ciertos detalles y materiales) y culmina en una fase llamada documento de construcción (un conjunto bosquejado de todos los planos, los alzados y los detalles arquitectónicos acompañados por los dibujos de diseño estructurales realiza-

la eVoluCión del diseÑo

el diseño de los edificios de hormigón evolucionó durante el periodo del 30 de diciembre de 1985 (la fecha de los primeros esbozos de Judd) al 9 de noviembre de 1987 (la fecha de los dibujos de construcción). siguiendo los primeros esbozos de Judd, Kirk preparó un diseño preliminar, trazado en una única hoja de papel y fechado el 9 de enero de 1986 [fig. 14]. incluía un alzado dibujado a mano, un plano de planta, varias anotaciones y una lista de materiales estructurales básicos necesarios para el proyecto. el alzado muestra una estructura de una única planta, derivado esencialmente de los esbozos de Judd, enmarcado en acero, con vigas horizontales en la base y en la parte superior de un muro de diez pies de altura, un arco semicircular a lo largo de la bóveda del tejado y seis columnas verticales a lo largo de la fachada para fijar la estructura. el plano de planta mide cincuenta por cincuenta pies, o 1250 x 1250cm (las dimensiones métricas suplantan el sistema imperial durante el resto del proyecto). indica la ubicación de todos los miembros verticales de acero, una combinación de vigas t y l. unos paneles de hormigón (12.5 x 10m) encajan en el armazón de acero. las cantidades del material tanto para el acero como para el hormigón han sido calculadas y anotadas al lado. la inclusión de una ventana superior sugiere una síntesis de dos esbozos de Judd. en el siguiente conjunto de dibujos, fechados el 2 de febrero de 1986, el mar-

dos por ingenieros, y un conjunto de diseños mecánicos y eléctricos). después

design eVolution

co de acero ha sido abandonado en fa-

de hacer los documentos de construc-

the design of the concrete buildings evolved during the period from december 30, 1985 (the date of Judd’s first sketches) to november 9, 1987 (the date of the construction drawings). following Judd’s initial sketches, kirk prepared a preliminary scheme, drafted on a single sheet of paper

vor de un edificio enteramente de hor-

ción, los dibujos son enviados para las licitaciones para la construcción. los dibujos en los archivos de la Fundación Chinati y la Fundación Judd sugieren que la fase del diseño esquemático fue elaborada y larga, con ideas nuevas materializándose continuamente durante casi tres años. mientras Kirk

migón. estructuralmente, se trata de un cese significativo del anterior proyecto de la mansana de Chinati; no obstante, las formas básicas siguen siendo las mismas. los quince dibujos [fig. 15] parecen constituir para Judd una breve introducción al diseño y la ingeniería de hormigón. Kirk ilustra el concepto de la

intentó consolidar y esclarecer los di-

cáscara de hormigón, con variaciones

seños de Judd, el proceso se vio inte-

que abarcan desde los arcos parabóli-

rrumpido por otros muchos proyectos

cos [fig. 16] hasta las formas alternati-

en los que trabajaba Judd. se trataba

vas generadas por elipsis, semicírculos

también de la primera oportunidad

y arcos parciales. tras una revisión de

para el artista de trabajar en edificios

estas formas, proporciona dos diseños

totalmente nuevos y la aprovechó como

alternativos. el primero toma la forma

una oportunidad de explorar la forma

de una bóveda semicircular reminiscen-

y la tectónica de la arquitectura, algo

te de una cabaña Quonset (tradicional-

con lo cual, al parecer, disfrutaba enor-

mente en acero pero propuesta aquí en

memente. monty o´neal, ex gerente

hormigón). en el segundo diseño una

design ProCess

de la oficina de Chinati y ayudante de

bóveda similar aparece apoyada por

kirk and Judd had a very informal working relationship. typically, Judd would make sketches and then meet with kirk to discuss the project. kirk would return to his dallas office and produce summary drawings of Judd’s

Judd, sugiere que tal vez los edificios

muros laterales verticales, tal vez para

fuesen tratados más como “esculturas”

acoger mejor la exposición de las obras

que como arquitectura. esto explicaría

de arte. el tema estructural fundamental en ambos diseños es la contención

el inusual proceso de diseño, que no seguía el protocolo arquitectónico es-

14. ro b ert d . kirk. s teeL f ra me a nd Co nCrete pa neL b uiLd ing pLa n, eLeVatio n, a nd materia L Lis ting . J a nua ry 9, 1986. J ud d f o und atio n a rChiV es .

tándar. 31

de las fuerzas laterales creadas por la bóveda del tejado. esto es abordado en

upper window suggests a synthesis of two Judd sketches. in the next set of drawings, dated february 2, 1986, the steel framing has been abandoned in favor of a fully concrete building. structurally, this is a signifi cant break from the earlier La mansana de Chinati project; however, the basic forms remain the same. the fifteen drawings [fig. 15] seem to constitute a brief introduction for Judd to concrete design and engineering. kirk illustrates the concept of “thin-shell” concrete, with variations ranging from parabolic arches [fi g. 16] to alternative shapes generated by ellipses, semicircles, and partial arcs. after a review of these shapes, he provides two alternative schemes. the fi rst takes the form of a semicircular vault reminiscent of a Quonset hut (traditionally in steel but here proposed in concrete). in the second scheme a similar vault is supported by vertical sidewalls, perhaps to better accommodate the display of artworks. the critical structural issue in both schemes is the containment of lateral forces created by the roof vault. this is addressed in the fi rst scheme by small interior concrete buttresses shown in a section drawing. in the second scheme, the width of the vertical sidewalls is increased to 2.5m to accommodate the weight of the barrel vault, which might otherwise push them out. these are simple preliminary sketches refl ecting, one assumes, only rough dimensional calculations for structural stability. an interesting clipping is included, in the Judd foundation archives, with this drawing set: a brochure for the municipal asphalt plant in new york City, designed in 1949 by architects kahn and Jacobs [fig. 17]. the structure, a concrete parabolic arch with four exoskeletal buttresses, is a classic example of thin-shell concrete construction. Judd was almost certainly

15 . r obert d. kirk. C o n C re t e bu iL din g sC h e mes i nC L ud i ng e L e Vat i o ns a nd s e C t i o ns wi t h aLternate roo f so L u t io n s. fe bru ary 18 , 19 8 6 . J ud d f o und at i o n a r C h i Ve s .

dated January 9, 1986 [fi g. 14]. it includes a hand-drawn elevation, a floor plan, several notes, and a list of basic structural materials necessary for the project. the elevation shows a single-story structure, essentially derived from Judd’s sketches, framed in steel, with horizontal beams at the base and top of a ten-foot-high wall, a semicircular arch along the roof vault, and six vertical columns across the façade to lock in the structure. the floor plan measures fifty by fifty feet, or 1250 x 1250cm (metric dimensions supplant the imperial system for the rest of the project). it indicates the location of all the vertical steel members, a combination of tand L-beams. Concrete panels (12.5 x 10m) fi t into the steel framework. material quantities for both steel and concrete have been calculated and noted on the side. the inclusion of an

el primer diseño por pequeños contrafuertes interiores de hormigón mostrados en un dibujo de sección. en el segundo diseño, la anchura de los muros verticales aparece aumentada hasta los 2.5m para adaptarse al peso de la bóveda de cañón que, de lo contrario, podría empujarlos hacia fuera. se trata de esbozos preliminares que sólo reflejan, se supone, los cálculos dimensionales aproximados para la estabilidad estructural. se incluye un recorte interesante incluido, en el archivo de la Fundación Judd, a este conjunto de dibujos: un folleto para la Planta municipal de asfalto en la ciudad de nueva York, diseñada en 1949 por los arquitectos Kahn y Jacobs [fig. 17]. la estructura, un arco parabólico de hormigón con cuatro contrafuertes exoesqueletales, es un ejemplo clásico de la construcción con cáscara delgada de hormigón. es casi seguro

que Judd estaba familiarizado con el edificio que está situado de manera prominente al lado de la autovía F d r drive en manhattan. es posible que la planta captara su interés y sir viera como inspiración potencial para los edificios de hormigón. las principales preocupaciones de diseño que tenía Judd eran la forma del emplazamiento en sí misma, el número y la tipología de edificios y las proporciones de todos los componentes. la cuadrícula de nueve cuadros, con ocho estructuras del mismo tamaño (15 x 15m), siguió siendo el plano de emplazamiento estándar hasta agosto de 1986, cuando Judd empezó a estudiar la instalación específica de obras de arte en los edificios [fig. 18]. antes del 10 de febrero de 1987, se consideraron necesarias tres estructuras de distintos tamaños para ajustarse al arte que se instalaría. los cimientos de todos los edificios siguen siendo cuadrados, pero ahora las dimensiones varían: 9 x 9m para las pilas verticales, 12 x 12m para las progresiones horizontales y 15 x 15m para las obras independientes. la estructura de 9m tiene dos variantes: un edificio de una única planta (de una altura de 8m) para proporcionar espacio para la instalación del arte y un edificio de dos plantas (de una altura de 9m) que se usará como espacio de oficina o residencial. el diseño de una única planta tiene una entrada, en el extremo frontal, permitiendo una exhibición en tres lados del interior. la luz natural entra a través de un conjunto doble de ventanas en la fachada frontal y una única ventana en la parte trasera. los muros verticales tienen 5m de altura y el tejado en bóveda de cañón es de 3m. el edificio de dos plantas tiene una apariencia exterior similar, pero con muros verticales de 6m de altura y una segunda planta insertada a 4m por encima del nivel del suelo. los edificios de 12m y de 15m tienen 6m de altura, con muros verticales de 3m y la bóveda de cañón de 3m de altura. una única ventana está puesta en ambos extremos para la iluminación. todas las puertas y ventanas están divididas en cuatro paneles acristalados con proporciones de 3m de ancho por 2m alto. en esta fecha, el plano de emplazamiento también cambia hacia una cuadrícula rectangular de módulos de tres por cuatro con diez edificios posicionados alrededor de su perímetro [fig. 19]. el 13 de abril, otro dibujo muestra el edificio de 15m aumentado a 18m para ajustarse mejor a las obras independientes en el suelo. están definidos el

17. b ro Chure f o r the a s pha Lt g reen s po rts a nd a rts Center in the Co nCrete pa ra b o LiC a rCh s truCture d es ig ned b y a rChiteCts kha n a nd J a Co b s in 1949.

16 . r obert d. kirk. Co n C re t e bu iL din g e L e Vat io n i n t h e f o r m o f a pa r aboLiC arCh. de C e mbe r 17 , 19 8 6 . J u dd fo und at i o n a r C h i Ve s .

plano de emplazamiento, las tipologías de edificio y las dimensiones. Judd di-

20. d o na Ld J ud d . f ina L s ite pLa n s Cheme f o r Co nCrete b uiLd ing pro J eCt s ho w i ng a 12-sQuare grid, 36 f o o t s Q ua re mo d uLes , a nd wa Lkways . o V era LL d imens io ns : 108m b y 144m. ap riL 14, 1987.

18. donaLd J u dd. ske t C h o f sit e p L an f o r C o nC r e t e b ui L d i ng s b a s e d o n a 9 - s Q ua r e g r i d w ith eig ht perimeter s truCtures . de C e mbe r 1, 19 8 6 .

has one entrance, on the front end, allowing for display on three sides of the interior. natural light enters through a double set of windows on the front façade and a single window on the rear. the vertical walls are 5m high and the barrel-vaulted roof 3m. the two-story building has a similar exterior appearance, but with vertical walls 6m high and a second floor inserted at 4m above ground level. the 12m and 15m buildings are 6m high, with 3m vertical walls and a 3m barrel-vault height. a single window is provided at either end for lighting. all doors and windows are divided into four glazed panels with proportions of 3m wide x 2m high. on this date, the site plan also changes to a three-by-four-module rectangular grid with ten buildings positioned around its perimeter [fig. 19]. on april 13, a further drawing shows the 15m building increased to 18m, to better accommodate the freestanding fl oor works. the site plan, building types, and dimensions are defined. Judd divides the 108 x 144m site into a grid of 36m squares,

19. donaLd J u dd. ske t C h o f sit e p L an f o r C o nC r e t e b ui L d i ng s b a s e d o n a 1 2 - s Q ua r e g r i d with ten perimeter s truCtures . fe bru ary 10 , 19 8 7 . J u dd fo und at i o n a r C h i Ve s .

familiar with the building, which sits prominently beside the f d r drive in manhattan. the plant may have caught his interest and served as a potential inspiration for the concrete buildings. Judd’s principle design concerns were the shape of the site itself, the number and type of buildings, and the proportions of all the components. the nine-square grid, with eight equally sized (15 x 15m) structures, remained the default site plan until august 1986, when Judd began to study the specific installation of artworks in the buildings [fig. 18]. by february 10, 1987, three differentsized structures were found to be necessary to accommodate the art to be installed. the bases of all the buildings remain square, but the dimensions now vary: 9 x 9m for the vertical stacks, 12 x 12m for the horizontal progressions, and 15 x 15m for the freestanding works. the 9m structure has two variants: a single-story building (8m high) to provide space for art installation, and a two-story building (9m high) to be used as office or living space. the single-story design

vide el emplazamiento de 108 x 144m en una cuadrícula de cuadros de 36m, con diez edificios: cuatro de 9 x 9 x 9m, dos de 6 x 18 x 18m y cuatro de 6 x 12 x 12m. las proporciones cuadran para dar una progresión igual de 1:1:1, 1:2:2 y 1:3:3. los edificios están centrados en el eje transversal de sus módulos cuadrados de 36m en lugar de tener alineadas sus fachadas.

propio conjunto sin fechar e incompleto de planos y alzados, dibujados a mano con tinta negra [fig. 22]. las dimensiones específicas de los paneles aparecen en metros; las elevaciones laterales y las bóvedas del tejado se extienden 2cm más allá de las elevaciones de los extremos, proporcionando un marco para la fachada. el cambio más significativo que hizo Kirk es la inserción de una unidad de montaje compuesta de una puerta y ventana de cuatro cuadros que se extendería desde el suelo hasta la bóveda del tejado en el centro del muro del fondo. esto fue mostrado en los esbozos iniciales de Judd el 30 de diciembre de 1985. las puertas de entrada, que habían sido desplazados a los muros laterales [fig. 23], vuelven de nuevo a la parte frontal [fig. 24]. tanto Kirk como Judd exploraron los detalles específicos de la construcción [fig. 25] a lo largo del proceso de diseño que duró tres años. lo más importante era la conexión entre el tejado en forma de bóveda de cañón y el muro vertical de hormigón. Como ha sido mencionado, el empuje lateral de la bóveda tenía que ser ajustado por

el diseño final de Judd puede ser visto en dos dibujos separados hechos el 14 de abril de 1987. en primer lugar, un plano de emplazamiento general en vista isométrica muestra la tipología de edificio, el tamaño, la orientación y la ubicación de la entrada, así como los senderos peatonales [fig. 20]. el segundo dibujo muestra las tres tipologías de edificio en alzado, incluyendo las piezas de arte o las otras funciones, dimensiones y proporciones [fig. 21]. ambos dibujos están etiquetados “edificios de hormigón Chinati Foundation C. Fundación” y aparecen fechados y firmados con iniciales por Judd. se trata probablemente de los dibujos finalizados que usó para conseguir financiación. Kirk tuvo que resolver los

21. d o na Ld J ud d . f ina L s tud y o f the three b uiLd ing types w ith pro g res s iV e pro portions: 1:1:1, 1:2:2, and 1:3:3.

detalles y posteriormente emitió su 33

los muros verticales. se podría haber conseguido con una única construcción monolítica (un vertido continuo de hormigón) de los muros y el tejado; no obstante, el encofrado habría sido complejo. Como alternativa, se decidió crear partes modulares, moldeadas in situ y unidas por barras de refuerzo de acero. Particularmente crítica era la juntura entre los extremos curvados del tejado y los muros verticales. docenas de esbozos hechos para esta juntura tanto por Judd como por Kirk demuestran que experimentaron libremente con las distintas formas, pocas de las cuales siguen la lógica establecida de la construcción en hormigón. 22. robert d. kirk. sChematiC design for 2-story 9msQuare buiLding. undated. Judd foundation arChiVes.

dibuJos de ConstruCCión

with ten buildings: four 9 x 9 x 9m, two 6 x 18 x 18m, and four 6 x 12 x 12m. the proportions work out to an even progression of 1:1:1, 1:2:2, and 1:3:3. the buildings are centered on the cross axis of their 36m square modules rather than having their façades aligned. Judd’s final scheme can be seen on two separate drawings made on april 14, 1987. first, an overall site plan in isometric view shows building type, size, orientation, and entry location, as well as walking paths [fi g. 20]. the second drawing shows the three building types in elevation, including art pieces or

actual,

24. d o na Ld Jud J ud d . is o metriC s tud y o f Co nCrete b uiLd ing w ith end wa LL entra nCe. no V emb er 24, 1986. JJud ud d f o und atio n a rChiV es .

aunque se desconoce su ubicación un

apunte

other functions, dimensions, and proportions [fig. 21]. both drawings are labeled “Concrete buildings Chinati foundation C. fundación” and are dated and initialed by Judd. these are likely the fi nished drawings he used for funding purposes. kirk was left to resolve the details and subsequently issued his own undated and incomplete set of plans and elevations, hand drawn in black ink [fig. 22]. specifi c panel dimensions are given in meters; the side elevations and roof vaults extend 2cm beyond the end elevations, providing a frame for the façade. the most signifi cant change kirk made is the insertion

noviembre

de 1987 hecho por los miembros del personal en la cronología de la Fundación de Chinati afirma que, “los planes, las perspectivas y los diagramas de construcción fueron preparados por Victor Pussano, de la república dominicana, para los edificios

hormigón

Judd.”

luego, el arquitecto Paul K. woods hizo una transcripción de un conjunto de “dibujos de registro” para los edificios [figs. 26, 27] que monty o´neal

había

entregado

octubre de 1989. Podría tratarse de los mismos dibujos de Pussano. no obstante, según woods no estaban

firmados y estaban mal elaborados, incluían

información

estr uctural

rudimentaria pero les faltaban los detalles mecánicos o eléctricos. sólo podemos suponer que los dibujos fueron preparados meramente como ayuda para la construcción in situ. es posible que Kirk conociera a Pussano por su trabajo de consultoría en la república dominicana, pero hasta el momento no se ha encontrado información acerca de Pussano. ni siquiera se sabe si era ingeniero o arquitecto licenciado. el 21 de enero de 1987, elbert F. bassham, de alpine, texas, empezó un estudio del emplazamiento propuesto para los edificios de hormigón [fig. 28]. bassham realizó un mapa topográfico, con líneas de contorno, mostrando tanto los senderos existentes como los perímetros de los edificios originales del campamento de prisioneros de guerra. el 14 de abril de 1987, Judd dibujó sobre una copia de un dibujo técnico de este mapa, ubicando el complejo de los edificios de hormigón encima de una colina [fig. 29]. Primero dio al rectángulo de 108 x 144m una orientación este-oeste, luego lo rotó hacia norte-sur, centrándolo en dos calzadas existentes de hormigón. FinanCiaCión

la financiación inicial para los edificios de hormigón vino de la dia art Foundation: una subvención de 75,000$ para la primera estructura.10 una solicitud presentada a la burlington north Foundation el 17 de abril de 1987 pedía 150,000$ para dos edificios. el coste por estructura se estimó en 70,000$; la cifra coincide con la estimación para cada edificio que hizo robert Kirk el 17 de diciembre de 1986. esta estimación no incluyó, sin embargo, el coste de la fabricación o la instalación de puertas 2 3 . donaLd Judd. iso me t riC st u dy o f C o n C ret e b ui L d i ng w i t h s i d e wa L L e nt r a nC e s . no Ve m b e r 2 4 , 1986. Jud d f o und atio n a rChiV es .

y ventanas; tampoco incluyó el coste de

of a four-square door and window unit assembly to extend from ground to roof vault in the center of the end wall. this was shown on Judd’s initial sketches of december 30, 1985. the entry doors, which had been moved to the sidewalls [fig. 23], return once again to the front [fig. 24]. both kirk and Judd explored specific construction details [fig. 25] throughout the three-year design process. most important was the connection between the barrel-vault roof and the vertical concrete wall. as mentioned, the lateral thrust of the vault had to be accommodated by the vertical walls. this could have been accomplished with a single monolithic (continuous concrete pour) construction of wall and roof; however, the formwork would have been complex. instead, it was decided to make modular parts, cast in place and joined by steel rebar. particularly critical was the joint between the curved roof ends and the vertical walls. dozens of sketches made for this joint by both Judd and kirk show them experimenting freely with different forms, few of which follow established logics of concrete construction.

los ser vicios de diseño y de construcción realizados por Kirk. al final, Judd aumentó el presupuesto a 100,000$ por edificio. el 4 de diciembre de 1987, burlington north concedió 100,000$ a la Fundación Chinati, pagables en dos plazos. el primero fue emitido el 4 de diciembre de 1987 y el segundo el 11 de marzo de 1988. Cindy hibbets, directora financiera de la Fundación Chinati, al recibir el segundo cheque escribió a la burlington north Foundation, agradeciéndole la concesión y afirmando que Chinati había “ahora empezado con la construcción del primer edificio en el proyecto de capital.” 11 la ConstruCCión

Parece ser que los edificios de hormigón se convirtieron en una prioridad en 1988, probablemente enfatizados por la primera jornada de puertas abiertas en Chinati en octubre de 1987 y la publicación de la primera declaración de intenciones y catálogo de la colección, escritos por Judd, en los que destacaba el nuevo proyecto. antes de julio de 1987, robert Kirk había terminado la última inspección de las piezas de hormigón al aire libre, lo que le permitió disponer de más tiempo para concentrarse en esta próxima tarea. una

C o n s t r u C t i o n d r aw i n g s

nota del 27 de agosto por parte del

although their current location is unknown, a november 1987 entry by staff members in the Chinati foundation chronology states, “construction plans, perspectives and diagrams were prepared by Victor pussano of the dominican republic for Judd concrete buildings.” architect paul k. woods later made a transcription of a set of “record drawings” for the buildings [figs. 26, 27] given to him by monty o’neal in october 1989. these may have been the same pussano drawings. however, according to woods they were unsigned and poorly drafted, including rudimentary structural information but no me-

abogado de Chinati Carl e. ryan pide 25. d o na Ld J ud d a nd ro b ert d . kirk. Co ns truCtio n d eta iL s ketChes f o r Co nneCtion at VertiCaL waLL with ro o f Va uLt a nd f Lo o r s La b . f eb rua ry 7 – a ug us t 25, 1987. J ud d f o und atio n a rChiVes.

específicamente a Kirk “que super vise el cumplimiento de todos los aspectos

chanical or electrical details. we can only assume that the drawings were prepared purely as an aid to on-site construction. kirk possibly knew pussano from his consulting work in the dominican republic, but so far no information about pussano has been found. it’s not even known if he was a licensed engineer or architect. on January 21, 1987, elbert f. bassham, of alpine, texas, began a survey of the proposed concrete buildings site [fi g. 28]. bassham produced a topographic map, with contour lines,

legales con respecto a la construcción propuesta de los edificios de hormigón de Judd en el Fuerte d. a. russell.” 12 las facturas que Kirk envió a la Fundación Chinati muestran de la siguiente manera la fase de construcción: en enero de 1988 comenzaron las licitaciones de la fase previa a la construcción y se compró una grúa. en febrero se empezó el encofrado de hormigón. se vertieron los paneles modulares de los muros de hormigón en moldes de madera colocados en el suelo, de manera muy parecida a lo que Kirk había

26. pauL k. wo o ds ( aft e r V iC t o r p u ssa no ) . r e C o r d s e t o f C o nC r e t e b ui L d i ng C o ns t r uC t i o n d raw ing s – a1 foundatio n p L an . n o V e mbe r 9 , 19 8 7 . J ud d f o und at i o n a r C h i Ve s .

hecho para las piezas de hormigón en el campo adyacente a los hangares de artillería. el tejado, no obstante, requeriría más trabajo. una compleja estructura de moldes provisionales de madera pesada sería ensamblada dentro de los muros verticales instalados. después de verter y moldear cada sección del tejado, la estructura de moldes provisionales sería desplazada para ajustarse al vertido de la siguiente sección. en marzo, obtuvieron los materiales de construcción e hicieron y erigieron los primeros paneles de hormigón.

27. pa uL k. w o o d s (a f ter V iCto r pus s a no ). reCo rd s et o f Co nCrete b uiLd ing ConstruCtion drawings – a 6 Co ns truCtio n d eta iLs . no V emb er 9, 1987. J ud d f o und atio n a rChiV es .

2 8 . e Lbert f. bas s ha m. sit e su rV e y fo r n e w C o nC r e t e b ui L d i ng s i nC L ud i ng t o p o g r a p h i C L i ne s a nd ex is ting b u i Ldi ng foundatio n s. J an u ary 21, 19 8 7 . J u d d f o und at i o n a r C h i Ve s .

29. d o na Ld Jud J ud d . Lo Catio n o f Co nCrete b uiLd ing s ite d raw n o n a b a s s ha m s ite s urV ey bLuep rint. ap riL 14, 1987. Jud J ud d f o und atio n a rChiV es .

showing both existing paths and the perimeters of the original p o w camp buildings. on april 14, 1987, Judd drew on a blueprint copy of this map, locating the concrete buildings complex on top of the hill [fig. 29]. he fi rst gave the 108 x 144m rectangle an east-west orientation, then rotated it to north-south, centering it on two existing concrete roadways.

sion statement and collection catalogue, written by Judd, highlighting the new project. by July 1987, robert kirk had completed the final inspection of the outdoor concrete pieces, which allowed him more time to concentrate on this next undertaking. an august 27 note from Chinati attorney Carl e. ryan specifi cally asks kirk “to see to the completion of all legal aspects regarding the proposed construction of Judd’s concrete buildings at fort d. a. russell.”12 kirk’s invoices to the Chinati foundation show the construction phase proceeding as follows: in January 1988, preconstruction bidding began and a crane was purchased. in february, concrete formwork was begun. modular concrete wall panels were poured into reusable wooden forms placed on the ground, much as kirk had done for the concrete pieces in the fi eld adjacent to the artillery sheds. the roof, however, would require more labor. a complex heavytimber centering structure would be assembled within the installed vertical walls. after each section of roof was poured and cast, the centering structure would be shifted to accommodate the pour of the next section. in march, building materials were procured and the first concrete panels were made and erected. using a tilt-wall construction method, the heavy slabs were raised from the ground, after being cast, and placed on the building foundation with a crane. in april, the wooden roof-centering structure was completed. the first roof sections had to be reworked before being poured, apparently because steel reinforcements were improperly installed by inexperienced workers. in may, an air compressor was purchased, the concrete fl oor was cast, and kirk met Judd on site for a progress review. in June, the

usando un método de construcción tilt-up, las losas pesadas fueron levantadas del suelo, tras ser moldeadas, y colocadas en los cimientos del edificio mediante una grúa. en abril se finalizó la estructura de madera de moldes provisionales para el tejado. las primeras secciones del tejado tuvieron que ser revisadas antes de ser vertidas, al parecer porque los refuerzos de acero habían sido instalados inadecuadamente

Funding

por trabajadores sin experiencia. en

initial funding for the concrete buildings came from the dia art foundation: a $75,000 grant for the fi rst structure.10 an application made to the burlington north foundation on april 17, 1987, requested $150,000 for two buildings. the cost per structure was estimated at $70,000; the figure matches robert kirk’s per building estimate made on december 17, 1986. this estimate did not, however, include the cost of door and window fabrication or installation; nor did it include the cost of kirk’s design and construction services. Judd ultimately increased the budget to $100,000 per building. on december 4, 1987, burlington north awarded the Chinati foundation $100,000, payable in two installments. the first was issued on december 4, 1987, and the second on march 11, 1988. Cindy hibbets, the Chinati foundation’s financial manager, wrote the burlington north foundation upon receipt of the second check, thanking it for the award and stating that Chinati had “now started the construction of the fi rst building in [the] capital project.”11

mayo compraron un compresor de aire, moldearon el suelo de hormigón y Kirk se reunió con Judd in situ para revisar el progreso. en junio sustituyeron al equipo de construcción, debido tal vez al trabajo inadecuado, y Kirk realizó más trabajos de diseño. 13 Judd y Kirk revisaron el vertido del tejado. en julio se señalaron más desarrollos del proyecto y se llevó a cabo otra visita al emplazamiento después del moldeado. en agosto se redactaron los detalles de las puertas y las ventanas durante una revisión del emplazamiento con Judd. había que remoldear otra porción del tejado. desde septiembre hasta el 8 de octubre, se realizaron los trabajos de acabado y Kirk hizo inspecciones de seguimiento [fig. 30]. en teoría, Kirk era el jefe de obra; no obstante, uno de los trabajadores locales debería haber super visado la construcción durante los retornos frecuentes que hizo Kirk a dallas. el equipo de construcción estaba formado por artesanos locales cuya experiencia con el hormigón podría haber sido limitada. empezaron a aparecer los problemas. el tejado, con su tejido complejo de barras de refuerzo de acero,

continuó

siendo

difícil

ConstruCtion

construir y de ver ter. los planos

the concrete buildings appear to have become a priority in 1988, likely underscored by the fi rst open house at Chinati in october 1987 and the publication of the fi rst mis-

existentes

proporcionaron

escasos

detalles e información estructural. las secciones del tejado colapsaron y tuvieron que ser remoldeadas varias veces. 36

el ProYeCto se detiene

la construcción se detuvo finalmente a finales de octubre de 1988 (la fecha de la última factura de Kirk). toda la obra y el ensamblaje de hormigón en el edificio noreste de 12m fueron completados y se quitó el encofrado. no obstante, los espacios de las ventanas seguían vacíos y el calafateo estaba inacabado entre los paneles verticales de los muros. los muros del edificio noroeste de 12m, ubicado justo enfrente, habían sido erigidos pero sólo había sido finalizada una de las seis secciones de la bóveda del tejado. la estructura de moldes provisionales de madera pesada seguía en su sitio encima de la entrada frontal. unas barras de refuerzo de acero sobresalían de las partes superiores de los muros, esperando a ser ligadas al tejado aún por moldear. unas vigas de madera rodeaban el exterior, apuntalando temporalmente los muros laterales en su posición vertical. Con sólo un edificio y medio construido de un total de diez edificios, el proyecto se paralizó. Veintisiete años más tarde, sigue en este estado inacabado. monty o´neal ha sugerido que el trabajo en los edificios de hormigón se detuvo porque los trabajadores fueron trasladados del emplazamiento para ayudar a preparar la exhibición itinerante de Judd en el museo de arte de dallas que se inauguró en febrero de 1989. también mencionó una pieza de hormigón expuesta en el museo whitney de la ciudad de nueva York (donde se originó la exhibición) que Judd quería exhibir en dallas al aire libre. 14 Kirk insistió en que la pieza no estaba hecha para la intemperie. Judd, parece ser, estaba enfadado y rompió relaciones con Kirk, a pesar de la relación profesional y personal que mantenían desde 1982. 15 otras razones posibles para el cierre del trabajo incluyen:

30. Chinati fo u n dat io n . r e C o rd p h o to g r a p h s o f C o nC r e t e b ui L d i ng C o ns t r uC t i o n. und ated (1989).

construction crew was replaced, perhaps because of inadequate craftsmanship, and further design work was done by kirk.13 Judd and kirk reviewed the roof pour. in July, further project development was noted, and another post-casting site visit conducted. in august, door and window details were drawn up during a site review with Judd. a further portion of the roof had to be recast. from september to october 8, finishing work was completed and follow-up inspections made by kirk [fig. 30]. in theory, kirk was the site manager; however, one of the local workers must have supervised construction during kirk’s frequent returns to dallas. the building crew was made up of local craftsmen whose experience with concrete may have been limited. problems began to appear. the roof, with its complex weave of steel reinforcing bars, continued to prove diffi cult to construct and pour. the existing plans provided scant detail and structural information. roof sections collapsed and had to be recast several times.

Judd, it seems, was angry and broke off relations with kirk, despite the professional and personal relationship they’d had since 1982.15 other possible reasons for the job shutdown include 1. disappointment with the quality of work produced by unskilled craftsmen, on a scale Judd had never attempted before; 2. cost overruns and a lack of subsequent financial resources after the dia and burlington north grants had been expended; 3. the appearance of structural defi ciencies, as noted in architect paul k. woods’s report in november 1989.

1. el descontento con la calidad del trabajo producido por trabajadores no cualificados, a una escala que Judd nunca había intentado hacer con anterioridad; 2. los sobrecostes y una falta de recursos financieros posteriores después de agotar las subvenciones de dia y de burlington north; 3. la aparición de deficiencias estructurales, como se indica en el informe del arquitecto Paul K. woods en noviembre de 1989. es cierto que los problemas estructurales siguieron sin resolverse y cualquiera o todos de estos factores podrían haber contribuido al desafortunado fin del proyecto.

Quedó patente en 1989 el hecho de que los problemas de construcción y estructurales eran efectivamente una preocu-

P o s t- m o r t e m

la obra, monty o´neal pidió al ingenie-

that construction and structural issues were indeed a concern became evident in 1989. eight months after work stopped, monty o’neal asked consulting structural engineer dan p. ray, of alpine, texas, to inspect the concrete buildings. ray visited the site on may 1, 1989, and issued a brief report on may 29. he noted several areas of concern: honeycombing in the roof castings, and wall panel and fl oor cracking due to insuffi cient reinforcing steel in the slabs. 16 these were considered of aesthetic rather than structural concern, though ray was careful to add that he had “no experience with ‘thin shell’ concrete roofs.” he suggested a specialist be hired to “check the design and recommend repair methods.”17 in october 1989, paul k. woods, an architect and professor at texas a&m, was brought in by monty o’neal to inspect leaks in the artillery shed roofs. during a visit on october 13, he was also asked to examine the concrete buildings. after offering a solution to help mitigate the artillery shed leaks, woods addressed the concrete buildings. first, a “record drawing” set was made, probably based on the pussano construction drawings from november 9, 1987. this new set was produced, as explained by dr. woods in an interview, because the existing drawings were almost illegible, being poorly drafted.18 the only addition he made in his six record drawings was the conversion of metric dimensions to the english system. it is important to note that he found no structural information indicated,

ro estructural de asesoría dan P. ray, de alpine, texas, que inspeccionase los edificios de hormigón. ray visitó el emplazamiento el 1 de mayo de 1989 y emitió un breve informe el 29 de mayo. señaló varias áreas de preocupación:

en la losa de los cimientos. basándose en estos dibujos e inspecciones del emplazamiento, woods y un equipo de tres ingenieros y un arquitecto concluyeron que las estructuras existentes tenían dos problemas. 19 el primero era el aparente agrietamiento en la superficie propiciado por 1. una pobre técnica de endurecimiento y 2. un pobre procedimiento de manejo y de colocación. el segundo era el problema del diseño y la fuerza estructurales. woods informa: niería de este diseño estructural. los resultados de este análisis mostraron que el diseño de estas estructuras no cumple con los códigos ni con las prácticas de ingeniería comúnmente aceptadas

pación. ocho meses después de parar

Construction fi nally stopped at the end of october 1988 (the date of kirk’s last invoice). all the concrete work and assembly on the 12m northeast building was completed and the formwork removed. the window bays, however, remained empty and the caulking unfinished between the vertical wall panels. the walls of the 12m northwest building, located just opposite, had been erected, but only one of the six roof-vault sections was complete. the heavy-timber centering structure remained in place over the front entry. steel reinforcing bars protruded from the wall tops, waiting to be tied into the uncast roof. wooden beams surrounded the exterior, temporarily bracing the sidewalls in their vertical position. with only one and a half of its ten buildings constructed, the project stalled. twenty-seven years later, it remains in this unfi nished state. monty o’neal has suggested that work on the concrete buildings stopped because workers were pulled from the site to help prepare for Judd’s traveling exhibition at the dallas museum of art that opened in february 1989. he also mentioned a concrete piece shown at the whitney museum in new york City (where the exhibition originated) which Judd wanted to exhibit outdoors in dallas.14 kirk insisted that the piece was not made for outdoor conditions.

plano, salvo malla saldada de alambre

se hizo un minucioso análisis de inge-

structural issues certainly remained unresolved, and any or all of these factors may have contributed to the project’s unfortunate demise.

P o s t- m o r t e m

t h e P r o J e C t h a lt s

ninguna información estructural en el

agujeros en los moldes del tejado y grietas en los paneles de los muros y en el suelo debido al acero de refuerzo insuficiente en las losas. 16 se trataba de una preocupación estética más que estructural, aunque ray tuvo la precaución de añadir que no tenía “ninguna experiencia en tejados de `cáscara delgada´ de hormigón.” sugirió que contratase a un especialista para “revisar el diseño y recomendar los métodos de reparación.” 17 en octubre de 1989, monty o´neal hizo que viniera Paul K. woods, arquitecto y profesor de la universidad texas a&m, para inspeccionar las goteras en los tejados de los hangares de artillería. durante una visita el 13 de octubre, también se le pidió que examinara los edificios de hormigón. tras ofrecer una solución para ayudar a mitigar las goteras en los hangares de artillería, woods abordó los edificios de hormigón. en primer lugar, hizo un conjunto de “dibujos de archivo”, basados probablemente en los dibujos de construcción de Pussano del 9 de noviembre de 1987. Creó este nuevo conjunto, tal y como explicó el dr. woods en una entrevista, debido a que los dibujos existentes eran casi ilegibles, al ser pobremente redactados. 18 la única adición que hizo en sus seis dibujos de archivo fue la conversión de las dimensiones métricas al sistema inglés. es importante señalar que no encontró indicada 38

en los ee.uu. de hecho, la estructura existente sólo posee un 22 por ciento de la fuerza requerida para cumplir con el código de construcción. Por lo tanto, estos edificios no son seguros. 20

se trataba de una conclusión bastante severa. no obstante, sigue sin quedar claro dónde, específicamente, el diseño del edificio no cumplía con el código. ¿en el diseño mismo, la falta de refuerzo de acero, el grosor de los muros y la bóveda o en los cimientos? woods, desafortunadamente, ya no posee el análisis específico de ingeniería que podría apoyar el informe y proporcionar más detalles. 21 en cualquier caso, tres propuestas, llamadas “soluciones correctoras” e ilustradas en dibujos, fueron hechas para conser var el edificio existente. (Presumiblemente, el segundo edificio inacabado fue considerado incompatible para someterse a reparación.) las soluciones propuestas fueron las siguientes: 1. cuatro tendones o barras que se extenderían por la bóveda y estarían anclados en la parte superior de cada muro lateral; 2. cuatro contrafuertes de acero en cada muro lateral [figs. 31, 32], ubicados en el interior del edificio; y 3. una viga o jácena de acero, anclada en una posición horizontal en la parte superior de cada muro y que proporcionaría una estructura en forma de caja. 22 woods prefirió la primera solución: era la resolución más obvia y sencilla al problema del empuje lateral de la bóveda de hormigón y tendría el “menor impacto visual.”

except a welded wire fabric in the foundation slab noted in the plan. based on these drawings and site inspections, woods and a team of three engineers and another architect concluded that the existing structures had two problems.19 the first was the apparent surface cracking resulting from 1. poor curing technique, and 2. poor handling and placement procedure. the second was the issue of structural design and strength. woods reports: a thorough engineering analysis was made on this structural design. the results of this analysis show that the design of these structures does not meet code or the commonly accepted u.s. engineering practice. in fact, the existing structure has only 22 percent of the strength required to comply with building code. therefore these buildings are

31. pa uL k . w o o d s . r e m e d i a L sCheme f o r exis ting Co nCrete b uiLd ing , us ing s teeL b uttres s es – b 10 pro po s ed b uttres s pLa n. no V emb er 17, 1989.

unsafe.20

vault thickness, or the foundation? woods, unfortunately, no longer has the specific engineering analysis that might support the report and provide further detail.21 in any case, three proposals, called “remedial solutions” and illustrated in drawings, were made to preserve the existing building. (presumably, the unfi nished second building was deemed beyond repair.) the proposed solutions were as follows: 1. four tendons or rods which would span the vault and be anchored at the top of each sidewall; 2. four steel buttresses on each sidewall [figs. 31, 32], located on the interior of the building; and 3. a steel beam or joist girder, anchored in a horizontal position to the top of each wall and providing a box frame.22 woods favored the fi rst solution: it was the most obvious and simple resolution to the problem of the concrete vault’s lateral thrust and would have the “least visual impact.” at the request of monty o’neal, who perhaps foresaw Judd’s displeasure with these “remedial solutions,” woods then proposed designs for “three new versions of the thin-shell concrete galleries.” these incorporated standard accepted practice for thin-shell concrete design [fi gs. 33, 34]. the roof would be thickened and the exterior arc fl attened as it approached the supporting vertical wall (approximately four inches at the vault apex to about ten inches at the vault base, varying according to

a petición de monty o´neal, que tal

this was a fairly severe conclusion. it remains unclear, however, where specifically the building design failed to meet code. in the design itself, the lack of steel reinforcing, the wall and

vez anticipó el descontento de Judd con estas “soluciones correctoras,” woods propuso luego diseños para “tres versiones nuevas de las galerías con cáscara delgada de hormigón.” Éstas in-

32. pauL k. w o o ds. re me diaL sC h e me fo r e x i s t i ng C o nC r e t e b ui L d i ng , us i ng s t e e L b ut t r e s ses – b11 propos ed bu t t re ss de taiL s. n o V e mb e r 17 , 19 8 9 .

corporaron la práctica estándar aceptada para el diseño de cáscara delgada de hormigón [figs. 33, 34]. se aumentaría de grosor el tejado y el arco exterior se aplanaría a medida que se acercaba al muro vertical de contención (aproximadamente cuatro pulgadas en el ápice de la bóveda hasta unas diez pulgadas en la base de la bóveda, variando según la anchura del edificio). el grosor del muro vertical también se vería aumentado hasta nueve pulgadas y un octavo, y una losa de cimentación sobresaldría en voladizo unas cuatro pies seis pulgadas, variando según la anchura del edificio para poder contrarrestar el empuje lateral de la bóveda. el refuerzo con barras de acero de refuerzo aumentaría según lo necesario. woods añadió que, aunque no se había percatado en un principio del sistema proporcional de anchura y altura, las estructuras podrían ser ajustadas fácilmente a las gradaciones. woods dice que nunca volvió a tener noticias de Chinati, aunque le pagaron sin demora. mientras Judd seguía comprando edificios en marfa, no se trabajó más en el proyecto de los edificios de hormigón. desde 1990 hasta su muerte en 1994, Judd pasó cada vez más tiempo en su hacienda o en europa. en 1993, el arquitecto Claude armstrong, que había participado en algunos de los primeros trabajos de diseño en los edificios de hormigón en 1987 [fig. 35], escribió a Judd y le ofreció su ayuda para terminar las estructuras. al final de su carta Judd garabateó: “Claro que quiero hacer el edificio, pero aún no puedo permitírmelo.” 23

building width). the thickness of the vertical wall would also be increased to nine and one-eighth inches, and an underground foundation footing would cantilever out about four feet six inches, varying according to building width, in order to counter the lateral thrust of the vault. reinforcement with steel rebar would be increased throughout as needed. woods added that although he had not initially noticed Judd’s proportional system of width to height, the structures could be easily adjusted to the gradation. woods says he never heard back from Chinati, though he was promptly paid. while Judd continued to purchase buildings in marfa, no further work was done on the concrete buildings project. from 1990 to his death in 1994, Judd spent increasing amounts of time on his ranch or in europe. in 1993, architect Claude armstrong, who had participated in some of the early design work on the concrete buildings in 1987 [fig. 35], wrote to Judd and offered his assistance in completing the structures. at the bottom of this letter Judd scribbled: “of course want to do building, can’t afford it yet.” 23

3 3 . pa uL k . w o o d s . p r o p o s e d d e s i g n f o r new Co nCrete b uiLd ing s – p10 b uiLd ing s eCtio ns pro po s ed exhib it ha LL d es ig n. no V emb er 13, 1989.

on december 10, 2012, bettina Landgrebe, conservator for the Chinati foundation, prepared a brief photographic and written assessment of the concrete buildings. the deteriorating conditions were photographed and documented:

el 10 de diciembre de 2012, bettina landgrebe, conser vadora de la Fundación Chinati, preparó una breve evaluación fotográfica y escrita de los edificios de hormigón. las condiciones de deterioro fueron fotografiadas y documentadas:

la condición del edificio: por lo general pobre, los paneles en su mayoría están agrietados, mellados, deformados, además de los paneles del tejado y del suelo, las grietas son superficiales y, lo más probable, es que por todas partes la mayoría de los paneles estén man-

Condition of the building: gener-

chados por: eflorescencia, crecimiento

ally poor, panels mostly cracked,

biológico, calafateo deteriorado, sin

chipped, warped, also roof and

ventana, sin puerta. 24

floor panels, cracks superficial and, most likely, throughout, most

el Futuro

panels stained by: effl orescence,

Faltan por abordar los problemas críti-

biological growth, deteriorated

cos con respecto al futuro del proyecto

caulking, no window, no door.24

de los edificios de hormigón. ¿es una obra de arte que debe ser preser vada

3 4 . pauL k. w oods . p ro p o se d de sig n fo r n e w C o nC r e t e b ui L d i ng s – p31 12 m 2 waLL s eCtio n p ro - p o se d e x h ibit h aL L d e s i g n. no Ve m b e r 13 , 19 8 9 .

Future

y restaurada tal y como está? ¿es un

Critical issues remain to be addressed with regard to the future of the concrete buildings project. is it a work of art that should be preserved and restored as is? is it an architectural project that should be reconstructed and finished as planned, to serve as an installation space for Judd’s artworks? or should the building(s) be razed and the project reengineered and realized as envisioned by Judd? the question is not whether it would be possible to preserve the existing building (it could be salvaged), but whether to preserve it at all. inadequate design, lack of supervision, and substandard construction led to two unsatisfactory attempts, not in keeping with Judd’s own standards of excellence and possibly (as woods suggests) not meeting the minimum safety regulations set by the u.s. building Code. the question of what to do with the buildings is both philosophical and practical. Judd had extremely high

proyecto arquitectónico que debe ser reconstruido y acabado tal y como fue planificado, para ser vir como espacio para instalaciones para las obras de Judd? ¿o debería/n el/los edificio/s ser arrasado/s y el proyecto rediseñado y realizado tal y como lo concibió Judd? la pregunta no es si sería posible preser var el edificio existente (podría ser conser vado), sino si vale la pena conser varlo. un diseño inadecuado, una falta de super visión y una construcción de calidad inferior condujeron a dos intentos insatisfactorios, sin corresponderse con los propios estándares de excelencia que mantenía Judd y, posiblemente (como sugiere woods), sin corresponderse con las regulaciones mínimas de seguridad establecidas por el Código de Construcción de los ee.uu. la pregunta de qué hacer con los edificios es a la vez filosófica y práctica. Judd tenía expectativas extremadamente altas para estas estructuras.

35. CL aude armst ro n g . i so me t riC draw i ng o f s i t e p L a n a nd d e ta i L s f o r p r o p o s e d ConCrete buiL din g p ro J e Ct. 19 8 9 ( ? ) . J ud d fo und at i o n a r C h i V e s .

n o ta s

notes

donald Judd, Donald Judd Architektur (münster: westfälischer kunstverein,

ción Chinati.

note in Chinati staff report, march 30,

Donald Judd Architektur, 174.

1983. Chinati foundation archive.

Donald Judd Architektur, 174.

ibid.,178.

den, abril de 1985, reimpreso en Donald Judd:

donald Judd, “marfa, texas,” House and

Complete Writings 1975 –1986 (eindhoven: Van

Garden, april 1985, reprinted in Donald Judd: Complete Writings 1975 –1986 6

nalism: six points for an architecture of resis-

kenneth frampton, “towards a Critical

tance,” en Anti-Aesthetic: Essays on Postmodern Culture (seattle: bay Press, 1983). 7

Postmodern Culture (seattle: bay press, marianne stockbrand, Chinati: The Vision

tion, y new haven: Yale university Press), 40. 8

of Donald Judd (marfa, texas: the Chinati foundation, and new haven: yale univer-

una de las tres medidas sugeridas por

sity press), 40.

Paul woods distorsionaría el propósito original de Judd. Judd, después de todo, tuvo la oportunidad de hacerlo

“art and architecture, 1987” in Donald

de una subvención para la burlington-north

Judd Architektur, 195.

Foundation, el 17 de abril de 1987. archivo de

archive.

aunque sea posiblemente polémica,

11 Letter from Cindy hibbets to donald north

tal vez la solución más prometedora

of the burlington-north foundation, march

sea arrasar las estructuras existentes

“art and architecture, 1987” en Donald Judd Architektur, 195.

Donald Judd Architektur, 88–89.

tion, april 17, 1987. Chinati foundation

factor decisivo).

plication for the burlington-north founda-

la financiación podría haber sido un

“art and architecture, 1987” en Donald Judd Architektur, 195.

10 date unknown. mentioned in grant ap-

pero optó por no hacer nada (aunque

marianne stockbrand, Chinati: The Vision of Donald Judd (marfa, texas: the Chinati Founda-

1983). sin embargo, repararlos empleando

Kenneth Frampton, “towards a Critical regio-

(eindhoven: Van abbemuseum, 1987).

of resistance,” in Anti-Aesthetic: Essays on

donald Judd, “marfa, texas,” House and Gar-

abbemuseum, 1987). 6

regionalism: six points for an architecture

expectations for these structures. yet to repair them by employing one of the three measures suggested by paul woods would distort Judd’s original intent. Judd, after all, had the opportunity to do so but chose not to act upon it (though funding may have been a factor). while potentially controversial, perhaps the most promising solution would be to raze the existing structures and fi nd an architect sympathetic to Judd’s intentions who could rework and continue the project. this could be done through an international competition, which might also raise public awareness and financial support, both for the project and for the Chinati foundation.

anotación en el informe del Personal de Chinati, el 30 de marzo de 1983. archivo de la Funda-

1989), 88. 2

donald Judd, Donald Judd Architektur (münster: westfälischer Kunstverein, 1989), 88.

14, 1989. Chinati foundation archive.

10 Fecha desconocida. mencionada en la solicitud

la Fundación Chinati. 11 Carta de Cindy hibbets a donald north de la burlington-north Foundation, el 14 de marzo de 1989. archivo de la Fundación Chinati. 12 Carta de Carl e. ryan a robert Kirk, 27 de agosto de 1987. archivo de la Fundación Chinati.

y encontrar a un arquitecto que simpa-

12 Letter from Carl e. ryan to robert kirk,

tice con las intenciones de Judd y que

august 27, 1987. Chinati foundation

julio de 1988, la entrada para los edificios de

pudiese reelaborar y continuar el pro-

archive.

hormigón: “los contratistas incluían a Celedonio

13 note in Chinati staff report, July 1988,

yecto. se podría hacer a través de una

entry for concrete buildings: “contractors

competición internacional, que también

included Celedonio mediano, richard

podría sensibilizar al público y suscitar

daniel guevara, adam tarengo, frank

apoyo financiero, tanto para el proyec-

allan knight and william Leigh fellows.”

to como para la Fundación Chinati.

Chinati foundation archive. 14 possibly the work: untitled, 1988. Concrete, four units: 98 7/16 x 98 7/16 x 98 7/16 each (as listed in the whitney exhibition catalogue by barbara haskell).

13 anotación en el informe del Personal de Chinati,

mediano, richard daniel guevara, adam tarengo, Frank allan Knight y william leigh Fellows.” archivo de la Fundación Chinati. 14 es posible que se trate de la obra: sin título, 1988. hormigón, cuatro unidades: cada una de 98 7/16 x 98 7/16 x 98 7/16 (tal y como se indica en el catálogo de exposición del whitney redactado por barbara haskell). 15 entrevista con monty o’neal, abril de 2014. [nota del editor: robert Kirk regresó a Chinati

15 interview with monty o’neal, april 2014.

en 2007 para supervisar la restauración de las

[editor’s note: robert kirk returned to

primeras seis obras de hormigón. el sr. Kirk mu-

Chinati to supervise the restoration of the

rió al año siguiente. la Fundación Chinati está

first six concrete works in 2007. mr. kirk

profundamente agradecida por su contribución

passed away the following year. the Chi-

a la construcción y el cuidado de estas obras de

nati foundation is deeply grateful for his contribution to the construction and care of

arte.] 16 Carta a monty o’neal de parte de dan P. ray

bibliograPhY

bibliograFía

urs peter flückiger, Donald Judd Architecture

urs Peter Flückiger, Donald Judd Architecture

16 Letter to monty o’neal from dan p. ray

in Marfa, Texas. basel: birkhaüser Verlag

p.e., may 23, 1989. Chinati foundation

17 ibíd.

archive.

18 entrevista con el dr. Paul K. woods, marzo de

ag, 2007. Donald Judd Architektur. marianne stockebrand, ed. exh. Cat. münster: westfälischer kunstverein, 1989. Donald Judd Architektur. exh. Cat. Vienna:

these artworks.]

ag, 2007.

17 ibid.

Donald Judd Architektur. marianne stocke-

18 interview with dr. paul k. woods, march

brand, ed. exh. Cat. münster: westfälischer

2014.

Kunstverein, 1989.

19 the design team consisted of paul k.

Donald Judd Architektur. exh. Cat. Vienna:

Österreichisches museum für angewandte

woods, architect, m. L. Coody p. e., ron

kunst, 1991.

Kunst, 1991.

kruhl p. e., Leonard smith p. e., John p.

Donald Judd: Complete Writings 1959 –1975. halifax: press of the nova scotia College

halifax: Press of the nova scotia College of

of art and design, 1975.

art and design, 1975.

Donald Judd: Complete Writings 1975 –1986. eindhoven: Van abbemuseum, 1987.

eindhoven: Van abbemuseum, 1987. thomas Köhler, Donald Judd: Architekturen und

Verlag dr. kova, 2005. marianne stockebrand, Chinati: The Vision of

20 report dated november 20, 1989, from dr. paul k. woods. Chinati foundation archive.

Donald Judd: Complete Writings 1975 –1986.

thomas köhler, Donald Judd: Architekturen und Projekte, 1968 –1994. hamburg:

graff, architect.

Donald Judd: Complete Writings 1959 –1975.

21 ibid. 22 interview with dr. paul k. woods, march 2014.

Projekte, 1968 –1994. hamburg: Verlag dr.

23 note in Chinati staff report, september,

Kova, 2005.

1993. Chinati foundation archive.

marianne stockebrand, Chinati: The Vision of

P.e., 23 de mayo de 1989. archivo de la Fundación Chinati.

2014. 19 el equipo de diseño estaba formado por Paul K. woods, arquitecto, m. l. Coody, ingeniero profesional, ron Kruhl, ingeniero profesional, leonard smith, ingeniero profesional, John P. graff, arquitecto. 20 informe fechado el 20 de noviembre de 1989, por parte del dr. Paul K. woods. archivo de la Fundación Chinati. 21 ibíd. 22 entrevista con el dr. Paul K. woods, marzo de 2014. 23 anotación en el informe del Personal de Chinati, septiembre de 1993. archivo de la Fundación Chinati.

Donald Judd. marfa, texas: the Chinati

foundation, and new haven: yale univer-

Foundation, y new haven: Yale university

ne Concrete building,” oct. 19, 2012,

Concrete building,” 19 de octubre de 2012, no

sity press, 2010.

Press, 2010.

unpublished. Chinati foundation archive.

publicado. archivo de la Fundación Chinati.

24 b. Landgrebe, “donald Judd: unfinished

24 b. landgrebe, “donald Judd: unfinished ne

donald Judd: the concrete buildings

donald Judd: los edificios de hormigón

part ii

Part ii

introduCtion

introduCCión

the following is an effort to make a catalogue of drawings, notes, reports, images, and other documents related to donald Judd’s concrete building project for the Chinati foundation in marfa, texas. the documents are arranged by year in chronological order, based on known project events. Certain documents contain dates that are incorrect (possibly post-dated), while others contain no dates at all. each document is provided with introductory identification information: date, author, subject, medium, and Collection.* thereafter follows a typed transcription of notes found on the drawings.

el siguiente es un intento de hacer un

often, due to illegible handwriting, a (?) will be inserted until the text can be defi ned. some confusion results from the mixture of both metric and imperial dimensioning systems. also, Judd often dates his drawings according to the european standard (d-m-y) as opposed to the american standard used by robert kirk (m-d-y). finally, a section titled Comments tries to briefly explain what is going on in the drawing, as well as its significance with regards to the project’s development. for those who wish to see the drawings and plans in greater detail, a digital version of this publication can be found at www.chinati.org/newsletters. the process is ongoing. it is thought that there may be drawings and notes yet to be found, as well as other archives to be explored. the author would like to thank the Chinati foundation and Judd foundation for access to their archives and apologizes for any inaccuracies and hopes this work will provide a foundation for further research.

catálogo de los dibujos, las notas, los informes, las imágenes y los demás documentos relacionados con el proyecto para el edificio de hormigón de donald Judd para la Fundación Chinati de marfa, texas. los documentos están presentados en orden cronológico por años, basándose en los estados conocidos de los proyectos. algunos documentos contienen fechas que son incorrectas (posiblemente con fechas posteriores), mientras que otros no contienen fechas en absoluto. Cada documento dispone de información

ción mecanografiada de notas encontradas en los dibujos. debido, a menudo, a una escritura ilegible, se insertará un (?) hasta que se pueda definir el texto. hay alguna confusión que se debe a la mezcla de los sistemas de dimensionamiento imperial y métrico. además, Judd a menudo fecha sus dibujos de acuerdo con el patrón europeo (d-m-a), al contrario que el patrón estadounidense usado por robert Kirk (m-d-a). Finalmente, una sección titulada Comentarios intenta explicar brevemente lo que pasa en el dibujo, así como su significado con respecto al desarrollo del proyecto. Para aquellos que deseen ver los dibujos y los esbozos con mayor detalle, se podrá encontrar una versión digital de esta publicación en www.chinati.org/ newsletters. el proceso es continuo. se cree que aún quedan por encontrarse dibujos y notas, así como otros archivos por explorar. al autor le gustaría agradecer a la Fundación Chinati y a la Fundación Judd por el acceso a sus archivos y se disculpa por cualquier error y espera que esta obra ofrezca una base para futuras investigaciones.

de identificación introductoria: Fecha, autor, tema, técnica y Colección.*

richard gachot

a partir de entonces, sigue una transcrip-

august 2016

agosto de 2016

Comments: this is a sketch made in april 1983 for a new east structure to be added to the existing living quarters building of La mansana de Chinati. base dimensions are given as 30’ x 27’+/- 4’. opposing doors appear on the 30’ sides while two windows appear on each of the 27’ sides. two isometric sketches of the building are shown, apparently alternate schemes (as the word “or” appears between the two). the fi rst building is a two-story steel-framed structure with infill “concrete blocks – as walls.” the vertical rectangular windows of the fi rst and second floor replicate the window shape on the existing building compound. the steel framing is only shown in a vertical direction. the barrel-vault roof is drawn as squatter than it is dimensioned, which is 1/3 of the entire building height. the second building (shown canted behind the first and marked as an alternative scheme) is also a two-story steel-framed structure; however, the steel frame is now exposed in a

date/Fecha: (?) apr 83

horizontal direction visually dividing the fi rst

author/autor:: donald Judd

and second floor, turning the elevation into a

subject/tema: isometric Views

6-square grid. no indication of building pro-

of new east building for La mansana de Chinati

gram is given on the drawing.

medium/técnica: pencil on

this unbuilt project is a formal and structural

notebook paper

source for the initial concrete building design.

Collection/Colección: Judd foundation archives transcription/transcriptión: Corrugated roof Free standing steel structure, showing concrete blocks as walls [vertical dimensions] all equal 3’rds

* in his sketches Judd sometimes uses an abbreviation to note where they were made. these are: * en sus bocetos, Judd a veces usa una abreviatura para señalar dónde se hicieron. son:

adC

ayala de Chinati

Ch. fd.

Chinati foundation

Cp e

Casa perez eichholteren, switzerland/suiza

m de C

mansana de Chinati

t de C

taller de Chinati

19 8 4 Comments: this is a squared-off version (30’ x 28’) of the steel frame and concrete block east building meant for La mansana de Chinati. the existing living structure is visible in contour four feet behind and a note is made to make the roofs the “same height.” the horizontal and vertical steel framing of the new building clearly express the 6-square grid of each side elevation, with walls of “concrete block.” a lower 4-square door with central rotation is placed on the ground floor vault end, while a similar design as a window is placed on the second floor central bay. pencil weight shows that these are revisions to the initial drawing, which had a rectangular door (erased) on the front end, and no window on the second story. details of the steel profiles are shown below, with a small arrow indicating the vertical pieces are “t” profiles. “L” profiles are for corners and “u” (changed to “L”) profiles are for windows. a small second story plan to the left shows the

date/Fecha: 12 aug 84

transcription/transcriptión:

author/autor: donald Judd

11 12 14

subject/tema: isometric View

Other building should have 2nd

of new east building for

story center window, 2nd fl

La mansana de Chinati

Continuous beam on top

tral complex axis). the roof vault is framed by

medium/técnica: pencil on

same height [at roof lines]

notebook paper

concrete block lateral (?)

a steel beam that follows its contours. a small

Collection/Colección:

[note in window]

Judd foundation archives

30’ x 28’ +/-

two side windows, but notes that on the “other building” there will be a third window in the front (building on the west side of the n-s cen-

ground floor plan on the lower right shows the space divided into nine squares with a possible

sauna, toilet dressing rm.

9’ side dimension. flanking the rear door are

bath, T[oilet] & closet

two room modules, one that contains “sauna,

Ground Floor

toilet dressing room” (upper) the other “bath,

vertical corner around windows

toilet & closet” (lower). the ground floor program implies a “living” function with bath and sauna. the roof shows a standing seam metal profile and a lower left-hand detail, maybe the joint between roof and upper steel horizontal beam. this unbuilt project is a formal and structural source for the initial concrete building design.

date/Fecha: 12 aug 84

Comments: this is a clearer exterior isometric

author/autor: donald Judd

(possibly traced over the previous drawing)

subject/tema: isometric View

showing the new east building in front of the

of new east building for

existing living quarters building at La man-

La mansana de Chinati medium/técnica: pencil on

sana de Chinati. the program is outlined in

notebook paper

the notes: building #1 (east) for Chamberlain

Collection/Colección:

artwork, building #2 (west) for Judd’s collec-

Judd foundation archives.

tion of drawings and paintings. a note at the

transcription/transcriptión

top suggests a change in exterior wall material

Concrete block or

from concrete block to concrete slabs [panels]

preferably concrete slab

running horizontally. a small thumbnail section

set horizontally

to the right shows the proportions ¹⁄ ³:¹⁄³:¹⁄³ for

30’ x 28’ +/-

the two floors and roof vault.

1. Chamberlain

this unbuilt project is a formal and structural

2. Old drawings + paintings

source for the initial concrete building design.

19 8 4 Comments: this is an isometric drawing of the

date/Fecha: 05 nov 84

artillery shed building with proposed barrel-

author/autor: donald Judd subject/tema: artillery shed

vault roof. the suggestion is made that the en-

building with roof Vault study

tire end of the vault be glazed on both ends, to

medium/técnica: pencil on

contrast with the lower side glazing along the

notebook paper Collection/Colección:

entire length of the building.

Judd foundation archives

this drawing is included to show similarity with some of the schemes for the concrete

transcription/transcriptión:

building project. its date, november 5, 1984,

Bottom visible

precedes by two days an isometric study of the

through side to side

two-story 30’ x 60’ west building for La man-

top visible through

sana de Chinati. Judd’s architecture shows a

end to end

cross-fertilization of design ideas, which fed many projects simultaneously. the barrel vault and rectangular base appear in numerous projects.

Comments: this is an isometric drawing of the two-story new west building for La mansana de Chinati. Like the smaller east building, this design is steel-framed with concrete infill panels (here drawn as lateral shapes). the dimensions are given as 30’ x 60’. Judd was working on the artillery shed buildings also in november of 1984, so it comes as little surprise that there are some similarities here, albeit with an entirely different structure and materials. many of the early sketches for the concrete buildings show double side doors, obviously influenced by this project. the end of the vault is noted “glass or steel.” a floor plan from the west building was also done in november showing slightly modified dimensions: 30’ x 54’ 7 ½”. there are numerous precedents in architecture for framed panel buildings that Judd would have known. these include: Louis kahn’s yale Center for british art (1953) and salk institute (1962), renzo piano’s i r C a m center (1973), date/Fecha: (?) nov 84

and mies van der rohe’s iit campus (1938).

author/autor: donald Judd subject/tema: isometric View of new west building for La mansana de Chinati medium/técnica: pencil on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: Glass or steel 30 x 30 x 60 -

Comments: this is the second floor plan associ-

date/Fecha: 07 nov 84

ated with the isometric drawing of a two-story

author/autor: donald Judd subject/tema: second floor plan

30’ x 60’ steel-framed new west building for La

of the new west building for La

mansana de Chinati. the two lateral side win-

mansana de Chinati

dows are scratched off the plan, providing fur-

medium/técnica: pencil on

ther correspondence to the previous isometric.

notebook paper Collection/Colección:

the plan grid is based on a 10”-11” module.

Judd foundation archives

the proportions of width to length are noted as ¹⁄ ³ :¹⁄ 5 with dimensions of 30’- 8 ¹⁄ 8” x 54’-

transcription/transcriptión:

7 ½”. the grid on the floor has one interior line

West new 2 st. bldg. 54’-7 ½” x 30’- 8 ¹⁄8”

crossed out, joining two modules perhaps for

10’-11”

stair placement. a “b” in the upper right corner

2nd floor

designates this as the west building. this unbuilt project is the formal and structural source for the initial concrete building design.

19 8 4 – 19 8 5 Comments: this is the section at the roof vault meant for both the east and west new buildings at La mansana de Chinati. the material of the vaulted roof mentioned as galvanized iron [steel] is shown curving and inserting into the “u” flanges of the upper horizontal steel building framing. the vault height in the small section is indicated as 10’ or 1/3 of the entire 30’ structure (first floor + second floor + roof height). in the large detail this is adjusted to 10’-2”+ (probably to provide 1/3 of the width). an interesting note asks if the vault should expose its interior curve or be flattened at ceiling height for the possible addition of insulation. the use of the barrel vault as an addition to the artillery sheds and as a shape for the concrete buildings stems from Judd’s interest in the local vernacular architecture of the Quonset hut. date/Fecha: 07 nov 84

transcription/transcriptión:

author/autor: donald Judd

East or West new building B

subject/tema: roof section

Should the vault be the ceiling?

new east & west buildings for La

Insulation? Double (?) or with

mansana de Chinati

sheets of

medium/técnica: pencil on

galvanized iron?

notebook paper

10’ or 10’ - 2’’ +

Collection/Colección:

30’- 8 ¹⁄8”

Judd foundation archives

Comments: december 30, 1985 is the date of the first known drawings for the concrete building project. Judd’s previous studies for an unbuilt steel-framed building at La mansana de Chinati clearly fed into the early design schemes for the concrete buildings. five drawings were made on this day though it is not clear in what sequence they were produced. this drawing shows an elevation of a one-story building to be constructed in steel frame with concrete insert panels. the steel framing is exposed on the front elevation, with a five-bay, bbabb rhythm. while no horizontal dimensions are indicated, it is presumed that the overall base dimensions are 50’ x 50’, as indicated on a plan drawing made that day. the concrete panels would thus be 10’ x 10’, as would the door, though Judd’s loose sketch shows a more vertical shape. a note on the 4-square door mentions glass for the panes. no upper window is shown. a 9-square grid for the site is found on the upper right but with no markings for buildings. the vertical line on

date/Fecha: 30 dec 85

the left side may be a detail for an interlocking

author/autor: donald Judd

standing seam roof (?).

subject/tema: elevation of one-story steel-framed building with Concrete panels

reference: excerpt from a document prepared

medium/técnica: pencil on

by donald Judd on June 30, 1983 (Chinati

notebook paper Collection/Colección: Judd

foundation annual notes):

foundation archives

“4. Provide new buildings necessary for the installation of my pieces done under the first con-

transcription/transcriptión:

tract: progressions, stacks and 2 large pieces.

10 ft

The buildings are to be steel frame and poured

10 ft

concrete construction with each building mea-

glass

suring 40 x 40 feet.”

19 8 5 Comments: part of the five sketches made on december 30, 1985. this drawing shows the elevation of a two-story building. while no mention is made of the program, Judd notes in later drawings the use of two-story buildings as office/living spaces. the central stairway (shown lower left) evokes a similar one in the living quarters of La mansana de Chinati. Later, for practical reasons, the stair would be placed against the rear wall (the 10’ rise would never have been possible with a single flight run). the drawing is similar to the single-story version, with steel framing exposed on a five-bay front elevation in an aabaa rhythm. the principal difference is the addition of two windows inserted above the door on the second story. no dimensions are provided, but it is presumed that the façade has a 50’ width and the building height is 30’, with a 10’ first floor and 20’ second floor. the window at the roof vault has a (?) noted on it, questioning its necessity. a sketch on the lower right shows a 9-square grid with an “x” in its center. this could be a refer-

date/Fecha: 30 dec 85

ence to either an open module on a 9-square

author/autor: donald Judd

site plan or the stair location in the building.

subject/tema: elevation of two-story steel-framed building

the overall shape and structural system is di-

with Concrete panels

rectly influenced by the unbuilt new east build-

medium/técnica: pencil on

ing project for La mansana de Chinati.

notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: Stairs [at] 2nd flr.

Comments: this single-story building shows the addition of a window above the door (noted on “both ends” of building) each with a 4-square division. the front elevation is made up of five bays of 10’ x 10’ concrete panels (assuming a 50’ width) with an aabaa rhythm. the building height is 30’ (10’ wall and a 20’ vault), which creates a 3:5 proportion (height to base). to the right of the elevation a small sketch shows a gutter system at the roofwall intersection. to the left of the elevation a small 9-square grid site plan is drawn with eight buildings on the perimeter and an open center module. this is the first known appearance of a site plan with building location. a note written sideways at the bottom begins to determine the number of buildings necessary for the art pieces that have been made: thirteen horizontal works (“progressions”), three vertical works (“stacks”), and two freestanding steel pieces. seven will be needed for the art, while eight fit the grid. as the progressions are distributed three per building, this leaves an extra piece, perhaps for the eighth building. the steel framing is not clearly indicated on the façade, and this may indicate a move to the future all-concrete structure.

date/Fecha: 30 dec 85

transcription/transcriptión:

author/autor: donald Judd

Both ends [at window]

subject/tema: elevation of one-

3:5 [building height:width]

story building with door/window

[sideways] 4 buildings > 13

medium/técnica: pencil on

progressions, 3 stacks, 2 steel

notebook paper

[sideways]

Collection/Colección: Judd

foundation archives

2 1 7 or 8 buildings

19 8 5 date/Fecha: 30 dec 85

Comments: this drawing shows a 50’ x 50’

author/autor: donald Judd

floor plan with five divisions per side for con-

subject/tema: floor plan of

crete wall panels. there is a single entry door

50’ x 50’ building with single

at the top of the plan. the door pivots on a cen-

door and wall panels medium/técnica: pencil on

tral axis. to the upper right is a detail drawing

notebook paper

of the structure. it shows a steel i-beam with two

Collection/Colección: Judd

possible solutions, double panels inserted into

foundation archives

the flange or a single panel centered on the i-beam exterior.

transcription/transcriptión: 50 ft x 50 ft

Comments: this drawing shows rough detail sketches of the steel frame/concrete panel construction system with various possible joint assemblies. the concrete panel appears to be 4½” thick and possibly an insulated panel unit as drawn in the upper sketch, which shows a 4½” wall subdivided into three parts: two 1½” outer concrete slabs sandwiched around a 1½” inner insulation board (?). the drawing to left shows a solid 4½” panel inserted into a 6” steel i-beam with chamfers on either side to lock it into place. the lower center shows two details of concrete panels mounted on the outside of an i-beam; to the right, two double panels inserted into the flanges of the i-beam; and above this, a possible elevation drawing. a calendar at the top confirms the year and month as december 1985 and may have been drawn for purposes of meetings between Judd and robert kirk.

date/Fecha: 30 dec 85 author/autor: donald Judd subject/tema: detail drawings of structural steel Connections and wall panels medium/técnica: pencil on notebook paper Collection/Colección: Judd foundation archives

19 8 6 Comments: this drawing consists of phone

date/Fecha: 9 Jan 86, thursday

reminders, meeting notes, and sketches where

author/autor: robert kirk subject/tema: review and

kirk apparently tries to clarify Judd’s previous

revision of Judd’s sketches

sketches (12.30.85) based on a mixed steel

(12.30.85) – summary i

frame/concrete panel system. kirk draws a

medium/técnica: reproduction of original pen on notebook paper

floor plan and elevation indicating concrete

Collection/Colección: Judd

and steel placement. to the right he outlines

foundation archives

the amount of concrete required as well as the various steel parts and number of pieces re-

transcription/transcriptión:

quired to construct the building. the floor plan

Jan 9, 1986 Thursday Calls 1:46

is drawn to show the placement of the two types

11:00 (at 1:50-2:11) Charly

of steel parts, t-channels and L-brackets, on the

Wright – Dia Art Fnd. – 212

50’ x 50’ concrete slab [note his conversion

431 9232

of feet to meters is wrong: the 12.50m should

1:04 (at 2:14-2:21) Andy Andruge [?] 512 227 3113

be 15.54m].

Willie Null - request estimate

because his drawings are to scale, kirk

- repair

attempts to resolve details that are unclear in

Verbal by Wed, in 2-weeks - Bldg.

Judd’s rough sketches. for example, he has

50 x 50 ft 4 x 8 Pc [pre-cast] Conc/ 10th,

centered the upper window, requiring partial

pour shear wall

concrete panels below and above for infill. gutter protrusions seem to be added at the sides at the roof/wall joints. to the left is an i-beam detail with the small triangular top. three details drawn at the upper right show the arc of the steel flange beam for the roof vault top, a joint between two concrete panels, and a corner detail with a t-flange (a variation from his L-bracket specified in plan). this is the first of several points during the project where kirk tries to distill Judd’s rough schematic drawings into a buildable structure; as such it will be called summary i. while the result did not always match the artist’s wishes, the step was necessary in order to advance the design process.

Comments: this drawing by robert kirk shows an end elevation of the proposed concrete building, similar to a Quonset hut. it is presumed to have a 15m square ground plan and is 7.5m high (based on accompanying drawings). the vault end of the building is made up of six concrete panels (2.5m x 2.5m) with two rows of paneled windows (2.5m x 2.5m) above, adjusting to the roofs curvature. no door is visible (doors will appear on side elevations). while the drawing is marked “kirk feb 87,” a note in kirk’s handwriting suggests an earlier date: 2.8.86. this drawing is part of a suite of thirteen drawings done for a meeting with Judd following their initial January meeting (1.9.86). apparently by this point the previous steel frame/concrete panel system was abandoned in favor of an entirely concrete structure.

date/Fecha: 18 feb 86/ feb 87

the subject of the meeting and the material

author/autor: robert kirk

discussed via the drawings initially emphasize

subject/tema: 15m building end elevation – semicircle

a monolithic roof/wall system typical of thin-

medium/técnica: reproduction

shell concrete. the determination of the vault

of original pen on notebook paper

shape—whether parabolic, ellipse, or semicir-

Collection/Colección: Judd

cular—were important preliminary decisions.

foundation archives

Judd may have had some familiarity with

transcription/transcriptión: n/a

concrete building construction based on his general interest in architecture and his specific 1964 review of the Twentieth Century Engineering exhibition at moma. it seems nevertheless that formal and aesthetic concerns often override the structural rationalism of the concrete building project.

19 8 6 date/Fecha: 18 feb 86/ feb 87

Comments: in this drawing kirk cuts a sec-

author/autor: robert kirk

tion though the previous semicircular building

subject/tema: 15m building

elevation. it is important to note that, at least

section – semicircle

initially, he recognizes the need to contain the

medium/técnica: reproduction of original pen on notebook paper

lateral thrust of the barrel vault, in this case

Collection/Colección: Judd

through interior buttresses. extending the wall

foundation archives

to the foundation footings also helps to anchor the structure firmly in the ground, countering the

transcription/transcriptión: n/a

outward thrusts. it is unclear whether the buttress was intended as a monolithic wall or periodic ribbing. in the case of ribbing, the wall could have been furred out to allow for vertical mounting and electric/mechanical space.

date/Fecha: no date (18 feb 86)

Comments: this proposed floor plan is dimen-

author/autor: robert kirk

sioned 15m x 15m. each side is made up of six

subject/tema: 15m x 15m

concrete panels, dimensioned 2.5m each. two

building floor plan

doors are provided on the sidewall located in

medium/técnica: reproduction of original pen on notebook paper

an abaaba rhythm. the concrete panels are

Collection/Colección: Judd

indicated as 25cm thick (9.84 in). in the final

foundation archives

built project this dimension would be reduced to 13cm (5.12 in). the half-lap joint at the cor-

transcription/transcriptión: n/a

ner intersections of the concrete panels is an awkward detail later resolved through a butt joint. from this date on all dimensions will be given using the metric system.

Comments: this is an alternative scheme using a parabolic arch rather than a semicircle for the vault. 2.5m vertical walls truncate the vaulted roof. on the end wall, the base is made up of 2.5m square concrete panels with a grid of 2.5m windows filling the upper vault. the parabola is the traditionally favored form in thin-shell concrete construction due to economy of material, stability, and aesthetic form. it was much used in french (freyssinet), brazilian (niemeyer), and mexican architecture (felix Candela) as well as the u.s. (saarinen). the beauty of the parabola is its use of a monolithic roof and wall system. by truncating a full parabolic arch and joining it to the 2.5m vertical walls, kirk compromises the form, both structurally and aesthetically. this may have been due to the practical constraints of exposing art on a vertical wall. other influences could be the shape of Judd’s artillery sheds. date/Fecha: (18 feb 86)/feb 87 author/autor: robert kirk subject/tema: 15m building typical end detail – parabolic medium/técnica: reproduction of original pen on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

19 8 6 Comments: this is a side view elevation of the

date/Fecha: no date (18 feb 86)

parabolic arch project. the drawing corre-

author/autor: robert kirk subject/tema: 15m building side

sponds to the floor plan which shows two 2.5m

View – parabolic

entryways into the building. in elevation these

medium/técnica: reproduction

doors have a 4-panel division and are centrally

of original pen on notebook paper Collection/Colección: Judd

pivoting. Judd’s initial sketches showed a single

foundation archives

entry on the vault end wall.

transcription/transcriptión: n/a

Comments: this building section shows two

date/Fecha: no date (18 feb 86)

alternate schemes. the first, highlighted in yel-

author/autor: robert kirk subject/tema: typical building

low, shows a 5m high arc (partial semicircle)

section – parabola vs. Circle

mounted on 3.75 vertical walls. the concrete

segment

vault is 12.5cm (4.9 in) thick while the vertical

medium/técnica: reproduction of original pen on notebook paper

walls are 25cm (9.8 in). the second scheme

Collection/Colección: Judd

shows a 5m high parabolic arc (partial) mount-

foundation archives

ed on 2.5m (8.2 ft) panels. the thicker wall base would have absorbed some of the vault’s lateral thrust, though probably better served through a monolithic roof/wall system rather than a separation of the parts. Judd’s artwork has been penciled in on the wall and people added for scale. the height of the 2.5m wall seems proportionately small compared to the vault dimension. this is probably why the alternate 3.75m wall was shown.

Comments: this is a critical building section as it shows six alternate schemes in one drawing. on the left side a 2.5m high concrete vertical wall (25cm/9.8 in thick) supports: 1) an elliptical vault in poché (better structural stability by redirecting lateral forces vertically), 2) a parabolic arch in outline (the traditional solution to thin-shell concrete, though here the truncated joint with the vertical wall poses problems), 3) a circle segment in dashed line (creates high lateral thrust). on the right half of the section: 4) an “ellipse” in dashed line (a mistake; actually a circle segment), 5) a complete semicircle in poché (with a structurally stable lower interior buttress), 6) a standard parabola touching the ground (structurally sound, the traditional thin-shell solution), and 7) a circle segment mounted on a 2.5m vertical wall (similar to #3, creates high lateral thrust without buttressing or tension cables). structurally the full parabola, semicircle, or

date/Fecha: (18 feb 86)/feb 87 author/autor: robert kirk

ellipse would have been the most stable solu-

subject/tema: typical building

tion, yet kirk and Judd chose the semicircular

section – parabola/Circle/ellipse

arc mounted on a vertical wall without but-

medium/técnica: reproduction

tressing or tie rods. the result was an unstable

of original pen on notebook paper

structure as later diagnosed by architect paul

Collection/Colección: Judd foundation archives

k. woods.

transcription/transcriptión: n/a

19 8 6 date/Fecha: (18 feb 86)/feb 87

Comments: this is a schematic section through

author/autor: robert kirk

the building using a concrete elliptical vault

subject/tema: schematic building

and vertical walls (2m high). the thickness of

section – ellipse and 2m wall

both is visually equal and suggests a monolithic

medium/técnica: reproduction of original pen on notebook paper

wall/roof concrete structure. the advantage

Collection/Colección: Judd

of the ellipse is that it directs the roof forces

foundation archives

vertically into the wall and foundation system

transcription/transcriptión: n/a

below, with less lateral force than an arc would

date/Fecha: (18 feb 86)/feb 87

Comments: Very similar to previous drawing

author/autor: robert kirk

of an elliptical vault; the only difference in this

produce.

subject/tema: schematic building

schematic section through the building is the

section – ellipse and 2.5m wall

vertical wall height (2.5m vs. 2m). this would

medium/técnica: reproduction of original pen on notebook paper

have provided more space for the mounting

Collection/Colección: Judd

and display of Judd’s artworks on the wall (2m

foundation archives

was insufficient). again, the advantage of the ellipse is that is directs the roof forces vertically

transcription/transcriptión: n/a

into the wall and foundation system below, with less lateral force than an arc would produce.

date/Fecha: (18 feb 86)/feb 87

Comments: while marked “ellipse,” the sec-

author/autor: robert kirk

ond radius in this scheme is so subtle that the

subject/tema: schematic

drawing looks very similar to a complete semi-

building section – ellipse (variant)

circle. based on a base width of 15m, the dif-

and 2m wall medium/técnica: reproduction

ference between the two would be only 50cm.

of original pen on notebook paper

normally the elliptical form would have helped

Collection/Colección: Judd

with lateral thrust; however, given this slight

foundation archives

variance it is doubtful there would have been much more structural integrity than a semicir-

transcription/transcriptión: n/a

cle. in terms of interior space, the 2m vertical walls would have provided insufficient space for the mounting and display of Judd’s art while being dwarfed by the 10m ceiling height.

date/Fecha: (18 feb 86)/feb 87

Comments: this drawing may have been a

author/autor: robert kirk

preliminary study for others in the suite. it super-

subject/tema: schematic building

imposes a semicircular and parabolic arch seg-

section studies – parabola

ment over a full elliptical arch drawn with wall

(variants) medium/técnica: reproduction

thicknesses. the parabola, while well know

of original pen on notebook paper

in architecture and engineering for thin-shell

Collection/Colección: Judd

practice, would not suit the display of Judd’s

foundation archives

artworks unless the work was freestanding. this drawing, and subsequent ones that emphasize

transcription/transcriptión: n/a

the parabolic form, may have come from a reference to the nyC municipal asphalt plant designed by kahn & Jacobs in 1944. a section drawing and description of the facilities (converted to a sports center in 1984) are contained in the Judd foundation archives.

19 8 6 Comments: three geometrically derived para-

date/Fecha: no date (18 feb 86)

bolic arches showing different heights based

author/autor: robert kirk subject/tema: schematic building

on a 2.5m grid. this was most likely a prepara-

section studies – parabola

tory study for other drawings in the suite dated

(variants)

18 february 1986.

medium/técnica: pen on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: B. K.

Comments: an outline copy of the previous

date/Fecha: (18 feb 86) feb 87

three geometrically derived parabolic arches

author/autor: robert kirk subject/tema: schematic building

showing different heights. without construction

section studies – parabola

lines the interior space is more visible.

(variants ii) medium/técnica: pen on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

Comments: this is a sketch of a parabolic arch

date/Fecha: no date (18 feb 86)

structure, fully open on its axial end, with a

author/autor: robert kirk subject/tema: parabolic Vault

single door on the side that shows interior but-

axonometric (partial)

tressing. the drawing recalls historic examples:

medium/técnica: reproduction

eugène freyssinet’s airship hanger at the orly

of original pen on notebook paper Collection/Colección: Judd

airport in france (1921), felix Candela’s Cos-

foundation archives

mic rays pavilion, mexico City, mexico (1951), and kahn & Jacobs’ asphalt plant in nyC

transcription/transcriptión:

(1944). again, Judd, with his vast architectural

B.K.

library and his review of the 1964 Twentieth Century Engineering exhibition at moma, had some basic understanding of engineering. a clipping of the kahn & Jacobs asphalt plant, with a similar profile, can be found in the concrete building archives of the Judd foundation.

Comments: a front and side elevation related

date/Fecha: (18 feb 86)/

to the previous drawing of a parabolic arch

17 dec 86 author/autor: donald Judd

structure in axonometric. the arch profile shows

subject/tema: parabolic Vault

a small lower side buttress, visible as ribbing

section and elevation

in the side elevation flanking the rectangular

medium/técnica: pen on notebook paper

openings. the drawing suggests a structure of

Collection/Colección: Judd

monumental precast parabolic segments simi-

foundation archives

lar to eugène freyssinet’s orly airport hanger (1921). in the latter, however, each arch seg-

transcription/transcriptión: n/a

ment was actually a hollow parabolic beam.

19 8 6 date/Fecha: 1984 (?)

Comments: a photocopy handout announcing

author/autor: asphalt green

the 1984 opening of the murphy sports and

sports and arts Center

arts Center housed in the original concrete

subject/tema: asphalt green

parabolic arch structure of the nyC municipal

sports and arts Center – 1984 opening announcement

asphalt plant (designed by kahn & Jacobs in

medium/técnica: photocopy

1944). the sectional perspective shows the re-

Collection/Colección: Judd

design of the plant as a sports and art center.

foundation archives

Judd, a resident of nyC, would have been familiar with this building, visible from the fdr

transcription/transcriptión: n/a

drive on the east river. while vastly out of scale compared to his own proposed concrete buildings, something in the form and materials must have caught his eye, as this material was saved for reference in the archives of the concrete building project. the side notations following the title “) h18, 16” may refer to the interior heights of the lower floors and upper double height spaces in meters. the upper basketball court shows how horizontal objects could be hung from the curved surface (here the backboard and net), perhaps an inspiration for the display of Judd’s own wall pieces.

Comments: this drawing is a study for the unbuilt residential project La Catorcena (?). it shows Judd’s programmatic and site-planning use of the grid with perimeter buildings and open courtyard. while not intended for the concrete building project, a small rectangular site plan to the right shows the very same 3x4 grid and building layout that will be eventually used for its site plan. this is a further example of the cross-fertilization of ideas that often happened in Judd’s projects and design process.

date/Fecha: 23 July 86

transcription/transcriptión:

author/autor: donald Judd

Library - at least 2- [possibly] 4?

subject/tema: La Catorcena (?)

Studio, art

site plan studies

Studio, arch

medium/técnica: pencil on

Studio, painting + drawing

tabloid paper

(at least 4 studios)

Collection/Colección: Judd

Kitchen

foundation archives

Eating Sleeping Guest – 4 rooms [represented as a quadrant in the square]

19 8 6 Comments: in this drawing, Judd shows an isometric view of a typical building with three 21’ horizontal “progression” pieces centered on the side and rear walls. there is a note “2.5 meters best for existing forms,” possibly meaning the height of the progressions mounted on the wall (+/- 8’). the space between the rear end wall and upper vault is marked “glass,” suggesting a large clerestory glazing. a note below, “concrete roof ?,” may be an indication that other materials were being considered. while the isometric notes “3 pieces” (artworks), two drawings on the right sides show a possible alternative with four wall-mounted pieces, two on each side with ends open and marked “glass.” this building proportion is given as “1:2,” changed from the square, and with dimensions of “35’ x 70’ ?.”

date/Fecha: 16 aug 86

transcription/transcriptión:

author/autor: donald Judd (with

2.5 meters best for existing forms

robert kirk)

Concrete roof ?

subject/tema: progression

3 pieces

sculpture placement on walls

glass

medium/técnica: pencil on spiral

1:2

sketchbook paper

35 ’x 70’ ?

Collection/Colección: Judd foundation archives

Comments: this sheet consists of two sketches.

date/Fecha: 24 nov 86

on the lower right, a floor plan with dimen-

author/autor: donald Judd subject/tema: 15 m building with

sions 15m x 15m, shows two doors (glass) on

two side doors

one side of the building. the two lateral sides

medium/técnica: pencil on

are marked “glass ends,” the upper roof vault.

notebook paper Collection/Colección: Judd

above the plan, a partial axonometric shows

foundation archives

the placement of the two doors (2.5m x 2.5m) in an abaaba rhythm alternating with the verti-

transcription/transcriptión:

cal concrete panels dimensioned 2.5m x 5m.

glass ends

a notation of “glass” is made under the upper roof vault. this is the first Judd sketch with doors perpendicular to the axis of the vault, suggested by kirk in his february 18 drawing.

Comments: this drawing is a variation on the

date/Fecha: 24 nov 86

previous; however, this view shows the doors

author/autor: donald Judd subject/tema: 15m Concrete

abutting each other and centered on the side-

building with adjacent side doors

wall in an aabbaa rhythm. the doors are 2.5m

medium/técnica: pencil on

x 2.5m each and the vertical concrete panels

notebook paper Collection/Colección: Judd

2.5m x 5m, with the exception of the two infill

foundation archives

panels above the doors at 2.5m x 2.5m. a note across the lateral roof span notes “all glass.” if

transcription/transcriptión:

glass is proposed on the end walls, the double

all glass

line may also be a horizontal structural beam.

19 8 6 date/Fecha: 24 nov 86

Comments: this drawing is a third variation

author/autor: donald Judd

of door/window treatments done in isometric

subject/tema: 15m Concrete

view on november 24, 1986. the dimensions

building with end door and

of the base (15m x 15m) and the panels (2.5m x

two windows medium/técnica: pencil on

5m) are similar to the other drawings. the most

notebook paper

significant difference is that the door and win-

Collection/Colección: Judd

dows have been placed at the vault end rather

foundation archives

than the side of the building (previously seen in

transcription/transcriptión:

his first sketches). the rhythm of the elevation

make all glass

is thus aabaa with the center section opening providing light and transparency, next to the opaque side panels. while the base dimension will be reduced from 15m to 12m, this is the detail that will eventually be chosen for the final built structure.

date/Fecha: 25 nov 86

Comments: this is a very simple line drawing

author/autor: donald Judd

studying the relation of the base dimensions

subject/tema: 15m building

(15m x 15m) to the height (10m=5m+5m). the

proportion

question mark after the 10m vertical dimension

medium/técnica: pencil on notebook paper

concerns the 10:15 proportion. Judd was con-

Collection/Colección: Judd

tinually searching for the right proportions for

foundation archives

each building during the design process. the

transcription/transcriptión: n/a

design of three distinct building types was final-

date/Fecha: nov 86 (?)

Comments: this drawing is a schematic isomet-

author/autor: donald Judd

ric view that outlines the building shape.

ized in february 1987.

subject/tema: Concrete building schematic View medium/técnica: pencil on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

date/Fecha: dec 86

Comments: a very simple isometric view of

author/autor: donald Judd

the building envelope with no notations. in the

subject/tema: Concrete building

lower right corner, there is a small detail of a

schematic View with partial

partial side elevation at the roof vault, with two

elevation

4-square windows spaced apart.

medium/técnica: pencil on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

19 8 6 Comments: this is a side elevation with glaz-

date/Fecha: dec 86

ing filling the end of the barrel vault roof in a

author/autor: donald Judd subject/tema: Concrete building

gridded square pattern. a small gridded 4x4

elevation and grid

square at lower right may be a floor plan (?).

medium/técnica: pencil on graph

the interest of this drawing lays its similarity

paper Collection/Colección: Judd

to drawings for the renovation of the artillery

foundation archives

shed buildings. at one point the end vault of the artillery sheds were to be glazed, but this was

transcription/transcriptión: n/a

never realized.

Comments: this sketch shows a floor plan with

date/Fecha: no date (dec 86)

a scored concrete grid (6x6) and sidewalls with

author/autor: donald Judd (with robert kirk)

no openings. the upper wall is marked “yel-

subject/tema: Concrete building

low”(?). though not dated, presumably part

floor plan

of the suite of drawings done in Vienna with

medium/técnica: pencil on graph

robert kirk.

paper Collection/Colección: Judd foundation archives transcription/transcriptión: B.K.

Comments: this is the first enlarged study of the original 9-square site plan with regards to placement of artworks by type and additional programmatic requirements. there are eight perimeter buildings, 15m x 15m each, and an open central square or courtyard. the orientation of all roof vaults is indicated as following a n-s axis. the grid lines are noted as “narrow walks.” the layout of buildings according to art type is as follows, the upper west perimeter buildings from left to right: floor (freestanding), Living/offices, floor (freestanding). the middle central axis buildings from left to right: horizontal (progression), open module in the center, horizontal (progression). the lower east perimeter buildings from left to right: horizontal (progression), Vertical (stacks), horizontal (progression). a new building type for purposes of “office-living” appears for the first time in the upper west center perimeter module. it is distin-

date/Fecha: 1 dec 86

guished by four doors opening both east and

author/autor: donald Judd subject/tema: 9-square site plan

west. a note also indicates that this building

medium/técnica: pencil on white

will accommodate the remaining odd-number

paper

horizontal progression (other buildings contain

Collection/Colección: Judd

three each for thirteen total).

foundation archives

all other buildings have double doors open-

transcription/transcriptión:

ing on one sidewall with access to the walk.

floor 1prog/living or office floor

this is somewhat problematic with regards to

horiz

[blank]

horiz

the center axis buildings. eventually the doors

horiz

vert

horiz

will be moved to the end wall of the vault and the buildings rotated to open right onto the central court. a small sketch in the upper right visually describes the n-s vault direction.

19 8 6 Comments: Judd raises many issues in this drawing. perhaps most curious is the reintroduction of the mixed steel frame/concrete panel structural system. the last reference to this was on January 9, 1986 in kirk’s summary sketch and though this drawing is marked 1 Dec 86, this may be an example of a retroactive dating error. a first note seems to refer to the thickness of the concrete panel as either 6 ¼cm or 12.5cm. as 6 ¼cm would have been too thin, it is thought that Judd meant 6 ¼ inches. next a question asks whether to show the steel structure on the interior or not? the concern is that the visibility of the steel on the interior could be distracting to the viewing of the horizontal progressions. Judd decides not to show the steel, only the caulk between the panels. this is illustrated in small detail to the right showing a steel t-beam with concrete panels inserted on date/Fecha: 1 dec 86

transcription/transcriptión:

either side of the central flange. the rectangle

author/autor: donald Judd

Concrete (?) 6 ¼cm thick/

subject/tema: notes and

12.5cm?

on the bottom represents a horizontal progres-

building isometric

Steel structure showing or inner

medium/técnica: pencil on white

studs (?)

paper

With progressions cannot show

zontal works and with three per building, one

Collection/Colección: Judd

inside, only crack between panels

foundation archives

13 progressions, 3 to a building:

remains. with a 9-square grid, the question

sion work. other notes discuss the number of works per building. there are thirteen hori-

then is: fill the entire grid with nine buildings or

4 one extra prog. 5? Building

leave an open court in the center with eight pe-

S.S. pieces: 2 buildings Plan for 8 buildings or 9

rimeter buildings? finally, the vault height and

9-square grid with center empty

resulting proportions are studied in section and

[or] with building on center

isometric. 7.5 meters is half the 15m plan width providing a 5:6 proportion (height to width).

date/Fecha: 2 dec 86

Comments: this is robert kirk’s second sche-

author/autor: robert kirk

matic design based on a summary of Judd’s lat-

subject/tema: review and

est sketches. there are three drawings: a floor

revision of Judd’s sketches (1986)

plan, an end elevation, and a side elevation,

– summary ii medium/técnica: reproduction

all drawn to 1:100 scale. the floor plan shows

of pen on white paper

a 15m x 15m building with a 2.5m square grid.

Collection/Colección: Judd

the end elevation has six vertical concrete

foundation archives

panels (2.5m x 5m) below an entirely glazed

transcription/transcriptión:

7.5m high barrel vault, filled with 2.5m x 2.5m

PL TK [panel thickness] = 0125

window modules (a reference to the artillery

Walls

shed project). a side door awning and stoop

18 PL 2500 x 5000 =

are visible to the right. the side elevation has

4 PL 2875 x 5000 = 2 PL 2500 x 2500 =

two 2.5m x 2.5m doors in an abaaba rhythm.

Roof

each door has a half panel module above it.

12 PL 2500 x 5 =

the roof is made up of twelve 2.5m sections

Floor

of 90-degree concrete barrel vaults joined at

15000 x 15000 =

the centerline. all panels (including roof) are indicated as having a 12.5cm (4.92 in) concrete thickness. the absence of steel implies a transition to an entirely concrete building made up of vertical tilt-wall panels and cast-in-place roof vault sections.

19 8 6 Comments: Concerned with the building pro-

date/Fecha: 2 dec 86

portions, Judd made several revisions (visible

author/autor: robert kirk and donald Judd

in pencil) to kirk’s base drawing of december

subject/tema: 15m building plan

2, 1986. in this drawing he resizes the wall to

and elevations with Judd notes iii

3.75m and the vault height to 5m arriving at a

medium/técnica: reproduction of pen on white paper

proportion of 8.75:15. a single 4-square win-

Collection/Colección: Judd

dow is inserted at the vault end.

foundation archives transcription/transcriptión: 8.75:15 7:12

Comments: Concerned with the building pro-

date/Fecha: 2 dec 86

portions, Judd made several revisions (visible

author/autor: robert kirk and donald Judd

in pencil) to kirk’s base drawing of december

subject/tema: 15m building plan

2, 1986. in this drawing he revises the wall

and elevations with Judd notes iV

height to 3.75m and the vault height to 3.75m

medium/técnica: reproduction

giving an overall 7.5m height to the building.

of pen on white paper Collection/Colección: Judd

this produces a simple 1:2 ratio. on the plan

foundation archives

view it seems that four doors have been introduced, two per side.

transcription/transcriptión: 2:3 10:15

Comments: using the base drawing by rob-

date/Fecha: 2 dec 86

ert kirk dated december 2, 1986, Judd now

author/autor: robert kirk and donald Judd

studies the proportions of the two-story build-

subject/tema: 15m building plan

ing. the building elevation is divided into three

and elevations with Judd notes ii

equal parts: 3.75m for the first floor, 3.75m

medium/técnica: reproduction of pen on white paper

for the second floor, and 3.75m for the vault

Collection/Colección: Judd

height. the total height equals 11.25m creat-

foundation archives

ing a building proportion of 11.25:15 or 3:4 (in contrast to kirk’s 5:6 proportion, at left). a

transcription/transcriptión:

note under the side elevation reads “2 story at

2 story at block

block.” this seems to be a reference to Judd’s unfinished project for a new east building for La mansana de Chinati, which shared these pro-

12.5:15

11.25:15

10:12

9:12

5:6

3:4

portions and also provided the model for the concrete building project.

Comments: this drawing is a further articula-

date/Fecha: 6 dec 86

tion of the 9-square grid site plan with perim-

author/autor: donald Judd subject/tema: 90m x 90m -

eter buildings and open central court made on

9-square site plan

december 1, 1986. the overall site dimensions

medium/técnica: reproduction

are now given as 90m x 90m. grid modules

of pen on white paper Collection/Colección: Judd

are 30’ x 30’ with 15m x 15m buildings located

foundation archives

at the center of their cross axis. this leaves the space between buildings at 15m, equal to the

transcription/transcriptión:

building dimension. Concrete walkways are in-

Narrow concrete walks all level

scribed on the perimeter and the interior, 7.5m

Drainage into center Drainage from base 2 bldgs.

from building façades and noted as “all level.”

under walks

drainage issues are discussed as toward the

Vert. prev. prob. higher building

center. all building roof vaults follow a n-s orientation. the center building on the lower east perimeter is noted as “vertical probably higher.” this is the two-story building previously located on the upper west perimeter.

19 8 6 date/fecha: 6 dec 86

Comments: this drawing is a copy of the de-

author/autor: donald Judd

cember 6, 1986 site plan, with the addition of

subject/tema: 90m x 90m -

a small axonometric sketch indicating roof vault

9-square site plan with building

direction and the insertion of sculpture types in

types

the buildings as follows:

medium/técnica: reproduction of pen on white paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

(?)

(blank)

(V)

f=freestanding, h= progression, V=stack

Comments: this drawing specifically addresses the proportions of the concrete building with regards to wall and vault height, as well as the placement of doors and windows. a small section sketch to the left shows a 3.75m wall and 3.75m roof height (proportions 1:2) noted as “roof too low.” in the larger isometric to the right the roof height dimension is increased to 5m (though not apparent on the drawing). the overall revised building height is 8.75m which produces a 7:12 proportion (width:height). two entry doors are placed on the sidewall in an abaaba rhythm. doors are 4-square with dimensions 2.5m x 2.5m. two windows appear on the end wall in the upper barrel vault opening (dimensions are similar to the doors). a note reading “or [one] center window” raises the question of emphasizing the center axis of the end wall with a single window. date/Fecha: 6 dec 86

transcription/transcriptión:

author/autor: donald Judd

or center window

subject/tema: 15m x 15m

3.75 roof too low

building axonometric

8.75 high

medium/técnica: pencil on white paper Collection/Colección: Judd foundation archives

date/Fecha: 15 dec 86

Comments: this is a rough isometric sketch

author/autor: donald Judd

of the 15m square building noted “for a. n.”

subject/tema: 15m x 15m

(possibly board of directors member annalee

building axonometric

newman). the sidewall dimension of 7.25m

medium/técnica: pencil on white paper

suggests it was for the two-story building. the

Collection/Colección: Judd

roof height is 5m and a single 4-square win-

foundation archives

dow is placed along the central axis of the vault end wall.

transcription/transcriptión: For A. N.

19 8 6 Comments: a very rough plan sketch of the

date/Fecha: 15 dec 86

concrete building site dimensioned as 90m x

author/autor: donald Judd subject/tema: 90m x 90m

90m with a 9-square grid and eight perimeter

site plan

buildings. some of the buildings are drawn in

medium/técnica: pencil on white

axonometric view and show a n-s vault direc-

paper Collection/Colección: Judd

tion. marked for a. n. (possibly board of direc-

foundation archives

tors member annalee newman).

transcription/transcriptión: For A. N.

Comments: sketch by Judd of the vertical wall/

date/Fecha: 15 dec 86

roof vault intersection. a small arrow drawn in

author/autor: donald Judd (with robert kirk)

ink at vault termination indicates the directional

subject/tema: wall/roof Vault

thrust of the roof forces (possible added by

details i

kirk). a note mentions that the roof overhangs

medium/técnica: ink and pencil on notebook paper

the sidewall by “1 inch +?” a second ink draw-

Collection/Colección: Judd

ing to left has a metal plate added instead of

foundation archives

the overhang with a note ”17 december – metal plate”(text upside down). this was pos-

transcription/transcriptión:

sibly drawn by kirk as an alternate detail for

Slight overhang of roof so as to not have under drainage

the drip edge. this is the first sketch of this very important detail: the joint between the vertical wall and the roof vault.

Comments: this drawing serves as a summary of the design phase thus far, including a cost estimate, material notations, dimensioned floor plan, site plan, and building isometric. the isometric and site plan repeat previous drawings dated december 6, 1986. the schematic floor plan, on the lower right, has two pivoting entry doors on a single sidewall with indications for the installation of “3 [art] pieces” on the remaining walls. the overall cost per building is noted as “about $100,000 each” (Judd’s revision of kirk’s estimate of 17 dec 1986). building proportions are given as 7:12 (8.75m height to 15m width).

date/Fecha: 22 dec 86 author/autor: donald Judd subject/tema: site plan, building isometric and plan medium/técnica: pencil on white paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

19 8 6 Comments: Judd studies the site plan again, first in a small sketch to the right as an abstract 9-square pattern, then in a larger sketch to the left where he indicates art installation types in buildings and walking paths on the site. Letters in buildings correspond to the pieces to be installed: h = horizontal (progressions), V = vertical (stacks), and f = freestanding. the three small sections below correspond to building types. on the left the two-story office/living at 12m (7.5 + 5), next the single-story vertical “stack” building at 10m (5 + 5), and finally the horizontal “progression” or “freestanding” building at 8.75m (3.75 + 5). base to height ratio for these three buildings are: 5:6, 2:3, and 7:12. a question mark is inserted on the central square. Judd is not sure whether to include a building here or leave it open. a note to the side says “put library and study facility there.” presumably an apartment would also be locat-

date/Fecha: 27/28 dec 86 author/autor: donald Judd

ed here and in the unmarked building above,

subject/tema: site plan and

as he further notes: “2 apartments, 1 large, 1

building types

small.”

medium/técnica: pencil on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: Put Library + study facility there 2 Apt’s, 1 large, 1 small.

Comments: Judd revisits the site grid for the concrete buildings, looking at two alternate schemes: a 25-square and 9-square grid. the 25-square grid is apparently inspired by a chess/checker board (two drawings lower left), then modified into four 4-square module clusters separated by the vertical and horizontal axes. the 4-square cluster is studied to see if it can expand to six squares, but Judd notes “can’t go [further, make] smaller” and reproduces the 4-square cluster again to the right. both have a north arrow indicated. the 9-square grid begins in the upper left with the horizontal axis marked “high,” presumably for three two-story buildings. in the drawing below he notes “or” and rotates the “high” notation to the vertical axis, but below notes “not possible unless buildings better rotated,” perhaps with regards to the northern orientation and solar exposure. on the lower right a building showing two

date/Fecha: 31 dec 86 author/autor: donald Judd

sets of doors on opposite walls is labeled “free-

subject/tema: site plan studies

standing would be open on both sides to court

medium/técnica: pencil on

apt, etc.” the freestanding pieces would not re-

notebook paper Collection/Colección: Judd

quire walls for installation. finally on the lower

foundation archives

right he concludes with a 9-square plan with letter indications identifying the pieces within:

transcription/transcriptión: can’t go [further, make] smaller not possible unless buildings better rotated Free-standing would be open on

–

h g n[orth]

this is a complete rearrangement of the 26 dec

both sides

86 plan with an axis of three two-story buildings moved to the west perimeter (the nw corner marked “V” for progressions) and two freestanding buildings located in the central module and east perimeter center.

19 8 6 – 19 8 7 Comments: on the obverse side of the 31 dec

date/Fecha: 31 dec 86

86 drawing, Judd has crossed out notes for a

author/autor: donald Judd subject/tema: site plan studies

lecture on ad reinhart dated 29 dec 86. below

(obverse)

this are two 9-square plans indicating the vault

medium/técnica: pencil on

direction of the concrete buildings. for the first

notebook paper Collection/Colección: Judd

time certain buildings have the vault orienta-

foundation archives

tions rotated in opposition to others. in this case the central horizontal axis has vaults running

transcription/transcriptión:

e-w, while the west and east perimeter still run

So as to be brief, I will imitate Ad

n-s. this is clarified in a lower sketch drawn

Reinhardt and make some rules, only for myself of course, as I

three-dimensionally. a note also indicates the

think Reinhardt’s were only for

west perimeter as high, meaning three two-

himself. Of course the rules apply

story buildings.

to everyone. But some are not even rules. There is no order [all crossed out]

Comments: this is a site survey for the concrete

date/Fecha: 21 Jan 87

buildings project complete with topographic

author/autor: elbert f. bassham subject/tema: site survey for

lines, existing paths, and traces of the former

Concrete buildings

camp still on the site. two alternative site plans

medium/técnica: blueprint with

for the concrete building project were later

pencil markings Collection/Colección: Judd

added by Judd in pencil on 4.14.87.

foundation archives transcription/transcriptión: Sketch of topography for 90m square site, Fort D. A. Russell Scale 1 inch = 50 feet Prepared by Elbert F. Bassham 21 January 1987

Comments: this drawing is part of a series of sketches Judd made in february 1987 that set the basis for the final project. in this sketch two superimposed roof arc lines propose a new 18m building which will replace the 15m one. building heights are indicated as 5m for 15m building (5x15) and 6m for 18m building (5x18). the 18m building was created to better accommodate the size of the two stainless-steel freestanding pieces [u and v channel; see back cover].

date/Fecha: 6 feb 87 author/autor: donald Judd subject/tema: freestanding sculpture building enlargement medium/técnica: pencil on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

19 8 7 date/Fecha: 7 feb 87

Comments: this is the second drawing in a se-

author/autor: donald Judd (with

ries that deals with the important detailing joint

robert kirk)

between the vertical concrete wall panel and

subject/tema: wall/roof Vault

the concrete roof vault end (a first drawing was

details ii medium/técnica: pencil on

made on 15 dec 86). the lateral thrusts in the

notebook paper

roof vault require tremendous resistance, either

Collection/Colección: Judd

in the form of a monolithic roof/wall system, a

foundation archives

cross-tie rod, or buttressing. kirk instead treats the joint as a post-and-beam compression joint.

transcription/transcriptión: n/a

in the two upper drawings an incision is cut into the wall to receive the roof, as well as provide an overhang exterior drip edge. Judd’s first scheme to the left bevels the roof vault end to accommodate both the drip edge and the incision. the second scheme to the right simplifies the shape of the vault end. kirk in his lower drawing adds a steel “L” channel to strengthen the fragile wall connection in order to receive the roof vault.

date/Fecha: 7 feb 87

Comments: this is a second drawing done dur-

author/autor: donald Judd (with

ing the eichholteren meetings between Judd

robert kirk)

and kirk where they worked on construction

subject/tema: wall/roof Vault

details for the concrete building, specifically

details iii medium/técnica: pencil on

the joint between the roof vault and the verti-

notebook paper

cal wall. in this drawing Judd reproduces kirk’s

Collection/Colección: Judd

previous detail without the steel “L” channel.

foundation archives

kirk, to the right, returns the steel “L” channel and either reduces the thickness of the ceiling

transcription/transcriptión: n/a

vault or increases the thickness of the wall. while increasing the vertical wall thickness would begin to serve as a buttress to lateral forces, the connection detail is fragile.

19 8 7 Comments: this is a drawing from the second day of meetings between Judd and kirk in eichholteren. Judd is now going from a uniform building size (15m) to one that is defined by the size of art to be installed. Judd notes: “buildings different sizes according to pieces.” in the upper left a plan of a 12m square building is drawn with horizontal progression works placed on three walls. this is the first instance of a 12m building. a front elevation with a 12m base and 6m height proposes a new (albeit complex) design for a central door and window combination. here a 6m-wide central glass bay extends from the ground to the upper roof vault and is made up of 1m-square windows. this curtain wall contains a ground floor door and upper window (2m x 2m each). below these drawings are two small details of the roof/wall joint similar to ones already seen on a drawing dated 7 feb 87. the drawing to the right has a 10” (metal?) plate cantilevering off the joint into the interior. the proportions of the building are 1:2:2. the most significant change in this drawing is the relocation of the building entry to the cen-

date/Fecha: 8 feb 87

transcription/transcriptión:

author/autor: donald Judd (with

Buildings different sizes according

robert kirk [?])

to pieces

subject/tema: 12m building plan and elevations

ter axis of the vault end wall (previously pro-

medium/técnica: pencil on letter

posed as double doors on the sidewall).

paper Collection/Colección: Judd foundation archives

Comments: this is a variation of the previous drawing with a single entry located on the central curtain wall bay on the vault end wall. Judd questions the space between the door and window with regards to material. a sketch on the right suggests that the space between the two should be an opaque or diffused glass. the one-meter separation becomes even more pronounced in a sketch on the lower left where two 4-square doors and two 4-square windows are separated by a solid material, perhaps a concrete panel. the upper side elevation with proportions of 2:1 (12m base to 6m height) has a note suggesting that both the sidewalls and the roof vault should extend beyond the end wall. this would create the effect of a border or frame around the façade.

date/Fecha: 8 feb 87

transcription/transcriptión:

author/autor: donald Judd (with

Sidewall extends?

robert kirk [?])

And below?

subject/tema: 12m building

So that end recessed a little

elevation studies

No decision? Opaque or diff.

medium/técnica: pencil on letter

glass

paper Collection/Colección: Judd foundation archives

19 8 7 Comments: a further variation of the new 12m building, in this case with 4m wall and 2m vault height. the end elevation shows a 4-square door separated from a 4-square window located on the upper vault. both are aligned on the central axis of the end wall. the window appears to custom-fit the arch of the roof vault. the proportions of the building remain 1:2:2. below this are two site plan sketches. to the left a 9-square grid with nine buildings, noted: p

o/L

p f

this is a rearrangement of the building types on the grid. for the first time the freestanding pieces “f” are located on the center axis. the “p” refers to the building with horizontal progressions. five of these buildings are shown though there is a question mark on the one located at

date/Fecha: 8 feb 87 author/autor: donald Judd with

the sw corner. the center building is noted to

(robert kirk [?))

the side as “office, libr., apt.”

subject/tema: 12m building

both lower drawings play with the orien-

elevation and site plan studies medium/técnica: pencil on letter

tation of the roof vaults. in the left sketch the

paper

central horizontal axis is orientated n-s, while

Collection/Colección: Judd

the rest of the buildings are running e-w. the

foundation archives

sketch to the right reverses this, with the central

transcription/transcriptión:

vertical axis running e-w and the rest of the

n/a

buildings running n-s. the left sketch indicates a two-story building with “office, lib. and apt” in the central module of the cross axis.

Comments: these are proportional studies of the 12m building. Judd is specifically looking at variations in the roof height. he notes: “the greater the curve the less needed on the walls.” as such, in three separate elevations a 5m wall is provided with a 1m roof, a 4m wall is provided with a 2m roof, and a 3m wall is provided with a 3m roof. all maintain a 1:2:2 proportion. the latter two have upper windows and lower doors. the dimension of the door on the 4m wall building is 2m x 2m while the window is 1m x 2m. the dimension of the door on the 3m wall building is 3m x 2m with a similar window at 3m x 2m. door and window proportions are all noted as 2:3. three dates are marked on this drawing: 8 feb 87, 9 feb 87, and 10 feb 87 (erased behind the lower roof vault).

date/Fecha: 8/9 feb 87 author/autor: donald Judd (with robert kirk [?]) subject/tema: 12m building elevation studies for roof medium/técnica: pencil on letter paper Collection/Colección: Judd foundation archives transcription/transcriptión: But the greater the curve the less needed on the walls

19 8 7 Comments: this is the first elevation study of the 9m one-story building. the elevation is very simple with a central 4m x 2m door and similar dimensions for the two upper windows. the over-all building proportion is 9:9:9 or 1:1:1, making it a cube.

date/Fecha: 8/9 feb 87 author/autor: donald Judd (with robert kirk [?]) subject/tema: 9m building elevation medium/técnica: pencil on letter paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

Comments: this is the first elevation study of the two-story building since the initial sketches for a mixed steel frame and concrete panel structure (30 dec 85). the base dimension has been changed from 15m to 9m. the elevation is simplified and the second floor line is marked at 4m (a note suggests 3m was considered too). the upper story has a 2m vertical wall and a 3m vault height. a note indicates the opposite elevation would be the same. the ground floor has a 4m x 2m door and the upper story two 4m x 2m windows, one above the other. the overall building proportion remains 9:9:9 or 1:1:1, making it a cube. further notes describe the two-story building program: library, office, apartment, small kitchen, toilet, and sitting(?). a final note “other corner 2-story also” suggests the two-story buildings at the corners of the grid, though it is not clear whether Judd meant west or east side. date/Fecha: 10 feb 87

transcription/transcriptión:

author/autor: donald Judd (with

2 st. building

robert kirk [?])

9m x 9m ? also

subject/tema: 9m building

5+3 high also?

elevation

With floor + ceiling at 3m

medium/técnica: pencil on letter

or 4 high (9x9x9) 6+3,

paper

floor at 4m

Collection/Colección: Judd

other end the same

foundation archives

Library Office Small Kitchen Toilet Sitting[?] Other corner 2 story also?

19 8 7 Comments: this drawing is a further sketch of the single-story 9m building. Judd specifically looks at the placement of art on the walls. the plan shows three stacks (1m – drawn in heavy segments) centered on the walls with 4m on either side. notes on the left convert piece dimensions from inches to meters in order to determine the side spacing: “need 5m.” Judd notes “check 4m on either side in М А Р Ф А or 4m.“ М А Р Ф А or marfa is spelled in russian Cyrillic

letters (an amusing reference to the alleged origin of the town’s name from a dostoyevsky novel). the sidewall has been reduced from 6m in the two-story building to 5m, providing a new proportion of 8:9. Judd notes his preferred 1:1 proportion below with a “?” the spatial experience of the art installation would be quite different if entered from the end wall vault axis as opposed to the previously proposed side axis. a hierarchy is established

date/Fecha: 10 feb 87 author/autor: donald Judd (with

between the opposing end wall and the two

robert kirk [?])

sidewalls due to the barrel vault.

subject/tema: 9m building plan with art, elevation and section medium/técnica: pencil on letter paper Collection/Colección: Judd foundation archives transcription/transcriptión: vertical pieces check 4m in on either side in М А Р ФА or 4m-

Comments: this drawing is the first detailed plan of the final site plan dated 10 february 1987. the 9-square grid has changed to a 12-square grid for the first time. this allows Judd to further develop issues of orientation and building placement. there are now ten buildings instead of eight. the 3 x 4 row modules also allow two open center spaces, preserving the courtyard idea. all roof vault directions are indicated as e-w with the exception of the two middle buildings for freestanding pieces (f – still marked 15m x 15m), which run n-s. the two-story buildings are noted on the west perimeter in the two center squares. one of them would contain the three vertical pieces (stacks), the other library, office, and apartment. the program of the adjacent corner buildings is left open with a (?). the lower east perimeter has four 12m x 12m buildings marked (h) for horizontal prodate/Fecha: 10 feb 87

transcription/transcriptión:

gression works (a note suggests the remaining

author/autor: donald Judd (with

V higher

robert kirk [?])

2 story library, office, apt.

progression may be installed in the nw corner

subject/tema: site plan and roof

extra H.

Vault direction

To walks or walks back to

medium/técnica: pencil on letter

buildings

placed, but later erased in order to preserve

paper

i.e. buildings centered but walks

Collection/Colección: Judd

move back

the courtyard.

building). a center right 15m x 15m building was

notes attached to a small left-hand site plan

foundation archives

mention that the walkways, which access buildings, are set back from the main site grid.

19 8 7 Comments: this drawing tries to determine

date/Fecha: 10/11 feb 87

the space necessary in a building for the free-

author/autor: donald Judd (with robert kirk [?])

standing stainless-steel pieces. while the build-

subject/tema: 5m building plan,

ing is marked 15m, the addition of a question

art placement and section

mark and the dimensions “16 x 16” suggest an

medium/técnica: pencil on letter paper

open question (this will become the 18m build-

Collection/Colección: Judd

ing). the plan shows one entry and a section

foundation archives

plays with the wall dimensions marked as 3m, but with a side note that says “choose 2.5 as

transcription/transcriptión: n/a

walls?” upper number pairs compare base width to vault height of the different building sizes.

Comments: at this point Judd has established three building sizes: 9m, 12m, and 15m. the 9m is for the vertical works (stacks), the 12m is for the horizontal works (progressions), and the 15m is for the freestanding pieces (by april 13, the 15m will be expanded to 18m). in this drawing Judd shows the two different types of 9m building. the first is the single-story building for the exhibition of vertical works, the second a two-story building intended for office or living. the upper drawing shows the single-story building with a vertical dimension of 8m. the floor plan has a single entrance. the lower drawing shows the two-story building with a vertical dimension of 9m. the floor plan has two entrances on opposite walls. all windows and doors have a central axis and are based on a rectangular shape with a 3m width x 2m height. for reasons of proportion, both 9m buildings will eventually have the same height (9m) in order to preserve the proportions of a cube 1:1:1.

date/Fecha: 16 feb 87

transcription/transcriptión:

author/autor: donald Judd (with

other end

robert kirk [?])

same door

subject/tema: 9m (one & two-

+ window

story) building elevation and plan medium/técnica: pencil on letter paper Collection/Colección: Judd foundation archives

Comments: summarizing his decisions for the

date/Fecha: 16 feb 87

12m and 15m buildings, Judd includes eleva-

author/autor: donald Judd (with robert kirk [?])

tions and plans for each here. the 12m building

subject/tema: 12m & 15m

has a 3m vertical wall and a 3m vault height

building plan and elevation

that equals a 6m total building height. doors

medium/técnica: pencil on letter

and windows have a central rotation point

paper Collection/Colección: Judd

and are still based on a 3m x 2m rectangular

foundation archives

shape. proportions are 1:2:2. the 15m building also has a 3m vertical

transcription/transcriptión:

wall and a 3m vault height that equals a 6m

swivel separates, also gable

total building height. doors and windows are

window

the same as for the 12m building. a note suggests windows on both end walls. proportions are 2:5:5.

19 8 7 Comments: this is the first sketch where Judd proposes an 18m building for the freestanding pieces instead of the previous 15m building. an upper left corner note reviews previous thoughts: “15 x 15? or 16 x 16?” however, the sketches and other notes make it clear that the building will now be 18m x 18m. dimensioned in elevation at 18m width with a 6m height (3m wall + 3m roof vault height), the proportions are 1:3:3. the number of total buildings and sizes has finally been determined on a small 3x4 site grid drawn in the upper right: 12x12

9x9 (2-story)

9x9 (V)

12x12

18x18

empty

18x18

12x12

9x9 (V)

9x9 (2-story) 12x12

at the lower right Judd notes the new numbers and proportions of the buildings: date/Fecha: 13 apr 87

transcription/transcriptión:

author/autor: donald Judd

Building in Marfa for free-standing

subject/tema: 18m building

piece

elevation and new 12 sq. site plan

4 [bldgs]

1:1 [prop]

9m x 9 x 9 [dims]

2 [bldgs]

1:3 [prop]

9m x 18 x 18 [dims]

4 [bldgs]

2:3 [prop]

6m x 12 x 12 [dims]

medium/técnica: pencil on letter paper

there are now a total of ten concrete buildings

Collection/Colección: Judd

for the project.

foundation archives

date/Fecha: 14 april 87 (?)

Comments: this is a very rough site plan sketch

author/autor: donald Judd

showing the 3x4 12-square grid with ten pe-

subject/tema: 90 x 120 site plan

rimeter buildings and two empty central court

medium/técnica: pencil on white

squares. dimensions of the overall site are indi-

paper Collection/Colección: Judd

cated for the first time as 90m x 120m (implying

foundation archives

a 30m x 30m module). two walkways are possibly indicated by double vertical lines, which

transcription/transcriptión: n/a

may be the existing paths of the former camp. this is a possible site variant just before the 36m x 36m module was chosen.

date/Fecha: 14 apr 87

Comments: following his drawing dated 13

author/autor: donald Judd (with

apr 87, where the number of buildings and

robert kirk [?])

site plan were schematically outlined, Judd

subject/tema: new 12-square

here clarifies the site plan (without buildings)

grid site plan medium/técnica: pencil on letter

as a 12-square grid with three horizontal and

paper

four vertical rows and an overall dimension

Collection/Colección: Judd

of 108m x 144m. the grid modules are 36m

foundation archives

x 36m. the buildings will be placed at the cross axis of each module as indicated by a table at

transcription/transcriptión: n/a

the left which figures out the open side dimensions of each module once the building dimension is subtracted. the 9m will have 13.5m per side, the 18m will have 9m per side, the 12m will have 12m per side. a note mentions “walks inside,” meaning the walks are inset from the site grid. the two horizontal interior lines may be trying to show the inset walkways.

19 8 7 Comments: this set of four undated drawings is the third series of “summary” drawings robert kirk prepared (previous set dated dec 2, 1986) with the purpose of clarifying Judd’s sketches in order to provide a benchmark in terms of project development. the drawings for the 12m building and the single-story 9m building are missing. there are also proposals for both a 15m and 18m building. this later detail helps us date the drawings to around april 13, 1987 when Judd had just proposed the 18m building but still was considering the 15m and a 16m size. this particular drawing is for the two-story 9m building and includes a plan and elevation sketch. the plan clearly defines a 900cm x 900cm floor slab, with three concrete tilt-wall panels per side and a 2cm gap between each panel. the side panels (298.66cm) are dimensioned wider than the front and back panels (288.66cm) because they overlap the vault end wall by 2cm. the pivoting door dimensions

date/Fecha: no date

(292.66cm) are wider due to the addition of

(13 apr 87 ?)

2cm to accommodate a flush joint. the roof

author/autor: robert kirk

vault is made up of three horizontal sections

subject/tema: review and revision of Judd’s sketches (9m

hatched onto the floor plan to show direction.

two-story) – summary iii

the elevation sketch shows the roof vault

medium/técnica: pen on graph

and wall ends joining together as a visual

paper

frame for the front elevation. the panels here

Collection/Colección: Judd foundation archives

are divided into three tiers, the first 400cm corresponding to the ground floor, the second and

transcription/transcriptión: n/a

third 200cm + 300cm corresponding to the second floor. the door is a roughly 3m square, divided into four glazed panels and rotating on its centerline. the two upper windows are shown as separate but joined assemblies, a 3m x 2m window flush with the second floor and ending at the vertical wall height. directly on top of this is a second window, roughly 3m x 3m but rounded at the top to join the concrete vault. each of these is divided by four glazed panels. the open central bay does not follow Judd’s latest sketches of 9 feb 87 (separate door and window), though they do match earlier schemes which proposed this idea.

Comments: this drawing is a copy of the previ-

date/Fecha: no date

ous two-story 9m building that has been revised

(13 apr 87 ?) author/autor: robert kirk and

by Judd in pencil and white-out. the ground

donald Judd

floor dimension has been changed from 4m to

subject/tema: review and

3m and the second floor dimension expanded

revision of Judd’s sketches (9m two-story variant) – summary iii

to 3m from 2m. the floor slab has also been

medium/técnica: pen on graph

scored to show a 9-square grid.

paper

a pencil scribble on the solid panel above

Collection/Colección: Judd

the door suggests eliminating this detail in or-

foundation archives

der to create an entirely glazed bay with three

transcription/transcriptión: n/a

equal door and window modules.

19 8 7 Comments: kirk’s plan for the 15m building clearly defines a 1500cm x 1500cm floor slab, with five concrete tilt-wall panels per side and a 2cm gap between panels. the side panels (298.4cm) are dimensioned wider than the front and back panels (292.4cm) because they overlap the vault end wall by 2cm. the pivoting door dimensions (296.4cm) are wider due to the addition of 2cm to accommodate a flush joint. the roof vault is made up of five horizontal sections hatched onto the floor plan to show direction. the elevation sketch shows the roof vault and wall ends joining together as a visual frame for the front elevation panels divided in two tiers, the first 300cm corresponding to the ground floor, the second 300cm corresponding to the open roof vault space. the door is a roughly 3m square divided into four glazed panels and rotating on its centerline. the upper window is flush with the door and is roughly 3m x 3m but rounded at the top to join the concrete

date/Fecha: no date

vault. the window is divided into four glazed

(13 apr 87 ?)

panels. a rear elevation shows the upper win-

author/autor: robert kirk and donald Judd

dow repeated without a door below, just a

subject/tema: review and

solid concrete panel.

revision of Judd’s sketches (15m building) – summary iii medium/técnica: pen on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

Comments: kirk’s plan for the 18m building clearly defines an 1800cm x 1800cm floor slab, with seven concrete tilt-wall panels per side and a 2cm gap between panels. the side panels (255.43cm) are dimensioned wider than the front and back panels (251.14cm) because they overlap the vault end wall by 2cm. the pivoting door dimensions (255.14cm) are wider due to the addition of 2cm to accommodate a flush joint. the roof vault is made up of seven horizontal sections hatched onto the floor plan to show direction. the elevation sketch shows the roof vault and wall ends joining together as a visual frame for the front elevation. as opposed to the previous buildings, where the panels were divided in two tiers, they are shown here as monolithic vertical pieces (the lack of a reveal may have been an error by kirk). the door is roughly 3m square divided into four glazed panels and rotating on its centerline. the upper window is flush mounted above

date/Fecha: no date

the door and is roughly 3m x 3m but rounded at

(13 apr 87 ?)

the top to join the concrete vault. the window is

author/autor: robert kirk and donald Judd

divided into four glazed panels. no rear eleva-

subject/tema: review and

tion is provided.

revision of Judd’s sketches (18m building) – summary iii medium/técnica: pen on graph paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

19 8 7 Comments: this site plan drawing titled “Concrete buildings Chinati foundation C. fundación” is dated april 14, 1987 and initialed “dJ” by Judd. along with the elevation drawing of the same date, these two drawings lock in the schematic design in terms of site planning and building size, type, and configuration. they are the most “finished” drawings of the concrete building project and were probably intended as reference drawings for both funding and further development. the overall site dimensions are 144 meters running south to north and 108 meters running east to west. the site surface is subdivided into a grid of twelve 36m x 36m squares. on the perimeter these are indicated as “x”s, while the center two squares are left open. the “x”s in the perimeter squares help site the individual buildings as they are centered on the cross axis of the “x”. while some of the left and lower buildings are not annotated, it is assumed the western perimeter row from south to north is

date/Fecha: 14 apr 87

as follows:

author/autor: donald Judd

12 x 12 h

9 x 9 o-L

9x9V

12 x 12 h

18 x 18 f

empty

18 x 18 f

12 x 12 h

9x9V

9 x9 o-L

12 x 12 h

subject/tema: definitive site plan with buildings medium/técnica: pencil on construction paper Collection/Colección: Chinati foundation transcription/transcriptión:

(h: horizontal / o-L: office-Living /

Concrete walks in land remains

V: Vertical / f: freestanding)

as is

two lines on each building symbolize door openings, one per building, on the vault end facing the interior of the site. all buildings have their vaults run on a west-east axis except the two center 18m (f) buildings, which run southnorth. two horizontal walkways and three vertical walkways connect the buildings together and create an open court in the center. the walkways connect to paths beyond the site, presumably back to the other Chinati buildings.

19 8 7 Comments: these elevations titled “Concrete buildings Chinati foundation C. fundación” are dated april 14, 1987 and initialed “dJ” by Judd. along with the site plan drawing of the same date, these two drawings lock in the schematic design in terms of site planning and building size, type, and configuration. they are the most “finished” drawings of the concrete building project and were probably intended as reference drawings for both funding and further development. this drawing shows elevations (drawn to a scale of 1cm=1m) of the three final buildingtypes to be used on the site of the concrete building project. type “f” (for “freestanding pieces”) is 18 meters wide and 6 meters high (3m wall + 3m roof vault height). the proportions are noted as 1:3:3 (6m x 18m x 18m). type “o-L and Vertical” (for office, living, and “vertical pieces” [stacks]) are 9 meters wide and 9 meters high (6m wall + 3m roof

date/Fecha: 14 apr 87

vault height). previous differences in vertical

author/autor: donald Judd

wall heights (6m vs. 5m) have now been set

subject/tema: definitive building type elevations

at 6m for both. the proportions are thus 1:1:1

medium/técnica: pencil on

(9m x 9m x 9m). a note indicates that the lower

construction paper

window will not appear on the “vertical” one-

Collection/Colección: Chinati foundation

story building.

transcription/transcriptión: n/a

sions]) is 12 meters wide and 6 meters high (3m

type “h” (for “horizontal pieces” [progreswall + 3m roof vault height). the proportions are noted as 1:2:2 – 12 x 12 (6m x 12m x 12m). a note mentions “r. kirk arch. Concrete.”

date/Fecha: after 14 apr 87 (?)

Comments: this pen and ink drawing shows

author/autor: Claude armstrong

an isometric site plan, elevations, and details

subject/tema: site isometric

done by architect Claude armstrong in collabo-

medium/técnica: ink on paper

ration with donald Judd. the drawing provides

Collection/Colección: Judd

the most detailed visualization of the project up

foundation archives

to date.

transcription/transcriptión: n/a

armstrong has said it was shown in Judd’s exhibition at the paula Cooper gallery in new york in november 1986. this would predate Judd’s own final drawings and seems unlikely. the drawing was most likely used for fundraising and also appeared in the book Donald Judd: Architektur (1989). it is now on view at the bank building, Judd foundation, marfa.

19 8 7 Comments: this is a blueprint copy of the land survey made by elbert f. bassham on 21 Jan 1987 for the siting of the concrete building project. Judd was interested in this site for two reasons: first, it is located to the west of the Chinati property sitting on a hill that overlooks all of the fort russell site and second, it contains the vestiges of an old camp with paths and foundations still apparent. Judd did not like to build upon unspoiled nature and the layering of built culture may have appealed to him in a historical sense. two old parallel cement roads lead to the camp from the main road of ft. russell which lines the back of the army barracks like a spine. the hill of the camp is flat enough that the majority of Judd’s 108m x 144m concrete building site plan can fit comfortably without having too much level change.

date/Fecha: 14 apr 87

Judd first positioned the site’s rectangle running

author/autor: donald Judd

e-w parallel to the existing paths and a little

subject/tema: site plate

south of the northern one. this did not work and

placement on topographic map medium/técnica: pencil on

he then proceeded to run the rectangle perpen-

blueprint

dicular to the two paths and centered on their

Collection/Colección: Judd

midpoint. two of the four 36’ square modules

foundation archives

fit almost perfectly between these two roads.

transcription/transcriptión: n/a

the drawing shows both orientations, but the e-w one has its lines crossed out to indicate the preferred choice of the n-s orientation.

Comments: this drawing contains two alter-

date/Fecha: 19 aug 87

nate details for the joint between the founda-

author/autor: robert kirk and donald Judd

tion slab and the vertical exterior wall of the

subject/tema: foundation/

concrete buildings. the upper sketch shows a

Vertical wall details

concrete wall mounted on a horizontal slab. a

medium/técnica: pen on white paper

rebar connection is drawn and a small exterior

Collection/Colección: Chinati

reveal is indicated on the sidewall, typically

foundation

used to hide panel and joint imperfections. the lower drawing shows the same detail

transcription/transcriptión: n/a

treated with an unusual “V” joint into the base slab. a rebar connection is indicated. this detail is needlessly complex and would have been very difficult to cast with any precision or regularity. apparently proposed or drawn by kirk, as initialed “r.k.”

19 8 7 Comments: drawing and notes from a meeting with robert kirk. discussion of concrete panel thickness: roof at 10cm (3.94 in), walls at 15cm (5.90 in), and joints between panels: a ½” to ¾” joint. to the left, a sketch of the 12m building elevation with notes on the door and upper window. door (3m x 2m) is noted “swivels vertically,” window (3m x 2m) “swivel horizontally.” there is a concern with the 3m door width in relation to the 12m overall building width. 12m divides equally into four modules of 3m; however, the door, in order to be centered, would have to have a ½” module on either side. apparently this troubles Judd, who writes “find a module of 2½m” (this still does not resolve the problem). finally, notes for construction: “need a crane – $25,000, need a concrete mixer – $10,000 – 1 cubic yard.” this drawing, with a separate door and window, does not yet reflect the open central bay shown in both robert kirk’s and Claude armstrong’s drawings. Judd’s first drawing to date/Fecha: 19 aug 87

transcription/transcriptión:

author/autor: donald Judd (with

[window] swivel horizontally

robert kirk)

[door] swivels vertically

reintroduce this is dated 3 sept 87.

subject/tema: windows, Concrete and Construction

Thickness

materials

Roof 10cm

medium/técnica: pen on white

Walls 15cm

paper Collection/Colección: Chinati

Find module 2 ½ m

foundation Need a crane $25,000 Need a concrete mixer $10,000 1cubic yard

Comments: Contains various notes from the august 19, 1987 meeting with robert kirk. the first note “should the window fill module?” suggests that Judd was considering glazing the entire central bay (module). the problem is that the panel module has to be dimensioned such that it produces an odd number of panels on the vault end wall, allowing a central bay for the door and window opening. Judd has previously suggested a module of 3m and here is raising the possibility of a 2.4m module. due to the three different sizes of building types, ultimately no single module size will work. each building will dictate its own module size in order to arrive at an odd number of bays. Questions about building insulation and ventilation are raised. finally, the ten buildings are broken down again into types and sizes.

date/Fecha: 19 aug 87

transcription/transcriptión:

author/autor: donald Judd (with

Should window fill module? 2.4m

robert kirk)

? module

subject/tema: meeting notes -

Insulation?

19 aug 87

Ventilation

medium/técnica: pen on white

Rex (????) in V. Horn

paper

Green (????) Blue (????) in Marble

Collection/Colección: Chinati

Falls

foundation

[# of buildings

wall, Size

vault height]

12 x 12

(3,3)

18 x 18

(3,3)

9x9

(5,3) clear

9x9

2nd floor

19 8 7 Comments: this is part of a new series of four

date/Fecha: 24/25 aug 87

pages of sketches which look at the roof vault/

author/autor: donald Judd (with robert kirk)

vertical wall joint detail (last discussed 7 feb

subject/tema: wall/roof Vault

87). presumably these are based on discus-

details iV

sions with robert kirk. the first sheet empha-

medium/técnica: pencil and pen on notebook paper

sizes the need for an exterior overhang as a

Collection/Colección: Judd

drip edge (normally with an inverted “u” bead

foundation archives

– here omitted). Various joints are suggested between the vertical wall and roof vault.

transcription/transcriptión: n/a

ultimately as designed by Victor pussano (?) for construction, the detail will include a key joint with the vertical wall.

Comments: this is a very small sketch drawing of the 12-square site plan with buildings located and pedestrian walks indicated as bold squiggle lines inset from the grid lines.

date/Fecha: undated (25 aug 87) author/autor: donald Judd subject/tema: small site plan with buildings medium/técnica: pen on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

Comments: these three sketches finally reflect

date/Fecha: 25 aug 87 author/autor: donald Judd (with

the decision that a straight cut joint is the most

robert kirk)

logical connection for the vertical wall roof

subject/tema: wall/roof Vault

vault detail. even more interesting is the sug-

details Vi

gestion that the barrel vault gradually reduce

medium/técnica: pencil on notebook paper

in thickness as it reaches its apex. this reduces

Collection/Colección: Judd

the weight of the vault, a strategy used in con-

foundation archives

crete construction since the romans and the pantheon.

transcription/transcriptión: n/a

the two drawings on the right show this reduction in vault thickness as it reaches its apex. the lower drawing starts at 6” and reduces to 5” then 4”. the right-hand drawing goes from 5” to 4”.

19 8 7 date/Fecha: 3 sept 87

Comments: in these drawings Judd debates the

author/autor: donald Judd

pros and cons of different widths for the con-

subject/tema: panel module

crete panel modules. as each building width

sizes and roof overhangs

is now fixed by the artwork sizes inside, the

medium/técnica: pencil on notebook paper

number of panels has to adjust to the width.

Collection/Colección: Judd

an even panel number does not work on the

foundation archives

12m building as it does not allow a central bay for doors and windows (unless the side panels

transcription/transcriptión: The big question on the concrete

were halved). 2m panels narrow the central

buildings is the module: 2m

window bay and allow less light.

or 240cm. Related or a different

the upper drawing shows an elevation with

scheme.

five bays of 2.4m, allowing a central bay for

If 2m less light, if 2m less no center

the door/window. a note on the right debates

Or make curve on window

the vault’s drip edge size. notes on the win-

2.5 cm overhang

dows ask whether the upper window should be

2.4? if 240

rounded to the vault arch or have a small con-

3 too much?

crete lintel. a second lintel between door and window is also debated. the lower drawing shows the elevation with 2m panels, six bays, with a double central bay for doors/windows. the double central bay is necessary to compensate for an even number of panels. a calculation to the right of the lower drawing shows that the 240cm dimension would not work out with the 9m building (the width of six panels is 9.6m). here Judd suggests three 3m x 3m panels. again, the module has to be specific to the building size.

date/Fecha: 3 sept 87

Comments: these notes and sketch look at the

author/autor: donald Judd

9m and 18m buildings with regards to a 3m

subject/tema: panel module

concrete panel module. the 9m building would

sizes 9m and 18m buildings

require either three panels of 3m or five panels

medium/técnica: pencil on notebook paper

of 1.8m. either one would provide a central bay

Collection/Colección: Judd

for the door; however, the proportions would

foundation archives

differ greatly. the 18m building would require six panels

transcription/transcriptión: 9m x 9m building

of 3m. Judd sketches this below the notes show-

either 3m modules 3x3

ing a six-bay elevation with two separate entry

or 180cm 5x180

doors in an abaaba rhythm. windows would

18m x 18m 1800

be aligned over doors.

240/8 =1920

it is interesting that Judd did not propose

6 x 3m no center 5x3 +?

an odd number of bays for the 18m building. kirk had already done this in his sketch (13 apr 87) with fractional modules 6 x 251.14cm (concrete) + 1 x 255.14cm (door).

19 8 7 – 19 8 8 Comments: if the date is correct, these details

date/Fecha: 3 sept 87

of the roof vault/vertical wall intersection fol-

author/autor: donald Judd (with robert kirk)

low one week after the last studies. the left

subject/tema: wall/roof Vault

drawing shows a simple horizontal cut on both

details Vii

roof and wall, flush on the inside with a 2.5cm

medium/técnica: pencil on notebook paper

overhang on the exterior with a note ”2.5 or

Collection/Colección: Judd

2.4 over-hang on façade too.” Judd meant that

foundation archives

sidewalls and the barrel vault would extend beyond the end façade, effectively accentuating

transcription/transcriptión:

a frame.

2.5 or 2.4 overhang on façade too

the right-hand drawing goes back to a

No slot for air in floors. (?) Seams

complex “horizontal + bevel cut.” the logic of

match roof on module

the bevel may be to receive the lateral thrust of the roof vault by the wall; however, there is not enough thickness here to support this and the formwork would be complex. the problem again is the separation of roof from wall, in two parts, as opposed to the monolithic construction used in thin-shell concrete. a note to the right states: “no slot for air in floors. (?) seams match floor on module,” perhaps meaning that the tilt-wall slabs will align with the interior floor grid.

Comments: these are notes by Judd possibly

date/Fecha: 23 sept 87

referring to a robert kirk note of the same date

author/autor: donald Judd subject/tema: detail Changes

referencing detail changes. if so, Judd is re-

medium/técnica: pencil on graph

sponding to kirk’s questions written on a sketch

paper

dated 3.9.87. Judd replies to two issues: 1) the

Collection/Colección: Judd foundation archives

panel/door module width and 2) the size of the roof vault eave overhang. to the first, which he

transcription/transcriptión: n/a

calls “detail a,” he states that the door should be 240 x 300cm. here he is choosing a 240cm panel width over the 200cm panel width. to the second, which he calls “detail b,” he chooses 2.4cm as the correct length of the roof overhang amongst three options: 2.4cm, 2.5cm, or 3cm. the reference to the “footing” is unclear and the word following illegible.

Comments: this is a rough ground floor plan

date/Fecha: 05 may 88

for the two-story new east building meant to

author/autor: donald Judd subject/tema: small new two-

be built adjacent to the existing two-story liv-

story building at La mansana de

ing quarters of La mansana de Chinati. it is so

Chinati – first floor plan

similar to sketches done for the 9m concrete

medium/técnica: pencil on graph paper

building a few months later that it certainly

Collection/Colección: Chinati

served as a reference. the interior is divided

foundation

into a 9-square grid with 3m modules. 1.5m of the rear was reserved for service space, in this

transcription/transcriptión:

case a stair, a central closet, and a fireplace.

Small New 2-Story Building 9m = 29’ 6”

exterior doors are indicated at the front of the

Fireplace under stairs

vertical axis and the two sides of the cross axis.

19 8 8 date/Fecha: 05 may 88

Comments: this is a sketch of the second-floor

author/autor: donald Judd

plan for the new two-story east building adja-

subject/tema: small new two-

cent to the existing two-story living quarters

story building at La mansana de

of La mansana de Chinati. again, it is similar

Chinati – second-floor plan medium/técnica: pencil on graph

to sketches done for the 9m concrete building

paper

a few months later, so it certainly served as a

Collection/Colección: Chinati

reference. the interior is divided into 1.5m of

foundation

rear service space, fireplace, closet, and stair.

transcription/transcriptión:

the rest of the space, 7.5m x 9m, is given over

Bedroom

to the bedroom. a series of numbers around

Chamberlain

the wall from 1- 7 may refer to art indicated as

Paintings

paintings by Chamberlain. there is a question

2nd floor fireplace? No, same (?)

mark with regards to having a fireplace; if not

No fireplace, if not? Open to

a note says “open to walls.” exterior windows

walls

are indicated at the front of the vertical axis and the two sides of the cross axis.

date/Fecha: 26 oct 88

Comments: these sketches by Judd show joint

author/autor: donald Judd

details for the window/door. to the left is a

subject/tema: window and

sketch for the steel end jamb with a “t” profile

door details

extending into a “u” to receive the glass panel.

medium/técnica: pen on white paper

to the right is a separate detail of the center

Collection/Colección: Judd

mullion.

foundation archives transcription/transcriptión: n/a

date/Fecha: 26 oct 88

Comments: this is the first detail drawing of

author/autor: robert kirk

the central door/window combination done by

subject/tema: window and door

robert kirk. it was hand drafted with a pen and

elevation

drawn to scale. the door/windows are made

medium/técnica: pen on white paper

up of four glazed panels each, with a rounded

Collection/Colección: Judd

arch at the upper window to accommodate the

foundation archives

curve of the roof vault. Central pivot not indicated (?).

transcription/transcriptión: RO Height = Door- 9’-9 5/16 or 298cm (2.5cm -clearance + 293cm door frame + 2.5cm -clearance) Window- 9’-6 3/16 or 290cm (2.5cm -clearance + 285cm door frame + 2.5cm clearance) RO Width = 7’-9 3/16 or 241.4cm (2.5cm -clearance + 236.4cm window/door frame + 2.5cm - clearance) Window mullions made of (2) 2 x 2 “L” steel

date/Fecha: 26 oct 88

Comments: Construction details for the central

author/autor: robert kirk

door/window head jamb and mullion done

subject/tema: window and door

by robert kirk (mechanically drafted and

detail head Jamb and mullion

to scale). the upper drawing is for a typical

medium/técnica: pen on white paper

“head/jamb” detail meeting the 5” (13cm) con-

Collection/Colección: Judd

crete panel with a 1” (2.5cm) clearance. Jamb

foundation archives

construction is made of two 2” x 2” x 3⁄8” steel “L” brackets mounted around a 1” x 1” square

transcription/transcriptión: n/a

steel rod. a ½” recess for ¼” glass with ½” gaskets on either side is to secure glass. below is a typical central horizontal “mullion” detail made of two 3 5⁄8” x 2 3⁄8” steel “t’s” abutting (two) ¾” x 1” square steel rods. a ½” recess for ¼” glass with ½” gaskets on either side is to secure glass.

19 8 8 Comments: these are construction drawing

date/Fecha: 26 oct 88

details for the door/window at the rotating

author/autor: robert kirk subject/tema: window and door

central rod.

detail head Jamb and mullion

the upper head jamb at center-line detail

around pivot

shows a lag bolt (¾” x 4¼”), inserted into a

medium/técnica: pen on white paper

¾” “richmond insert” into the concrete. the

Collection/Colección: Judd

jamb is made of two 2” x 2” x 3⁄ 8” steel “L”

foundation archives

brackets drilled in the center to accommodate the fixed ¾” x 4¼” lag bolt.

transcription/transcriptión: n/a

the lower detail is for a typical vertical mullion at the center-line rotation point. it is made up of two 3 5⁄8” x 2 3⁄8” steel “t’s” abutting two ¾” x 1” square steel rods chamfered to accommodate the ¾” standard steel pipe.

Comments: this is an elevation detail of the

date/Fecha: before oct 88

stair for the two-story 9m building. the stair is

author/autor: robert kirk subject/tema: stair detail - 9m

apparently constructed with cantilevered con-

Concrete building – two-story

crete slabs attached to the rear wall concrete

medium/técnica: pencil and pen

panel. a guardrail is schematically drawn in

on notebook paper Collection/Colección: Chinati

pencil, but it may have been intended without

foundation

this. the stair is very steep, exceeding the recommended rise/run limits for safe stair treads.

transcription/transcriptión: n/a

this is not to say this type of stair does not exist. in europe, particularly in the netherlands, this type of stair is know as a “ladder stair” and is often built with alternating treads.

Comments: isometric sketch of 12m building (?)

date/Fecha: 24 nov 88

showing placement of an artwork (?) either per-

author/autor: donald Judd subject/tema: art placement in

pendicular to or parallel with the rear interior

Concrete building

wall. this drawing would have been done after

medium/técnica: pencil on

the first two buildings were built.

notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: n/a

Comments: this is a detailed floor plan for the

date/Fecha: 28 nov 88

two-story 9m concrete building. the plan has a

author/autor: donald Judd subject/tema: 9m Concrete

9-square grid interior division with the upper

building plan

left squares bisected for a service area to in-

medium/técnica: pencil and pen

clude from left to right: a fireplace, a storage

on notebook paper Collection/Colección: Judd

closet with pivoting door, and a stair. the three

foundation archives

drawings to the right are possible fireplace flue details (?). the run for the stair is very short,

transcription/transcriptión: n/a

producing steep risers. a note “stairs turn?” recognizes this, as the stair may have to extend into the general open area. the section below shows the proposed interior wall elevation. this is very similar to studies done for the new east building at La mansana de Chinati and dated 5.5.88.

19 8 8 date/Fecha: 28 nov 88

Comments: a second drawing for the 9m two-

author/autor: donald Judd

story concrete building interior showing revised

subject/tema: 9m Concrete

details in two floor plans. the first plan retains

building interior plan

its 9-square grid division, but the upper squares

medium/técnica: pencil on notebook paper

are no longer bisected but full squares with fire-

Collection/Colección: Judd

place noted 150cm x 150cm; the middle square

foundation archives

remains for storage with pivoting door recessed to mid-point of square (still non-functional), and

transcription/transcriptión: n/a

the upper right square for stair location. three exterior doors are located on the vertical and horizontal axis, each pivoting from center. a proportion of 2:3 is noted in center of drawing referring to open vs. closed space. the second plan details the stair as a single run but in adjacent drawing shows a possible “L” shape. the storage door has also been moved out to the outer edge making the closet more functional. at the bottom of the page are detail drawings of the fireplace. while kirk is no longer on the project, Judd continues to work on details, though this may be a return to the new building for La mansana de Chinati. again, this is very similar to studies done for the new east building at La mansana de Chinati and dated 5.5.88.

Comments: this is a section through the 12m concrete building highlighting the eave overhang at the roof in a heavier pen line. the depth of the overhang is questioned as either 4cm or 2cm. 2cm is decided, as it will match the same recess condition at the end walls with relation to the frame of the sidewalls and roof vault. a note with an arrow to the eave says “no groove,” suggesting that the drip edge would eliminate the groove traditionally used to deflect water from streaking on the walls (as a result, it did leave streaks). this drawing, as dated, would have been done after the construction of the first two buildings. it is curious that Judd studies eave details at this point. the date is possibly wrong (?).

date/Fecha: 28 nov 88 author/autor: donald Judd subject/tema: eave details medium/técnica: pen on notebook paper Collection/Colección: Judd foundation archives transcription/transcriptión: 4cm at edges recess 2cm eave 2cm out 240 module Recessed same as eave comes out no groove

19 8 8 Comments: this drawing shows sketches and notes for a new 18m building which would contain a central “garden or orchard” atrium. most likely these were proposed for the two open central modules of the site plan. a note reads “two gardens – more or less sun – all elementary solar.” a cross-section in upper left shows four building sections along an e-w axis (should be n-s). sketches below show how the open garden would work in a section and isometric view with a central portion of the roof vault removed along four bays. to the right is a variant isometric sketch with only one section of one bay removed. the notes that surround it are partially illegible but read: “remade as < only open seams, only spread seams. missing segments of roof. Cantilevered roof combination (?), walls only, segments in glass or plastic.” the unfinished open roof of the second concrete building may have suggested this idea.

date/Fecha: 30 nov 88

transcription/transcriptión:

author/autor: donald Judd

Garden

subject/tema: garden orchard

Orchard

building medium/técnica: pencil on white

2 gardens

paper

more or less sun

Collection/Colección: Judd

all elementary solar

foundation archives Remade as only open seams only spread seams missing segments of roof cantilevered roof combination (?) walls only segments in glass or plastic

Comments: this is an isometric sketch of a con-

date/Fecha: 01 dec 88

crete building with five roof bays. two of these

author/autor: donald Judd subject/tema: bath building

bays are left open in an ababa rhythm with

medium/técnica: pencil on white

a specific note that the central bay would be

paper

“enclosed on both sides,” apparently a central

Collection/Colección: Judd foundation archives

door or opening cutting through the bay. the purpose of this structure would be unclear were

transcription/transcriptión:

it not for a note to the lower right which men-

Enclosed both sides

tions “bath.” how this would function as such

Bath

is not defined. given the halt of construction on the concrete building site, could this drawing be intended for La mansana de Chinati?

19 8 8 date/Fecha: June 88 (?)

Comments: this is a photograph showing site-

author/autor: unknown

work during the construction of building #1.

subject/tema: site Construction

the floor slab has been poured, all vertical tilt-

building #1

wall panels installed and supported by exterior

medium/técnica: Color photograph

and interior wood braces. rebar is visible at

Collection/Colección: Chinati

the top, ready to be attached to the roof vault.

foundation

formwork can be seen at the far end of the building that will be used for the pour of the first

transcription/transcriptión: n/a

concrete roof section. sidewalls were attached to façade panels with recessed lug bolts and each panel separated by a 2cm metal spacer. foundation footing is visible on the left side. the presence of rebar extending above the vertical walls suggests that the building was engineered; however, there are no notes indicating reinforcing bar on the architectural plans or details drawn by Victor pussano. perhaps this was decided during construction by robert kirk.

Comments: photograph showing the site-work

date/Fecha: June 88 (?) author/autor: unknown

during construction of building #2. a crane lifts

subject/tema: site Construction

the third vertical tilt-wall panel (third of five)

building #2 wall erection

for the rear façade. rebar is visible at the top,

medium/técnica: Color photograph

ready to be attached to roof vault. exterior and

Collection/Colección: Chinati

interior wood bracing holds panels in a verti-

foundation

cal position. sidewalls were attached to façade panels with recessed lug bolts and each panel

transcription/transcriptión: n/a

separated by a 2cm metal spacer. the elevation visible beyond is building #1 with scaffolding and formwork already in place for the roof pour. walls were cast on site and then placed on the slab using the crane. wall rebar would be bent into the roof frame before each section was poured. the roof formwork would be reused for each vault section. in building #2 only the first section was cast and the formwork still remains under this section.

19 8 9 Comments: dr. paul k. woods, a professor at texas a&m, was contacted by the Chinati foundation to inspect the concrete buildings, possibly as a follow up to the report made by engineer dan p. ray in may of 1989. woods’ “report on thin-shell Concrete buildings” consists of two parts: 1) repair of existing buildings and 2) designs for additional buildings. the first part assesses the existing condition of the buildings and proposes three possible solutions to resolve a deficiency in structural integrity. in order to do so, site inspections were made as well as an architectural transcription of the original xerographic “construction documents” that were un-authored and poorly drafted. it is thought that the drawings used as a basis for these “record drawings” were the original (nov 87) construction drawing prepared by Victor pussano of the dominican republic for robert kirk. these original drawings seem to

date/Fecha: 10 nov 89

transcription/transcriptión:

have been lost. the drawing set was made for

author/autor: dr. paul k.

These Record Drawings were

woods, architect

prepared from an unauthored set

subject/tema: record drawings

of xeroxed drawings dated Nov.

of existing building – a1 – foun-

9, 1987. These record drawings

dation plan

consist of sheets numbered

medium/técnica: Cadd archi-

A1 Foundation Plan

tectural plan

A2 Floor/Panel plan

Collection/Colección: Chinati

A3 Roof Plan

foundation

A3 Exterior Elevations

a 12m building; no plans exist for the 9m or 18m building. the ground slab is given as 3 ⁄8”, 7

the roof thickness is given as 4”, while the wall panels are 5 ¹⁄8”. there is no indication of steel or rebar placement (normally on the structural set of drawings), aside from a plan indication of 6 x 6 – 1.4 x 1.4 wwf (welded-wire fabric),

A5 Building Sections

absent in the floor slab detail drawing. photo-

A^ Building Details Dimensions for the original design

graphs during construction do show rebar ex-

were given in centimeters. The

tending from the wall panels meant to tie into

dimensions shown in these record

the roof vault. windows and doors are shown

drawings are exact conversions

in elevation and plan; however, kirk would not

from metric system to English

produce detail drawings of these until october

system. These drawings are meant only to provide the owner with

1988.

a neat and clean set of drawing

as prefixed with an “a,” this is an architec-

which show the original design

tural set of construction drawings. no structur-

intent and to furnish future design-

al, mechanical, or electrical sets seem to have

ers with a basis for their point of departure.

been included.

Comments: the floor panel drawing – a2

date/Fecha: 10 nov 89

gives the dimensions of the floor slab and the

author/autor: dr. paul k. woods, architect

panel widths. precast panel thickness is given

subject/tema: record drawings

as 5¹⁄ 8”. woods notes that the only change

of existing building – a2 – panel

he made to these “record drawings” was the

plan medium/técnica: Cadd archi-

conversion from metric dimensions back to feet

tectural plan

and inches.

Collection/Colección: Chinati foundation transcription/transcriptión: n/a

19 8 9 date/Fecha: 10 nov 89

Comments: the roof panel drawing – a3

author/autor: dr. paul k.

shows five roof panel vaults that would have

woods, architect

been cast in place. a ¾” eave overhang is indi-

subject/tema: record drawings

cated around the entire building.

of existing building – a3 – roof plan medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

Comments: the elevation drawings – a4 show the framing effect provided by the ¾” eave and sidewall projections. the windows and doors are schematic, as kirk has not completed the drawings; both upper windows are missing cross mullions. the side elevation does not show a vertical ¾” chamfer indicated in the detail drawings (apparently very difficult to cast as the actual building produced an awkward and much larger curve rather than a straight edge).

date/Fecha: 10 nov 89 author/autor: dr. paul k. woods, architect subject/tema: record drawings of existing building – a4 – exterior elevations medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

date/Fecha: 10 nov 89

Comments: the section drawings – a5 are

author/autor: dr. paul k.

purely schematic and show no additional

woods, architect

structural information. detail references are

subject/tema: record drawings

indicated.

of existing building – a5 – building sections medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

19 8 9 Comments: the detail drawings - a6 provide important information with regards to the two “as-built” buildings, unfortunately without much additional structural information. drawing a6-a the footing section is entirely different from kirk and Judd’s previous drawings. the floor slab is raised 3 7⁄8” above grade with the pre-cast side tilt-wall notched into the slab and foundation to lower it to grade. drawing a6-b the roof section shows a key joint recessed into the vertical pre-cast tilt-wall. the roof vault (4”) is slightly thicker than the vertical wall (5¹⁄8”) requiring a 2”(?) vertical break on the interior arc to meet the wall. this detail is also entirely different from kirk and Judd’s previous drawings. drawing a6-C the roof eave shows a ¾” recess between vault and sidewall, here proposed as an extrusion of the roof (perhaps to hide rebar, while at the sidewalls this is open to be caulked). drawing a6-d the sidewall Cor-

date/Fecha: 10 nov 89

ner shows a ¾” recessed bolt connection.

author/autor: dr. paul k. woods, architect subject/tema: record drawings of existing building – a6 – building details medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

Comments: woods’ set of proposed new de-

date/Fecha: 13 nov 89

sign drawings for the concrete buildings initial-

author/autor: dr. paul k. woods, architect

ly missed Judd’s carefully orchestrated progres-

subject/tema: proposed exhibit

sion of proportions for the three building sizes

hall design – p10 – proposed

(1:1:1, 1:2:2, 1:3:3). as a result his initial set of

building sections medium/técnica: Cadd

designs are taller than Judd’s proposed build-

architectural plan

ings. in an apologetic note he excused himself

Collection/Colección: Chinati

for this and redesigned the buildings according

foundation

to Judd’s desired proportions.

transcription/transcriptión: n/a

Comments: woods’ section drawings and

date/Fecha: 13 nov 89

details show a thorough understanding of thin-

author/autor: dr. paul k. woods, architect

shell concrete design. the roof vault thickness

subject/tema: proposed exhibit

starts at a minimum dimension (determined by

hall design – p20 – 9m2 building

building width) and gradually widens as it ap-

section

proaches the vertical wall. the concrete footing

medium/técnica: Cadd architectural plan

cantilevers (dimension determined by building

Collection/Colección: Chinati

width) so as to resist the horizontal thrust of the

foundation

upper vault providing rotational resistance in the opposite direction. the overall roof and

transcription/transcriptión: n/a

vertical wall are considered a monolithic system. the widening of the vault at its base would have been visible at the front façade end, thus different from Judd’s intention of a more or less equal frame overhang.

19 8 9 date/Fecha: 13 nov 89

Comments: woods’ detailed section drawings

author/autor: dr. paul k.

of the concrete buildings treat the overall roof

woods, architect

vault and vertical walls as a monolithic system.

subject/tema: proposed exhibit

dimensions vary according to the width of each

hall design – p21 – 9m2 wall section

building, as the lateral forces would be differ-

medium/técnica: Cadd

ent. for the 9m building, the roof vault starts

architectural plan

at 4” and gradually widens in dimension to

Collection/Colección: Chinati foundation

12” as it approaches the vertical wall, which

transcription/transcriptión: n/a

is designed to resist the horizontal thrust of the

is 10” wide. a 4’-2” cantilever of the footing upper vault providing rotational resistance in the opposite direction. steel reinforcing is indicated throughout both in vertical and horizontal placement, with particular attention paid to the vault/wall joint requiring several layers. woods had a team of three engineers along with two architects design this system.

date/Fecha: 13 nov 89

Comments: woods’ section drawings and

author/autor: dr. paul k.

details show a thorough understanding of thin-

woods, architect

shell concrete design. the roof vault thickness

subject/tema: proposed exhibit

starts at a minimum dimension (determined by

hall design – p30 – 12m building section

building width) and gradually widens as it ap-

medium/técnica: Cadd

proaches the vertical wall. the concrete footing

architectural plan

cantilevers (dimension determined by building

Collection/Colección: Chinati foundation

width) so as to resist the horizontal thrust of the

transcription/transcriptión: n/a

the opposite direction. the overall roof and

upper vault providing rotational resistance in vertical wall are considered a monolithic system. the widening of the vault at its base would have been visible at the front façade end, thus different from Judd’s intention of a more or less equal frame overhang.

date/Fecha: 13 nov 89

Comments: woods’ detailed section drawings

author/autor: dr. paul k.

of the concrete buildings treat the overall roof

woods, architect

vault and vertical walls as a monolithic system.

subject/tema: proposed exhibit

dimensions vary according to the width of each

hall design – p31 – 12m2 wall section

building, as the lateral forces would be differ-

medium/técnica: Cadd

ent. for the 12m building, the roof vault starts

architectural plan

at 4” and gradually widens in dimension to

Collection/Colección: Chinati foundation

9¹⁄8” as it approaches the vertical wall, which

transcription/transcriptión: n/a

designed to resist the horizontal thrust of the

is 6” wide. a 4’-6” cantilever of the footing is upper vault providing rotational resistance in the opposite direction. steel reinforcing is indicated throughout both in vertical and horizontal placement, with particular attention paid to the vault/wall joint requiring several layers. woods had a team of three engineers along with two architects design this system.

date/Fecha: 13 nov 89

Comments: woods’ section drawings and

author/autor: dr. paul k.

details show a thorough understanding of thin-

woods, architect

shell concrete design. the roof vault thickness

subject/tema: proposed exhibit

starts at a minimum dimension (determined by

hall design – p40 – 18m building section

building width) and gradually widens as it ap-

medium/técnica: Cadd

proaches the vertical wall. the concrete footing

architectural plan

cantilevers (dimension determined by building

Collection/Colección: Chinati foundation

width) so as to resist the horizontal thrust of the

transcription/transcriptión: n/a

the opposite direction. the overall roof and

19 8 9 Comments: woods’ detailed section drawings

date/Fecha: 13 nov 89

of the concrete buildings treat the overall roof

author/autor: dr. paul k. woods, architect

vault and vertical walls as a monolithic system.

subject/tema: proposed exhibit

dimensions vary according to the width of each

hall design – p41 – 18m wall

building, as the lateral forces would be differ-

section medium/técnica: Cadd

ent. for the 18m building, the roof vault starts

architectural plan

at 5” and gradually widens in dimension to

Collection/Colección: Chinati

6 ⁄8” as it approaches the vertical wall, which 7

foundation

is 9” wide. a 6’-3” cantilever of the footing is designed to resist the horizontal thrust of the

transcription/transcriptión: n/a

upper vault providing rotational resistance in the opposite direction. steel reinforcing is indicated throughout both in vertical and horizontal placement, with particular attention paid to the vault/wall joint requiring several layers. woods had a team of three engineers along with two architects design this system.

Comments: having determined the existing

date/Fecha: 17 nov 89

concrete buildings met only 22% of required

author/autor: dr. paul k. woods, architect

strength for u.s. building Codes, woods pro-

subject/tema: remedial work for

posed to Judd “remedial” solutions in order to

exhibition hall – b10 – proposed

preserve and retain the structures. three solu-

buttress plan

tions were provided: addition of buttresses,

medium/técnica: Cadd architectural plan

tendons, or steel beams.

Collection/Colección: Chinati

this plan shows the first remedial solution,

foundation

which required the addition of four steel buttresses on either sidewall. the purpose of the

transcription/transcriptión: n/a

buttress was to anchor the outward deflection of the vertical walls as a result of the lateral thrust generated by the roof vaults. the 8’ vertical by 5’ horizontal dimension of each buttress would have precluded the mounting of any art on the walls. woods notes this in his report and suggests one of the other two systems.

Comments: this elevation and plan detail

date/Fecha: 17 nov 89

shows the first remedial solution to the concrete

author/autor: dr. paul k. woods, architect

buildings’ structural failure, the addition of four

subject/tema: remedial work for

steel buttresses on either sidewall. the buttress-

exhibition hall – b11 – proposed

es would be made out of simple steel flanges

buttress details

and bolted to the floor and through the wall.

medium/técnica: Cadd architectural plan

theoretically they could have been mounted on

Collection/Colección: Chinati

the outside of the building, but this would re-

foundation

quire new concrete footings. the 8’ vertical by 5’ horizontal dimension of each buttress would

transcription/transcriptión: n/a

have precluded the mounting of any art on the walls. woods notes this in his report and suggests one of the other two systems.

19 8 9 Comments: this plan shows both the second and the third remedial solutions simultaneously. the second solution required the addition of four steel tendons that would span the entire space and bolt on both sidewalls. the purpose of the tendon or tension cable was to tie together the sidewalls to avoid any outward deflection due to the lateral thrust generated by the roof vaults. the tendons were small diameter steel cables but still would have been visible as they crossed the vault (however minimally). the third solution required the addition of four steel i-beams mounted along each wall providing a rigid steel box frame that would tie together the sidewalls to avoid any outward deflection due to the lateral thrust generated by the roof vaults. the beams were 14” deep and would have been visible around the entire interior of the building. they could have been covered to prodate/Fecha: 17 nov 89

vide soffits for electricity and lights; however,

author/autor: dr. paul k.

this was not the original intention of Judd. as a

woods, architect

result woods favored the steel tendon solution

subject/tema: remedial work for

as the least visually invasive remedy.

exhibition hall – b20 – proposed tendon plan & beam medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

date/Fecha: 17 nov 89

Comments: this elevation and plan detail

author/autor: dr. paul k.

shows the second remedial solution to the con-

woods, architect

crete buildings’ structural failure, the addition

subject/tema: remedial work for

of four steel tendons that would span the inte-

exhibition hall – b21 – proposed

rior space from sidewall to sidewall. the ten-

tendon details medium/técnica: Cadd

dons would be made out of 7⁄ 16” steel cables

architectural plan

and would insert between the concrete panel

Collection/Colección: Chinati foundation

joints and be bolted with a flange plate on the

transcription/transcriptión: n/a

very high at 9’-3” they would not impede the in-

exterior side of the wall. as they were mounted stallation of art on the walls, though they would be visible. woods proposed this as the favored and least intrusive solution.

date/Fecha: 17 nov 89

Comments: this elevation and plan detail

author/autor: dr. paul k.

shows the third remedial solution to the con-

woods, architect

crete buildings’ structural failure, the addi-

subject/tema: remedial work for

tion of four steel beams that would wrap the

exhibition hall – b22 – proposed beam details

interior space along the upper walls like a box

medium/técnica: Cadd

frame. the structure would be made out of 1’-

architectural plan

2” x 1’-2” steel i- beams and the beams would

Collection/Colección: Chinati foundation

be anchored through the walls with bolts and

transcription/transcriptión: n/a

alternate scheme proposed a steel girder, less

nuts approximately 8’-7” above the floor. an wide but 24” deep. though they were mounted high, the bulk of the beam volumes would have been distracting to both the space and the art installation. woods preferred the second tendon remedy instead as the favored and least intrusive solution.

19 8 9 Comments: this is an isometric drawing of

date/Fecha: 30 nov 89

the 9m building done by woods in a Cadd

author/autor: dr. paul k. woods, architect

program. while it provides some volumetric in-

subject/tema: proposed exhibit

formation, the Cadd industry was yet in its in-

hall – p22 – 9m2 isometric of 9m2

fancy in 1989 and the details are nowhere near

building medium/técnica: Cadd

the precision of the hand-drawn pen and ink

architectural plan

isometrics made by Claude armstrong earlier.

Collection/Colección: Chinati

as this was made after woods’ 11/20/89

foundation

invoice, it is assumed the set of individual buildings and site plan done in isometric drawings

transcription/transcriptión: n/a

were provided to Judd with no charge simply for visualization purposes.

Comments: this is an isometric drawing of the

date/Fecha: 30 nov 89

12m building done by woods in a Cadd pro-

author/autor: dr. paul k. woods, architect

gram.

subject/tema: proposed exhibit hall – p32 – 12m2 isometric of 12m2 building medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

Comments: this is an isometric drawing of the

date/Fecha: 30 nov 89

18m building done by woods in a Cadd pro-

author/autor: dr. paul k. woods, architect

gram.

subject/tema: proposed exhibit hall – p42 – 18m2 isometric of 18m2 building medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

Comments: woods’ original set of proposed

date/Fecha: 03 dec 89

new design drawings for the concrete buildings

author/autor: dr. paul k. woods, architect

missed Judd’s carefully orchestrated progres-

subject/tema: proposed exhibit

sion of proportions for the three building sizes

hall design – p23 – proportions

(1:1:1, 1:2:2, 1:3:3). in an apologetic note he

for 9m2 building medium/técnica: Cadd

excused himself for this and redesigned the

architectural plan

buildings according to Judd’s desired propor-

Collection/Colección: Chinati

tions. this is the revised drawing for the 9m

foundation

building.

transcription/transcriptión: n/a

19 8 9 date/Fecha: 03 dec 89

Comments: this is the revised drawing for the

author/autor: dr. paul k.

12m building.

woods, architect subject/tema: proposed exhibit hall design – p33 – proportions for 12m2 building medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

date/Fecha: 03 dec 89

Comments: this is the revised drawing for the

author/autor: dr. paul k.

18m building.

woods, architect location: College station, texas subject/tema: proposed exhibit hall design – p43 – proportions for 18m2 building medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

Comments: this is an isometric drawing of the entire concrete building site done by woods in a Cadd program. while it provides some volumetric information, the Cadd industry was yet in its infancy in 1989 and the details are nowhere near the precision of the hand-drawn pen and ink isometrics made by Claude armstrong earlier. site boundaries are indicated by dash-lines and path information is missing. this was the final drawing made by woods and his office, dated december 9, 1989. again, as this was made after woods’ 11/20 invoice, it is assumed the drawing was provided to Judd with no charge simply for visualization purposes.

date/Fecha: 09 dec 89 author/autor: dr. paul k. woods, architect subject/tema: proposed exhibit hall design – p14 – isometric of site plan medium/técnica: Cadd architectural plan Collection/Colección: Chinati foundation transcription/transcriptión: n/a

edificios de hormigón

concrete buildings donaLd Judd

view is long. the land is apparently open rangeland but in the grass there are the foundations and walks—even a couple of little rock gardens—of a complex which housed prisoners of war from germany in world war ii. the land was already used and damaged, and will be cleaner when the new complex is finished than when it began. the buildings are placed directly on the rangeland without any border or transition and the drainage of the roofs is conserved so that the buildings are not bordered by weeds. the ten buildings are centered on ten squares of twelve, the two in the middle remaining empty. narrow walks on a grid determined by the doors of the buildings connect them all, making two grids, one major but not linear, and one minor but linear. there is no reason to enclose the complex since it is away from town. two buildings will each contain a large work on the floor, two will each contain three vertical pieces, four will each contain three horizontal pieces, and two will have two stories containing offices and living spaces. these are completely new buildings under construction.

donald Judd

este ensayo se publicó por primera vez en Donald Judd Architektur (westfälischer Kunstverein, münster, 1989), y apareció en 2005 en el volumen diez de la publicación informativa anual de Chinati.

this essay was first published in Donald Judd

trece piezas horizontales y tres piezas

Architektur (westfälischer kunstverein, mün-

verticales para la pared y grandes pie-

ster, 1989), and appeared in 2005 in volume

zas de acero inoxidable para el suelo

ten of Chinati’s annual newsletter.

fueron construidas para su instalación permanente en la primera fundación.

thirteen horizontal pieces and three vertical pieces for the wall and large stainless steel pieces for the fl oor were built for permanent installation at the first foundation. these were made around 1980, early in the short life of the original arrangement and, after a while, it became evident that there were no plans for their installation. all of the work was still in storage when the Chinati foundation took over. the existing buildings were not suitable. also, just re-working old buildings becomes tiresome. for the work in storage i planned new concrete buildings placed on a grid. the site is high and as usual the

Éstas se hicieron alrededor de 1980, temprano en la corta vida de la disposición original y, al cabo de cierto tiempo, se hizo evidente que no había planes para su instalación. la obra entera seguía almacenada cuando la Fundación Chinati se hizo cargo de ella. los edificios existentes no resultaban adecuados. además, el solo hecho de haber de modificar de nuevo los edificios viejos se vuelve cansino. Para la obra almacenada planifiqué nuevos edificios de hormigón colocados en una cuadrícula. el emplazamiento es alto y, como es habitual, la vista es larga. el terreno es, aparentemente, una zona de pastoreo abierto pero en la hierba se

encuentran los cimientos y los caminos –incluso un par de pequeños jardines de rocas– de un complejo que albergaba prisioneros de guerra alemanes durante la segunda guerra mundial. el terreno ya estaba usado y dañado y estará más limpio, comparado con sus inicios, cuando el complejo nuevo esté finalizado. los edificios están colocados directamente en la zona de pastoreo sin límite o transición y el drenaje de los tejados se conser va para que los edificios no se vean bordeados por las malas hierbas. los diez edificios están centrados en diez cuadrados de doce, con los dos en medio que permanecen vacíos. unos caminos estrechos en una cuadrícula condicionados por las puertas de los edificios los conectan a todos, creando así dos cuadrículas, una principal pero no lineal y una menor pero lineal. no hay razón para encerrar el complejo ya que se encuentra lejos del pueblo. dos edificios contendrán cada uno una gran obra en el suelo, dos contendrán tres piezas verticales, cuatro contendrán tres piezas horizontales y dos tendrán dos pisos que contendrán despachos y espacios habitables. Éstos son edificios completamente nuevos que están en construcción.

ricky swallow

ahora me parece una propuesta extraña: la de trasladarse como artista, como familia, a un pueblo nuevo y a un estudio nuevo durante dos meses y ver qué pasa. sabía que quería hacer muchas obser vaciones mientras estuviera allí, y sí hice muchas obser vaciones y reobservaciones y le di la vuelta y volví a darle la vuelta a las cosas. una vez nos instalamos, reinstauré mi rutina matutina de ir a correr por el terreno de Chinati: una vuelta rápida y enérgica que me hacía serpentear pasando por los hangares de artillería y las obras en hormigón de Judd, que conectaba con una carretera de gravilla que se cur vaba alrededor de los edificios de Flavin y la escultura de oldenburg aplanada

it now seems like a weird proposal to me—to transplant oneself as an artist, as a family, into a new town and a new studio for two months and see what happens. i knew i wanted to do a lot of looking while there, and i did do a lot of looking and relooking and running and re-running around things. once we got settled i reinstated my morning run routine within the Chinati grounds—a brisk loop which wound me past the artillery sheds and along Judd’s concrete works, connecting to a gravel road which bent around the flavin buildings and the oldenburg sculpture flattened against the morning sky, then back to our apartment with the arena in open view opposite left. these runs allowed me such varied and beautiful views of the buildings and the sculptures, to breathe in fast the results of slow decision and deliberation. the concrete works in particular absorb so specifically whatever the sky is doing at that time of the morning, i made a note returning from a run—to the effect of “remember lavender color of the concrete and bells ringing (church,

contra el cielo matutino y que regresaba a nuestro apartamento con la arena totalmente a la vista enfrente a la izquierda. estas carreras me permitieron unas vistas muy variadas y hermosas de los edificios y de las esculturas, respirar rápidamente los resultados de decisiones y deliberaciones lentas. las obras en hormigón, en particular, absorben de manera tan específica lo que el cielo está haciendo en ese momento de la mañana que hice una nota al regresar de una carrera: en el sentido de “recuerda el color lavanda del hormigón y las campanas que suenan (¿la iglesia, el ayuntamiento?) –como si las dos cosas funcionasen juntas… antes de que el mundo esté funcionando, estas cosas están funcionando–.” se trata de una ecuación extraña: la brevedad de hacer una obra dentro de ese marco contra la visión de Judd respecto a las obras de arte instaladas de manera permanente. Para mí, el tiempo que pasé allí está fusionado en

town hall?)—as if the two things were operating together...before the world is at work these things are working.” it’s an odd equation—the brevity of making work within that setting against Judd’s vision of permanently installed artworks. for me now, my time there is all combined into one very tactile experience, everything thrown into this one drawer. i’m thinking of the sculptures and drawings i made there—but also the paintings that my wife Lesley Vance made, the paintings matt Connors made a couple blocks away, the food we all made, the food people made us, the people we met, the animals we met, the sculptures we met, and the buildings we got to know. we’d all walk occasionally to the John wesley building at sunset taking wine, child, and dogs; we scrambled under tables in the arena looking for Judd’s pencil notations. the unfinished site of the concrete buildings is another great sunset spot, a halted ruin. it’s also the site that formally housed the old pow barracks, now reduced to their concrete slab footings. around these footings, you can still find the stones of walls the soldiers laid to form rock gardens—perhaps to personalize their otherwise identical housing. it’s amazing these improvised gestures still remain, preserved so close to more engineered projects. the space given to things, the appointment of objects into specific buildings, seemed to amplify the very material clarity of everything experienced at Chinati. the John Chamberlain building, right by my studio at the Locker plant, was a place i visited repeatedly. i’d never had the luxury of looking at Chamberlain’s sculptures from such paced-out vantage points, which now seems so key in my assessment of them. the contact points where the sculptures meet the floor seem crucial to their weightlessness—or their ability to seem so—often simply the bent edge of a panel of automotive metal, but also points consciously balanced and raised by a few tabs of welded metal for stability and positioning. this exposure to the “setting” of the sculptures made me more aware of the lift those pieces have, like what a well-crafted foot can do to elevate a ceramic vessel—clearing out that space below the sculptures permits so much grace. so that grace is in the drawer as well.

en los cuadros que hizo mi mujer, lesley

ricky swallow

Vance, los cuadros que hizo matt Connors a unas manzanas de distancia, en la comida que todos hicimos, en la comida que nos hicieron a nosotros, en la gente que conocimos, en los animales que conocimos, en las esculturas que conocimos y en los edificios que llegamos a conocer. de vez en cuando, todos caminábamos hacia el edificio de John wesley a la puesta del sol, llevando con nosotros vino, el niño y los perros; bajábamos con dificultad por debajo de las mesas en la arena buscando las anotaciones en lápiz de Judd. el emplazamiento inacabado de los edificios de hormigón es otro lugar fantástico para la puesta de sol, una ruina detenida. también se trata del emplazamiento que albergaba con anterioridad los antiguos barracones para prisioneros de guerra, reducidos ahora a cimientos de hormigón. alrededor de estos cimientos, aún se pueden encontrar las piedras de los muros que pusieron los soldados para formar jardines de piedra, tal vez para personalizar su vivienda que, de otra manera, era idéntica a las demás. es sorprendente que estos gestos improvisados permanezcan intactos, conservados tan cerca de proyectos más elaborados. el espacio proporcionado a las cosas, la colocación de determinados objetos en edificios específicos, parecía amplificar la mismísima claridad material de todo lo experimentado en Chinati. el edificio de John Chamberlain, justo al lado de mi estudio en la Planta locker, fue un lugar que visité repetidamente. nunca había tenido el lujo de observar las esculturas de Chamberlain desde puntos estratégicos tan cercanos, lo que parece clave en mi valoración de ellas. los puntos de contacto en los que las esculturas se unen al suelo parecen ser cruciales para su ingravidez –o su capacidad de parecerlo–, tratándose a menudo, simplemente, de un borde cur vado de un panel de metal automovilístico, pero también de puntos equilibrados a consciencia y elevados por unas cuantas chapas de metal soldado para su estabilidad y posicionamiento. esta exposición al “marco” de las esculturas me hizo más consciente de la capacidad de carga que poseen esas piezas, al igual que un pie bien concebido de una vasija puede elevar una vasija cerámica: despejar ese espacio debajo de las esculturas permite tanta gracilidad. así que, esa gracilidad también se encuentra en el cajón.

una experiencia extremadamente táctil, todo está metido en este único cajón. estoy pensando en las esculturas y en los dibujos que hice allí: pero también 96

riCky swaLLo w, Z SCuLP TuRE WITH BAND #2 (2015), patinated bron ze with o iL paint.

riC ky swa LLo w, S KEW ED O P EN S TRuC TuRE W ITH R OP E # 6 ( 2 015 ) , pati nated b ronz e.

Matt Connors

ahora que ha transcurrido un año o más, mis dos meses en marfa parecen haberse metido profunda y cuidadosamente en mi conciencia para su perpe-

my two months in marfa seem to have inserted themselves deeply and safely within my consciousness for perpetual future use, now that i’m a good year or more away from them. the initial triumph of adjusting from city brain to marfa light and speed felt like a summit reached before i could get down to the business of reorienting what i actually mean by “getting down to business.” it feels like i received a special opportunity to be in a place where i could see how colors and physical objects actually or ideally look, how they sit in the world. a place where i could work inside of a pause and let ideas push slowly against each other, against which, or maybe more like with which, i can judge or measure all future makings. the small parts of my daily routine and living habits seemed to slowly mesh up with all the things i was doing in the studio, rather than working against them. this, combined with sustained and slow appraisal and reappraisal of the results of other artists’ exploration of this kind of art/ life merging (primarily Judd’s but also fellow residents and other Chinati artists) felt more like an epic life research trip than any kind of sabbatical or time out of mind. it is a well from which i am continually dipping.

tuo uso futuro. el triunfo inicial de pasar

matt Connors

del cerebro de la ciudad a la luz y la velocidad de marfa parecía una cumbre alcanzada antes de que pudiera enfrascarme en el trabajo de reorientar lo que quiero decir en realidad con “enfrascarme en el trabajo.” Parece como si recibiera la oportunidad especial de estar en un lugar donde pude ver qué aspecto tienen en realidad o idealmente los colores y los objetos físicos, cómo encajan en el mundo. un lugar donde pude trabajar envuelto en una pausa y dejar que las ideas se abriesen paso lentamente las unas contra las otras, contra las cuales, o tal vez con las cuales, puedo juzgar o medir todas las creaciones futuras. las pequeñas partes de mi rutina y mis hábitos de vida diarios parecían mezclarse lentamente con todas las cosas que estaba realizando en el estudio, en lugar de trabajar contra ellas. esto, en combinación con una prolongada y lenta evaluación y reevaluación de los resultados fruto de la exploración por parte de los demás artistas de esta clase de fusión entre el arte y la vida (principalmente la de Judd pero también la de mis compañeros residentes y otros artistas de Chinati) se parecía más a un épico viaje de investigación sobre la vida que cualquier tipo de año sabático o tiempo fuera de la mente. se trata de un pozo en el cual estoy continuamente sumergiéndome.

m att Co nnor s, 4020 (2015), aCry LiC on CanVas .

b en t ho rp bro w n, uNTITLED (NETTING) , 2 015 , Linen, ra b b i t sk i n gLue, uV i nk .

Ben Thorp Brown

nati, the viewer confronts an altered state of optical experience through the landscapes of water: in a well drilling site, a tomato greenhouse, balmhorea spring, a snowstorm, and an artist’s studio. during my time in marfa, i was finding places where landscapes are highly constructed, domesticated places for human use and experience. i spent time with well drillers who searched for water with dowsing rods, and would use massive rigs (straight out of Mad Max) to drill down hundreds of feet to reach the water table. i visited greenhouses where every single element down to the number of bees is highly regulated and controlled, and i found myself immersed in other sites where the natural world becomes a carefully managed perceptual experience. the work that i made was just as much about the process of seeing itself, creating a degree of perceptual play, and also make projections of a possible future. many of my projects start with a process that generates a constellation of relations that become the raw material for my sculpture and video installations.

antes de venir a Chinati, encontré una breve mención del interés que tenía Judd por embotellar el agua de marfa. esta anécdota inició un camino serpenteante de investigación por la región y su

before coming to Chinati, i found a brief mention of donald Judd’s interest in bottling marfa’s water. this anecdote began a winding path of research into the region and its history with water, from its deep geological past as an inland sea through its history as a nineteenth century railroad water stop to more contemporary water politics. during my time at Chinati, i began developing new works that address ongoing dynamics between nature and industry. inspired by artworks that attempt to slow down time, and imagining permanence in a world that is constantly enduring change, is of great relevance in the ever-accelerating pace of contemporary life. as an artist, i’m often developing ways to shift our perceptual experience, and to ask viewers to renegotiate what has become familiar. in a new video that i produced during my stay at Chi-

historia con el agua, desde su profundo pasado geológico como mar interior a través de su pasado como parada para los trenes para coger agua en el siglo diecinueve hasta la más contemporánea política del agua. durante el tiempo que pasé en Chinati, empecé a desarrollar obras nuevas que abordan la continua dinámica entre la naturaleza y la industria. estar inspirado por las obras de arte que intentan ralentizar el tiempo, imaginando la permanencia en un mundo que sopor ta cambios constantes, es de una gran importancia en el ritmo cada vez más acelerado de la vida contemporánea. Como artista, a menudo desarrollo maneras de cambiar nuestra experiencia de percepción y pido a los espectadores que renegocien lo que se ha vuelto familiar. en un vídeo

un emplazamiento de perforación de pozos, un invernadero de tomates, el manantial de balmhorea, una tormenta de nieve y el estudio de un ar tista. durante el tiempo que pasé en marfa, encontré sitios donde los paisajes son lugares altamente elaborados y domesticados para el uso y la experiencia humanos. Pasé tiempo con operadores de perforadoras de pozos que buscaban agua con varitas de rabdomante y que usaban plataformas inmensas (sacadas directamente de Mad Max) para perforar a cientos de pies de profundidad y así llegar a alcanzar la capa freática. hice visitas a invernaderos donde cada elemento, hasta el número de abejas, está fuer temente regulado y controlado y me vi inmerso en otros emplazamientos donde el mundo natural se convierte en una experiencia de percepción cuidadosamente gestionada. la obra que hice trató tanto del proceso de verse a sí mismo, de crear un grado de juego de percepción, como de hacer proyecciones de un futuro posible. muchos de mis proyectos comienzan con un proceso que genera una constelación de relaciones que se convierten en la materia prima para mis instalaciones

nuevo que hice durante mi estancia en

ben thorp brown

Chinati, el espectador se enfrenta a un

escultóricas y de video.

estado alterado de la experiencia óptica ben thorp brown

a través de los paisajes del agua: en 100

101

be n thorp brown, D ROWNE D WORL D (2016), hd V ide o, Co Lor , so un d, 8 m in.

sylvie auvray

ayer escribí esto en mi cabeza mientras iba en bicicleta hacia mi estudio en París. en realidad, no se trata de mi experiencia en la universidad de

i wrote this yesterday in my head while cycling to my studio in paris. really it is not about my experience with sul ross university or working with the guys at the auto body shop or meeting people or working over there, as great as it was! when i think back of marfa i mainly recall how great it was to wake up in this field, seeing all the art around and just wandering. maybe a bit too romantic. but the first thing i learned when i came back to paris from marfa was to use my brakes. in marfa you idle around from Chinati to the garage to the hardware store, and from the studio to the railroad tracks. sometimes you fight like crazy against the wind, sometimes you are like dying of hotness!!! in the morning you wake up with the antelopes and the lone roadrunner and at night you freeze like the rabbits in the field when the owls are passing by to rejoin their nest on the aluminum shed roof. i enjoyed so much turning on the lights of dan flavin; sitting next to the wesley paintings at the end of the walk when the sun goes down; spending ages next to the Chamberlains; going up to the aluminum boxes... whenever! that’s what i recall of marfa. and i miss it.

sul ross o el trabajo con los tipos del

sylvie auvray

taller mecánico o conociendo a gente o trabajando allí, ¡por muy estupendo que fuera! Cuando rememoro marfa, recuerdo principalmente lo estupendo que era despertarse en este emplazamiento, ver todo el arte alrededor y simplemente deambular. tal vez sea un poco demasiado romántico. Pero la primera cosa que aprendí de marfa cuando regresé a París fue a usar mis frenos. en marfa, uno holgazanea desde Chinati hasta el garaje y hasta la ferretería, y desde el estudio hasta las vías del tren. ¡a veces uno se esfuerza muchísimo contra el viento, a veces uno se está muriendo de calor! Por la mañana, uno se despierta con los antílopes y el correcaminos solitario y por la noche uno se congela al igual que los conejos en el campo cuando los búhos lo están sobrevolando para unirse de nuevo con su nido en el tejado de aluminio del hangar. disfruté tanto encendiendo las luces de dan Flavin; sentándome cerca de los cuadros de wesley al final del camino cuando el sol se pone; pasando una eternidad al lado de las obras de Chamberlain; acercándome a las cajas de aluminio… ¡cuando quisiera! eso es lo que recuerdo de marfa. Y lo echo de menos.

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sy LV ie auVray, t em po rary ins taLL atio n in the J ohn Cham be rLain bu iLding .

Jen rosenblitt Como ar tista en residencia durante el mes de abril de 2016, trabajé y me perdí en mis pensamientos en la Fundación Chinati. había realizado con anterioridad un viaje de una semana al

i worked and got lost in my thoughts at the Chinati foundation as an artist in residence during the month of april 2016. i had done a site visit for a week previously during the new year. i was working on a performance work that was to premiere in nyC in late april 2016. i brought my collaborators to marfa for some time and we used the expanse of the landscape to finish our research. i knew after my site visit that i wanted to work in the arena. i was called to the gravel floor, the massive ceiling, and of course the lofted bed and long communal tables. Clap Hands was directly concerned with a kind of unattainable domesticity. we purposefully maintained a nomadism within the work, though there was a call for the kinds of intimacies and gatherings or togetherness that one might find in a home. we were focused on a table. a space to fold other things, to sit on, at, or near. a space to ponder about other spaces. not quite a bed, but, if you lay down on top of it, suddenly the properties change and become bed-like. the arena was the perfect challenge for the culmination of the work. the precarious ground, not normally something welcomed by a dance performance, aided the negotiation and navigation of the problem of intimacy. the grey and white tones of the space were the perfect temperature to let the wild fuchsia color of the felt stand out as magnetic. working with the sunset, of course, is not something i get as a theater artist. the transition from daylight to sunset, then the final use of lights was a beauty in itself. being in the vast landscape was such a sweet way to contemplate the final stages of a work that took about two years to create. you can see for miles, but nothing truly spectacular is revealed. it is this durational element, this foreverness of the land. it is just visibility that we are always shuffling through. Jen rosenblit

emplazamiento durante el año nuevo. trabajaba en una obra de performance que iba a estrenarse en la ciudad de nueva York a finales de abril de 2016. traje a mis colaboradores a marfa durante algún tiempo y usamos la extensión del paisaje para acabar nuestra investigación. sabía, después de mi visita al emplazamiento, que quería trabajar en la arena. me atraían el suelo de gravilla, el inmenso techo y, por supuesto, la cama elevada y las largas mesas comunales. Clap Hands abordaba directamente una especie de domesticidad inalcanzable. mantuvimos, a propósito, un nomadismo dentro de la obra, aunque requería las intimidades y reuniones o unión que uno podría encontrar en un hogar. nos centramos en una mesa. un espacio donde abrazar otras cosas, para sentarse encima de, en o cerca de ella. un espacio donde ponderar otros espacios. no es exactamente una cama pero, si uno se estira encima de ella, de repente cambian las propiedades y se convierte en algo parecido a una cama. la arena era el reto perfecto para la culminación de la obra. el suelo precario, que normalmente no es bien recibido en un espectáculo de danza, ayudó con la gestión del problema de la intimidad. los tonos grises y blancos del espacio fueron la temperatura perfecta para que resaltase de manera magnética el salvaje color fucsia del fieltro. Por supuesto, trabajar con la puesta del sol no es algo que suela tener como artista del teatro. la transición de la luz del día a la puesta del sol, y luego el uso final de luces, fue una belleza en sí misma. estar en el vasto paisaje fue una manera muy dulce de contemplar las últimas etapas de una obra que tardó alrededor de dos años en crearse. se puede ver a millas de distancia, pero no se revela nada verdaderamente espectacular. se trata de este elemento de duración, de esta sensación de eternidad de la tierra. es una visibilidad justa a través de la cual siempre nos estamos zarandeando. Jen rosenblit

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Je n ro se nbLit, CL AP HANDS in r ehe ar saL at t he arena.

uri aran

Vivir y trabajar en marfa, en la Fundación Chinati, sugería para mí una línea temporal distinta: un cuestionamiento

Living and working in marfa at the Chinati foundation proposed a different kind of timeline for me--an ongoing question of solving day and studio routines and adapting to a new pace and palette. my practice is, in part, rooted in an attempt to examine physical/cultural environments and language. transported to a unique duality of an art mecca and a west texas “narrative,” i found myself asking if this is the place in which an artist might wonder and even find where the animals drink. in a more practical tone, my recent body of work, including a large-scale exhibition in London, is predominantly based on videos, sculptures, and paintings that i made during my time as an artist in residence at Chinati. i had the rare opportunity to work in a beautiful studio right in the center of town--unfamiliar and quiet (other than the railroad train cutting though town a few times a day)--and peruse on a daily basis the breathtaking landscape just outside my room on the Chinati grounds. i also had the opportunity to show my time-based work in the spectacular Crowley theater, which was a constructive experience as well as an immensely enjoyable one. my videos were shot all over town and outside it. my paintings and sculptures adapted the palette and mood of the desert sun. showing this work in other contexts brings marfa and Chinati physically into the gallery, my new york studio, other institutions. every twenty minutes or so the train that runs through marfa (as captured in my video work) is now cutting through regent street, London. the people i met, the art and artists i encountered, and the community i was invited into are all very special to me and i feel lucky.

continuo para resolver el día a día y las

uri aran

rutinas en el estudio y adaptarme a un ritmo y una paleta nuevos. mi trabajo está arraigado en parte en un intento por examinar los ambientes y los lenguajes físico-culturales. transportado a una singular dualidad –una meca del arte y una “narrativa” del oeste de texas–, me encontré planteándome si ése es el lugar en el que un artista podría asombrarse e incluso averiguar dónde beben los animales. en un tono más práctico, mi obra reciente, incluyendo una exhibición a gran escala en londres, se basa predominantemente en los vídeos, las esculturas y los cuadros que hice durante mi estancia como artista en residencia en Chinati. tuve la rara opor tunidad de trabajar en un estudio justo en el centro de la ciudad –desconocido y silencioso (aparte del tren atravesando la ciudad unas cuantas veces al día)– y, todos los días, pude examinar con detenimiento el imponente paisaje justo delante de mi habitación en los terrenos de Chinati. también tuve la oportunidad de mostrar mi obra basada en el tiempo en el espectacular teatro Crowley, una experiencia enriquecedora y también inmensamente agradable. mis vídeos fueron grabados por toda la ciudad y fuera de ella. mis cuadros y esculturas adaptaron la paleta y el estado de ánimo del sol del desierto. exponer esta obra en otros contextos traslada, de manera física, marfa y Chinati a la galería, a mi estudio en nueva York y a otras instituciones. Cada veinte minutos, más o menos, el tren que pasa por marfa (como se capta en mi obra en vídeo) está ahora atravesando la calle regent en londres. las personas que conocí, el arte y los artistas que encontré y la comunidad a la que fui invitado son todas muy especiales para mí y me siento afortunado.

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uri ar an, T WO TH INGS ABOuT SuFFE RING (fiLm st iLLs ), 2016. Courtes y sadie CoL es h Q, Lond on.

Chinati membership editions ediciones para los afiliados de Chinati

erin shirreff Still (for Chinati) 2016 gelatin silver print edition of 100 + 2aps

Erin Shirreff, institute of Contemporary art, boston (2015; traveling to albright-knox art gallery, buffalo, ny, 2016); artpace, san antonio, tx (2013–2014); Inside the White Cube, white Cube, London (2013); Lake, yerba buena Center for the arts, san francisco (2013); Available Light, Carleton university art gallery, ottawa, on (2012; traveled to agnes etherington art Centre, on (2012–2013); and Still, Flat, and Far, institute of Contemporary art, philadelphia (2010). her work is included in the collections of the agnes etherington art Centre, the albright-knox art gallery, the Centre pompidou, the dallas museum of art, the deCordova sculpture park and museum, the Los angeles County museum of art, the metropolitan museum of art, the museum of fine arts, houston, the museum of modern art, new york, nouveau musée national de monaco; the solomon r. guggenheim museum, and yale university art gallery. shirreff was an artist in residence at Chinati in 2011. she lives and works in brooklyn, ny.

a través de la fotografía, el vídeo, el cine y la escultura, erin shirreff crea obras que exploran las ambigüedades

using photography, video, film, and sculpture, erin shirreff creates works that explore the ambiguities that result from the attempt to translate a three-dimensional artwork into a twodimensional image. she sometimes begins by photographing an artwork or an image of an artwork—the object shown might be her own work or that of another artist—which she then re-photographs in her studio. she complicates and elaborates on this process across mediums to produce images that, for all their surface straightforwardness, are highly mediated (they have been made and remade; they are her own work and not) and composed of different temporalities (they may be moving, still, or a combination of the two). shirreff’s edition is related to a new series of photographs, Still, that she made for her recent solo exhibition at kunsthalle basel, Halves and Wholes. erin shirreff received a bfa from the university of Victoria, Victoria, b.C., in 1998 and a mfa from yale university in 2005. recent solo exhibitions include Halves and Wholes, kunsthalle basel, switzerland (2016);

que tienen como resultado el intento de traducir una obra de arte tridimensional en una imagen bidimensional. a veces comienza fotografiando una obra de arte o una imagen de una obra de arte –el objeto mostrado podría ser una obra suya o de otro artista– que luego fotografía de nuevo en su estudio. Complica y elabora este proceso entre una variedad de medios para producir imágenes que, a pesar de su franqueza exterior, son extremadamente manipuladas (han sido hechas y rehechas; son obra suya y no lo son) y están compuestas de distintas temporalidades (puede que estén en movimiento, que estén sin movimiento o que sean una combinación de las dos). la edición de shirreff está relacionada con una nueva serie de fotografías, Still, que hizo para su reciente exhibición en solitario en el Kunsthalle basilea, Halves and Wholes. erin shirreff recibió su licenciatura en bellas artes por la universidad de Victoria, en Victoria, Columbia britá-

Erin Shirreff, en el institute of Contemporar y art, boston (2015; que estará expuesta en la albright-Knox art galler y, buffalo, nY, 2016); en artpace, san antonio, tX (2013–2014); Inside the White Cube, white Cube, londres (2013); Lake, en el Yerba buena Center for the arts, san Francisco (2013); Available Light, en la Carleton university art galler y, ottawa, on (2012; que estuvo expuesta en el agnes etherington art Centre, on (2012–2013); y still, Flat, and Far, en el institute of Contemporar y art, Filadelfia (2010). su obra está incluida en las colecciones del agnes etherington art Centre, la albright-Knox art galler y, el Centre Pompidou, el dallas museum of art, el deCordova sculpture Park and museum, el los angeles County museum of art, el metropolitan museum of art, el museum of Fine arts, en houston, el museum of modern art, en nueva York, el nouveau musée national de monaco; el solomon r. guggenheim museum y la Yale university art galler y. shirreff fue artista en residencia en Chinati en 2011. Vive y trabaja en brooklyn, nY.

nica, en 1998, y una maestría en be-

please visit www.chinati.org/store/ for more Chinati benefit editions.

llas artes por la universidad de Yale en 2005. sus recientes exhibiciones en solitario incluyen Halves and Wholes, en el Kunsthalle basilea, suiza (2016); 108

Por favor, visite www.chinati.org/store/ para más ediciones benéfica de Chinati.

staff news

de mantenimiento de conser vación.

noticias sobre nuestro personal

per se licenció en mayo de 2016 de la

también ayudó en la elaboración de la nueva obra de robert irwin. Coouniversidad lewis & Clark College en Portland, oregon, con licenciaturas en bellas artes y en química. E D D I E L A R A nació en alpine, texas, y

se crió en marfa. sirvió en el ejército de los eeuu desde 1982 a 1986 y trabajó

eddi e La ra .

con donald Judd desde 1987 a 1990.

and worked with donald Judd from 1987–1990. eddie started at Chinati as a facilities associate in april 2016. he has two children and two grandchildren.

d a r b Y h i l l m a n came to Chinati in

september 2015 as a research fellow and joined the full-time staff in January 2016 as special projects and programs coordinator. she coordinates public programming such as the Chinati Presents series, which includes readings, film screenings, and musical performances, and works closely with the artists in residence during

eddie empezó en Chinati como auxiliar de instalaciones en abril de 2016. tiene dos hijos y dos nietos. J E N N I F E R L E E S se convirtió en directo-

ra de administración en marzo de 2016. Jennifer tiene una amplia experiencia en los campos del ar te y el diseño, habiendo ocupado puestos en museos incluyendo el museo de arte Contem-

became Chinati’s director of administration in march 2016. Jennifer has extensive experience in the art and design fi elds, having held positions in museums including the boulder museum of Contemporary art, the peggy guggenheim Collection in Venice, italy, and the uCLa fowler museum of Cultural history. her work with arts organizations includes positions as general manager of 111 minna gallery in san francisco and project manager at save Venice inc. in the furniture design field, Jennifer has held managerial positions at firms including Lily Jack and hollyhock.

poráneo de boulder, la Colección Peggy

JenniFer lees vino a Chinati en

septiembre de 2015 como becaria de investigación y se unió al personal a tiempo completo en enero de 2016 como coordinadora de proyectos y programas especiales. super visa la programación pública como la serie Chinati Presenta, que incluye lecturas, proyecciones de películas y actuaciones musicales, y trabaja estrechamente con los artistas en residencia durante sus estancias. también está implicada en los futuros trabajos de planifica-

d a rb y hiLLma n.

ción maestra para el museo así como la programación en honor del 30° aniversario de Chinati este año. más

J e s s i C a l u t Z joined the staff as communications coordinator, facilitating press and public relations, after serving as a docent at Chinati for the last two years. Jessica moved to marfa from new york City, where for eleven years she served as brand manager for national geographic society. Jessica is also an assignment photographer whose work has appeared in The New York Times, Times Texas Monthly, Texas Architect, Architect Al Jazeera, and other publications.

recientemente, ayudó a coordinar la celebración comunitaria y la inaugura-

their tenures. she is also involved in the forthcoming master planning efforts for the museum as well as programming in honor of Chinati’s 30th anniversary. born in austin, texas, hillman holds a bfa in studio art from texas state university in san marcos. she arrived in marfa via albuquerque, new mexico after a number of months living in ovada, italy, her second home.

ción de la nueva obra de robert irwin. nacida en austin, texas, hillman es licenciada en bellas artes por la texas state university. llegó a marfa a través de albuquerque, nuevo méxico, tras varios meses viviendo en ovada, italia, su segunda residencia. COOPER JAMIESON

trabaja con la

directora de conser vación de Chinati, bettina landgrebe, como ayudante

guggenheim en Venecia, italia, y el museo Fowler de historia Cultural de la uCla. su trabajo con las organizacio-

J ennif er Lees .

DARBY HILLMAN

nes para las artes incluye puestos como el de directora general de la 111 minna galler y en san Francisco y el de directora de proyectos en save Venice inc. en el campo del diseño de muebles, Jennifer ha mantenido puestos de gestión en empresas como lily Jack y hollyhock. JESSICA LUTZ

se unió al personal

como coordinadora de comunicaciones, facilitando las relaciones con la prensa y el público, tras trabajar como guía de

C o o P e r J a m i e s o n works with Chi-

museo en Chinati durante los últimos

nati’s director of conservation, bettina Landgrebe, as the conservation maintenance assistant. he also assisted in the fabrication of the new work by robert irwin. Cooper graduated in may 2016 from Lewis & Clark College in portland, oregon with bachelor’s degrees in studio art and in chemistry.

dos años. Jessica se trasladó a marfa de, durante once años, trabajó como gestora de marcas para la national geographic society. Jessica es también fotógrafa por encargo y su trabajo ha aparecido en The New York Times, Texas Monthly, Texas Architect, Al Jazeera y otras publicaciones. Je ss iCa Lutz.

Coop e r Jamie so n.

e d d i e l a r a was born in alpine, texas and raised in marfa. he served in the us army from 1982 –1986

desde la ciudad de nueva York don-

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ADELE

POWERS

creció en dallas,

texas, y se graduó de la universidad de texas en austin con licenciaturas

a d e l e P o w e r s grew up in dallas, texas and graduated from the university of texas at austin with degrees in plan ii and english. she worked as an art teacher throughout her college career and following graduation. after a six-month internship at Chinati, adele was hired on full-time in January to work with michael roch in the education department.

de unas prácticas de seis meses en Chinati, adele fue contratada en enero a tiempo completo para trabajar con michael roch en el departamento de educación. R AY Z U B I A T E

nació y fue criado en

marfa y creció jugando en el abandonado Fuerte russell. durante catorce años, ray trabajó en la prospección petrolífera en el sur de California y en los ee.uu. occidentales. tras su regreso a ray z ub i ate.

a deLe p ow ers.

marfa, abrió en 1997 Joe´s Place (también conocido como “ray´s bar”) y lo gestionó hasta 2009. ray trabajó en la construcción hasta que se unió a Chinati

Chinati as an exhibition custodian in July 2016.

en inglés y en el programa de honores interdisciplinario. trabajó como profe-

como conserje de exposiciones en julio de 2016.

sora de arte a lo largo de su carrera universitaria y tras graduarse. después

sum m er sh ak e up, sum me r 2016. artist tr istan hinoJ os , 5th g rade , m arfa isd.

was born and raised in marfa and grew up playing in the abandoned fort russell. ray worked in oil exploration in southern California and the western us for fourteen years. after his return to marfa, he opened Joe’s place (aka “ray’s bar”) in 1997 and ran it until 2009. ray did construction work until he joined

r aY Z u b i at e

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internship program

m a x tay Lor-m i Lner..

m a xw eLL toLLeson..

Programa de becarios

england, germany, holland, israel, italy, Japan, mexico, new zealand, portugal, brazil, scotland, sweden, and australia. as compensation, the museum offers interns a modest stipend and a furnished apartment on the Chinati grounds. although Chinati’s internships are geared toward students pursuing degrees in art, architecture,

en residencia, estudiosos visitantes, arquitectos y museólogos profesionales. se ofrecen prácticas en educación y programación pública, conser vación y desarrollo: cada becario desempeña un papel esencial en las operaciones cotidianas del museo y brinda una valiosa experiencia para futuros cursos de estudio y carreras académicas como administradores museísticos y artísticos y como artistas. durante los últimos veinte años hemos contado con la participación de internos de todas partes de los estados unidos, así como de austria, bélgica, inglaterra, alemania, holanda, israel, italia, Japón, méxico, nueva Zelandia, Portugal, brasil, escocia, suecia y australia. Como remuneración, el museo ofrece

Lo uis e ro uiLLe..

a los internos un modesto estipendio

J a imie Li.

since 1990, the Chinati foundation’s internship program has provided hands-on museum experience to more than 240 students, recent graduates, and young professionals from a variety of backgrounds and disciplines. during extended stays at Chinati, interns gain exposure to various aspects of the museum’s daily operations, working closely with staff, resident artists, visiting scholars, architects, and museum professionals. internships are offered in education and public programming, conservation, and development; each plays an essential role in the museum’s daily operations and provides valuable experience for future courses of study and careers as museum and arts administration and artists. over the last twenty years, participants in the program have included interns from all parts of the united states, as well as austria, belgium,

y un apartamento amueblado en las instalaciones las

del

prácticas

aunque

destinadas

principalmente a estudiantes de las carreras de arte, arquitectura, historia

art history, conservation, or museum studies, the museum welcomes applicants of all ages and backgrounds.

desde 1990, el Programa de becarios de la Fundación Chinati ha brindado una experiencia directa con el museo

del arte, conservación y museología, el museo invita a todo tipo de solicitantes, de diversas edades y especializaciones.

a más de 240 estudiantes, recién licenciados y jóvenes profesionales con diversas experiencias y disciplinas. durante estancias prolongadas en Chinati, los becarios tienen contacto directo con varios aspectos de las operaciones cotidianas del museo y trabajan en estre-

2015 – 2016 interns

patricia hanimann

becarios

Jaimie Li

zurich, switzerland Conservation malibu, Ca

cha colaboración con personal, artistas

Development

max taylor-milner ithaca, ny Education

adele powers austin, tx Education

Louise rouille tours, france Conservation

maxwell tolleson austin, tx

ade Le p owe rs.

pat riCia hanim an n.

museo.

estén

Development

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114

b o b Cat in a tree, C hinati f oundation.

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funding, membership Financiación, afiliación

the Chinati foundation is deeply grateful for all of the generous support provided over the last year. our donors and members are committed to supporting the museum’s diverse programs and initiatives including conservation and preservation, Chinati weekend, Community day, Chinati Presents, education and outreach, artists’ residencies, internships, and the museum’s general operations. the Chinati foundation appreciates the support from our members. an asterisk (*) indicates this donor is a Chinati member. member benefits include free museum admission throughout the year, special pricing on selected Chinati editions and prints, a discount on items purchased at the Chinati bookstore, a complimentary copy of the annual newsletter, advance notice of Chinati programs, and free or reduced admission to special events, symposia, and workshops. each year an internationally recognized artist creates a limited edition print exclusively for members who contribute $1,000 or more (see p. 108).

la Fundación Chinati está profundamente agradecida por todo el generoso apoyo brindado durante el último año. nuestros donantes y miembros se comprometen a apoyar los diversos programas e iniciativas del museo, incluyendo la conser vación y preser vación, el Fin de semana en Chinati, el día de la Comunidad, Chinati Presenta, la educación y la difusión, las estadías de artistas, las prácticas y las operaciones generales del museo. la Fundación Chinati agradece el apoyo de nuestros miembros. un asterisco (*) indica que este donante es miembro de Chinati. los beneficios de ser miembro incluyen la entrada gratuita al museo durante todo el año, precios especiales para ediciones y grabados selectos de Chinati, un descuento sobre los artículos comprados en la librería de Chinati, una copia gratuita del boletín informativo anual, la notificación por anticipado de los programas de Chinati y la admisión gratuita, o a precio reducido, a acontecimientos especiales, simposios y talleres. Cada año un artista reconocido a nivel internacional crea exclusivamente un grabado de edición limitada para los miembros que contribuyen con 1000$ o más (véase p. 108).

l i F e t i m e g i V i n g ( $1, 0 0 0 , 0 0 0 + )

anonymous the brown foundation arlene J. and John dayton* amy and Vernon faulconer Lannan foundation Leonard and Louise riggio, the riggio foundation 116

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p inhoL e ph oto grap hy wo rks hop with ft. d aVis is d, Cory Cas on’ s 6th grade art and te Ch noLo gy CLass.

Visitor information información para visitantes the museum is open wednesday through sunday. works by donald Judd and robert irwin are available for self-guided tours and are also included on all guided tours. the full permanent collection is accessible by guided tour only.

el museo está abierto de miércoles a

guided tours

V i s i ta s g u i a d a s

full Collection tour

Visita Completa de la Colección

wednesday – sunday

miércoles a domingo

10:00am and 10:30am

10:00am y 10:30am

(lunch break from 12:00 - 2:00 pm),

(descanso para almorzar de 12:00 - 2:00 Pm),

$25 adult, $10 student

25$ adulto, 10$ estudiante

selections tour: donald Judd, John Chamberlain, and dan flavin

Visita de selecciones: donald Judd,

wednesday – sunday

miércoles a domingo

11:00am and 11:30am

11:00am y 11:30am

$20 adult, $10 student

20$ adulto, 10$ estudiante

seLf-guided tours

V i s i ta s a u t o - g u i a d a s

donald Judd’s untitled 15 works in concrete

las 15 obras sin título de hormigón

wednesday – sunday

miércoles a domingo

9:00am – 4:30am

9:00am – 4:30pm

free admission

entrada libre

donald Judd’s untitled 100 works in mill aluminum

las 100 obras de aluminio con

wednesday – sunday

miércoles a domingo

12:00 – 3:00am

12:00 – 3:00pm

$10 adult, $5 student

10$ adulto, 5$ estudiante

robert irwin’s untitled (dawn to dusk)

la obra sin título (el amanecer al

domingo. las obras de donald Judd y robert irwin están disponibles en visitas auto-guiadas y también están incluidas en todas las visitas guiadas. la colección permanente completa sólo es accesible a través de visitas guiadas.

John Chamberlain y dan Flavin

de donald Judd

acabado de molino de donald Judd

wednesday – sunday

miércoles a domingo

3:00 – 5:00pm

$10 adult, $5 student

10$ adulto, 5$ estudiante

please reserve in advance to guarantee a place on a guided tour, either online at www.chinati.org or at 432.729.4362.

Por favor, haga su reserva con anticipación para garantizarse un puesto en la visita guiada a través de la página web www.chinati.org o bien llamando al 432.729.4362. las visitas a la colección son gratuitas s Cree n-p rint p ost Card s for CharLo tte p os ene nsk e wor ksho p.

tours of the collection are free to Chinati members, children and students under age 17, and residents of brewster, Jeff davis and presidio counties.

org.

atardecer) de robert irwin

para los miembros de Chinati, los niños y los estudiantes menores de 17 años, y para los residentes de los condados de brewster, Jeff davis y Presidio.

J u d d f o u n d at i o n tours of donald Judd’s residence, la mansana de Chinati, “the block,” and studios are offered through the Judd foundation. reservations can be made at juddfoundation.org.

FundaCión Judd se ofrecen visitas a la residencia de donald Judd, la manzana de Chinati, “el bloque,” y los estudios a través de la Fundación Judd. se pueden hacer las reservas en www.juddfoundation.

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