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MINIMALISM
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minimalism 2
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minimalism 3
What is Minimalism?
How did it come about?
How has it impacted art and architecture?
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Early Modernism
Erik Gunnar Asplund (1885-1940, Sweden)
Was originally known as a neoclassical architect but adoptedModernist design sensibilities during the period between world wars.
Frequently collaborated with Sigurd Lewerentz, and Alvar Aalto
considered him to be a major inuence.
minimalism 4
Minimalism
Donald Judd (1928-1994, America)
Studied philosophy and acquired a masters degree in Art History.
Sustained himself by writing art criticisms for magazines and
maintained working friendships with artists such as Dan Flavin and
John Chamberlain.
Contemporary Minimalism
Peter Zumthor (1943-, Switzerland)
Apprenticed as a carpenter, attended an Arts Academy in Switzerland
and completed his architectural training at the Pratt Institute.
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Erik Gunnar Asplund
Post World War I:
Disgusted with Nationalist viewsthat contributed to the initiation of
World War I, some architects began
rejecting the old cultural forms and
developed an internationalist world
view. Their designs embraced
modern technology, new materials
and a functionalist outlook on living.
In 1928, Asplund was sent on a tour
of Europe by the Swedish Exposition
Committee for inspiration for his
pavilion designs.
When he returned his designs
demonstrated his new interest inFunctionalism, Constructivism,
Industrialism and the reductive
aesthetic being developed in
greater Europe.
He recognized the efciency and
brilliance in the new materials for his
termporary and quickly-constructed
exhibition projects.
To a new architecture and a
new life - Gunnar Asplund
Swedish Exhibition SignageEl Lissitzky, Lenin Tribute, 1922
Le Corbusier, Towards a New Architecture
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Donald Judd
The 1960s:
During a time of social revolution,including the Civil Rights Movement,
Vietnam war protests and the
beginning of the Gay Rights
Movement, Donald Judd rejected
the usual way of composing non-
representational art by adding
his own kind of clarity to art
making. Judd had a difcult timeunderstanding and producing
abstract expressionism which gave
way to believing that art did not need
to be representational.
The art of the time was composed by
mixing, balancing, and harmonizing
the various parts in order to create
a whole greater then the sum of its
parts. Judds sculptures are simply
wholes - no more, no less. Each
piece has clearly dened parts, and
the parts are either separated or
attached to ll out these limits.
Donald Judd fought against artistic
conventions and constraints. He
actively questioned the nature of art,
the job of the artist and the methods
of galleries.
"The Essence of Abstract Expressionism "
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Peter Zumthor
Contemporary Society:
Technology has helped to createa world where people move too
quickly through space and are
disconnected from physical reality.
Peter Zumthor wants people to slow
down, and rejects the virtual world
as he designs for an architecture
that needs to be experienced inperson.
He comes from a hands-on
background of carpentry and
woodworking, refuses to have a
website showcasing his works, and
writes very little about his projects.
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DESIGN PRINCIPLES: MASS
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STOCKHOLM CITY LIBRARY
The library is a simple prismatic mass,
easily comprehended as a cylinder resting
on a square base
Design Principles: MASSErik Gunnar Asplund
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Design Principles: MASSDonald Judd
15 WORKS IN CONCRETE
The works are comprised of pure geometries
resting on the oor or cantilevered from
the wall. Vibrant primary colours and
manufactured materials clearly dene the
edges.
I was surprised when I made those rst two
freestanding pieces, to have something set
out into the middle of the room. It puzzled
me. On the one hand, I didnt quite know
what to make of it, and on the other, they
suddenly seemed to have an enormous
number of possibilities.
-Donald Judd
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Design Principles: MASSPeter Zumthor
VALS THERMAL BATHS
An interplay between stone and water; a
juxtaposition between solid and void. The
diagram to the right is the initial conception
of Boulders standing in water. The play
of interior masses on the oor plan direct-
ly translates into the nal Thermal Baths
building.
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DESIGN PRINCIPLES: LIGHT
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SKOGSKAPELLETDeliberate preservation and addition
of trees exaggerate the contrast
between the rough and dark texture
of the forest and the geometric purity
of the chapel and its brightly lit interior
Erik Gunnar Asplund Design Principles: LIGHT
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Design Principles: LIGHTErik Gunnar Asplund
SKOGSKAPELLET
A central skylight illuminates the
white painted interior of the chapel
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Design Principles: LIGHTPeter Zumthor
VALS THERMAL BATHS
The collection of interior spaces of the thermal bathsengage the user, through a variety of sensory ex-
periences. Light acts as a procession through the
collection of spaces. Movement is not directed or
controlled but the user is free to be draw to certain
light sources, with blue and red lights indicating the
temperature of pools in each chamber. A stip lighting
detail is used in the ceilings, to allow the natural lightto penetrate the spaces and act as a guide along
corridors and around corners.
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Design Principles: LIGHTDonald Judd
LIGHT
Towards the end of his career, Judd became
interested in materiality and light. His works
developed a sensitivity to natural light, explor-
ing changes in character and solidity at dif-
ferent times of the day. Coloured plexiglass,relective metals and smooth painted surfaces
allowed him to create complexity with simple
surfaces.
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DESIGN PRINCIPLES: STRUCTURE
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WOODLAND CEMETERY
A three dimensional grid system utilizes
abstract walls and columns to arrange
and compose the built forms.
Design Principles: STRUCTUREErik Gunnar Asplund
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Design Principles: STRUCTUREDonald Judd
CHAIR
The concept of structure coexists with
the overall shape of the object. Object
and structure become one and the
same, without an indication of struc-tural hierarchy. Judd attempts to blur
componential aspects into one prima-
ry object, emphasizing its wholeness
and simplicity.
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Design Principles: STRUCTUREPeter Zumthor
CHAPEL OF ST. BENEDICT
Wood from the surrounding environment
forms the primary structural building mate-
rial, and amplies its beauty through simple
and clean detailing. The interior structure of
the chapel becomes the dening element of
the space. He gently pulls away the structure
from the exterior wall, allowing it to elegantly
hold up the roof and draw diffuse light into thechapel.
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DESIGN PRINCIPLES: RITUAL
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Design Principles: STRUCTUREPeter Zumthor
VALS THERMAL BATHS
Zumthor creates a ritual of the bath. He
heightens a simple human activity into
a multi-faceted phenomenological ex-
perience. He engages the user through
light, touch, smell, and sound. He cre-
ates an internal spatial experience
through harmonizing the senses, to cre-
ate an unprecedented sensory engage-
ment.
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DESIGN PRINCIPLES: LANDSCAPE
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SKOGSKYRKOGARDEN
The extent of the Woodland Crematorium is de-
ned by a wall. The buildings appear to dissolve
into the forest behind like a ruined, ancient city
while the low wall provides a hard edge to the
rest of the open, manicured site
Design Principles: LANDSCAPEErik Gunnar Asplund
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Design Principles: LANDSCAPEDonald Judd
15 WORKS IN CONCRETE
The natural landscape is just another plane
for the art object to rest upon. The art cre-
ates an internal atmospsphere negating ex-
ternal relationships.
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Design Principles: LANDSCAPEPeter Zumthor
VALS THERMAL BATHS
Zumthor elegantly respects the surrounding
context by enhancing site characteristics. The
Thermal Baths masterfully sit into the hillside of
Vals, acting as a natural rock form in the land-
scape. The stone that makes up the oor and
walls surfaces of the baths is quarried from the
local hills. He frequently employs local materials,like the wood in the Chapel of St. Benedict.
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DESIGN PRINCIPLES: ORDER
D i P i i l ORDERD ld J dd
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ORDER
Judd insists on the independance of things - a
commitment fundamental to his art and life.
Modular objects at regular intervals reinforces
a lack of hierarchy, and the equal status of
each element.
Design Principles: ORDERDonald Judd
Design Principles: ORDERPeter Zumthor
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Design Principles: ORDERPeter Zumthor
VALS THERMAL
BATHS
An early diagram of the Ther-
mal Baths demonstrates thatrom inception the project is
crafted by how one moves
through a series of interior
spaces. The diagram dem-
onstrates the ideology of
how the user engages the
building. The experience ofspaces are key in the ampli-
cation of the sensory expe-
rience one has as they move
through the baths.
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Design Principles: CONTAINMENTErik Gunnar Asplund
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GOTHENBURG LAW COURTS
There is a sense of openness to the atri-
um extension as skylights ood the space
with natural light, curving wood walls
provide smooth edges and warmth, and
openings in the upper oor plates extend
space vertically. The atrium is intended to
ease the tension of visitors facing the lawby feeling un-enclosed and un-opressive.
Design Principles: CONTAINMENTErik Gunnar Asplund
Design Principles: CONTAINMENTErik Gunnar Asplund
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Design Principles: CONTAINMENTErik Gunnar Asplund
GOTHENBURG LAW COURTS
The exterior courtyard and the new atrium
appear to be one bright, continuous space
with the use of a full-height glass wall.
Design Principles: CONTAINMENTDonald Judd
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CONTAINMENT
Judd experimented with room-sized
installations where the experience be-
came the entire facilitation, not just
the art. Using contemporary material,
Judd uses expansion and contraction
of space around the enclosure to de-
ne atmpsphere. He then moved onto
works about openess and dened thespace.
minimalism 33
Design Principles: CONTAINMENTDonald Judd
Design Principles: CONTAINMENTPeter Zumthor
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g p
minimalism 34
KUNSTHAUS BREGENS GALLERY
Through detailing and natural lighting, the ceil-
ing plane dissolves and walls feel like the only
enclosure forming the room. The subtle material
palette forms a subtle backdrop to enhance the
power of the artwork.
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DESIGN PRINCIPLES: REPETITION
Design Principles: REPETITIONErik Gunnar Asplund
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GOTHENBURG LAW COURTS
The modern facade of the extension to the
law courts pays homage to the heritage
building with careful mimicry of horizontal
and vertical elements, and adds a playful
edge with the asymmetrical positioning ofthe windows
Design Principles: REPETITIONDonald Judd
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REPETITION
Repetition allows for multiple points of view of the
same object at once. Variations of form occuring
at regular intervals have no sense of hierarchy; all
parts are equally valued providing a sense of uni-ty. Together simple elements become complex.
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Design Principles: REPETITIONPeter Zumthor
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KUNSTHAUS BREGENS GALLERY
Simplicity is beauty. Here the repetition of a unit-
ized space frame facade system creates a image
of a unied whole. Zumthors aim is the engage-
ment within the building, through the repetition of a
mystifying facade system, a dialogue is created to
draw the user into the interior and main attraction -the art - rather than the architecture.
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DESIGN PRINCIPLES: VOLUME
Design Principles: VOLUMEErik Gunnar Asplund
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GOTHENBURG LAW COURTS
The interior stair with clock tower and
the exposed elevator shaft reinforce the
sense of the atrium space as an interiorpiazza, encircled by open balconies.
Design Principles: VOLUMEDonald Judd
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PRINCIPLES
VOLUME
Judd was fascinated with working with real
space - not the illusion of depth created by
paintings on a at canvas. He dened volumes
with the edges of forms (ex. in between re-
peated elements, space between disconected
objects, and negative spaces), and throughsubtraction. from pure geometries.
minimalism 41
Design Principles: VOLUMEPeter Zumthor
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KUNSTHAUS BREGENS GALLERY
Peter Zumthors architecture is ideology is the
creation of an architecture that enhances the
image of the surrounding fabric. His volumet-
ric forms, are traditionally geometric always
elegantly tting into the context. The volumetric
form, is the housing of the interior, and interior
that must ultimately enhance the functions ofa project. His volumetric manifestations are
resultants of the needs and uses of the interior
spaces.
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DESIGN PRINCIPLES: ESSENCE
Design Principles: ESSENCEErik Gunnar Asplund
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THE STOCKHOLM EXHIBITION, 1930
The Exhibition was a marvelous and strange construction inwhich the Russian-Constructivist idiom was commercialized and
capitalized on; the political turned into commercial advertising
-Marc Treib
Design Principles: ESSENCEDonald Judd
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ESSENCE
He believed that art did not need to represent
anything, not gure, gesture or movement -
that it could be understood simply as art - and
that materials, colour and volume could havepower in themselves.
Design Principles: ESSENCEPeter Zumthor
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KUNSTHAUS BREGENS GALLERYZumthor wants his buildings to allow the user to
experience themselves - through emotional re-
sponse and physical sensations - and connect
to a place. He believes that architecture does
not need an underlying meaning to be powerful.
Architecture is not a vehicle or a symbol forthings that do not belong to its essence. In a
society which celebrates the inessential, archi-
tecture can put up a resistance, counteract the
waste of forms and meanings, and speak its
own language.
-Peter Zumthor from Ruby, Sachs and Ur-
sprung, Minimal Architecture, 2003, p18.
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DESIGN PRINCIPLES: EXPRESSION
Design Principles: EXPRESSIONErik Gunnar Asplund
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SKOGSKYRKOGARDEN
Asplund employs many means to
reinforce the themes of aging, death
and birth at the Crematorium.The
railroad station clock is bent over asif exhausted.
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Design Principles: EXPRESSIONErik Gunnar Asplund
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SKOGSKYRKOGARDEN
The lamps in the forecourts of the
chapels are in the form of candle
snuffers and the entrances to the
cremation ovens in the shape of
caskets
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Design Principles: EXPRESSIONErik Gunnar Asplund
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The full forms of the great grass
covered knolls and tree-lined medi-
tation grove suggest the opposing
theme of birth through reference tothe fertile female form.
Design Principles: EXPRESSIONDonald Judd
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EXPRESSION
Judd did not grasp Abstract Expression-
ism - the prevalent art force in New York
during the 1950s. Instead, he outsourced
the manufacture of his pieces, denying the
need to demonstrate the artist and human
emotion in his work. He embraced ma-
chine-made materials so that the art could
speak for itself.
minimalism 51
Design Principles: EXPRESSIONPeter Zumthor
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minimalism 52minimalism 52
BRUDER KLASS CHAPEL
The expression of Peter Zumthors
work can be largely seen in his core prin-
ciple of engaging sensory experience. This
interior perspective, looking upward withinthe chapel, is a dening image. The user
is invoked by light penetrating an oculus,
and surrounded by walls cast out of forms
of burnt out trees. The mastery of Peter
Zumthors expression is summarized in this
image. The expression of the interior, is to
ultimately enhance the uses of the space
through engaging sensory experience.
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MINIMALISM
Minimalism
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Develops as a reaction and rebellion against disputed contextual ideologies and institutions, such as
nationalism, expressionism, excess and detachment from the physical world.
Works are stripped down to their most fundamental features, but nd complexity in the study of light,
materiality, structure and volume.
Power and meaning is to be found in the work itself. Historical and expressive content is reduced to a
minimum, if not non-existent.
Detailing is careful and essential to achieving the reductionist aesthetic.
Geometric forms, equality of parts, repetition of elements, neutral suraces and industrial materials are
common characteristics of minimalist works.
Resources
Batchelor, David. Minimalism, Cambridge University Press,1997.
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B. Jones, Peter. Modern Architecture Through Case Studies. Architectural Press. Oxford. 2002. p. 161-176
Cantz, Hatje, Donald Judd: Architecture, MAK Applied Arts, Germany, 2003.
Donald Judd, The Vancouver Art Gallery, Vancouver, 1978.
Donald Judd, Waddington Galleries, London, 1986.
Paavilainen, Simo. Hundred Years from the birth of Asplund. Arkkitehti, 1986. No.4. p. 52-59
Plummer, Henry. The Architecture of Natural Light, The Monacelli Press, China, 2009.
Ruby, Sachs and Ursprung, Minimal Architecture, Prestel, Munich, 2003.
Treib, Marc. A Reconciliation with History: Gunnar Asplund and an Architecture of the past. Architecture and Ur-
banism, April 1991. p. 38-65
Wrede, Stuart. The Architecture of Erik Gunnar Asplund. MIT Press. 1980
www.installationart.net
www.juddfoundation.org
www.moma.org
Images:
Corbusier image:
www.worldarchitecturenews.com
Thermal Baths:
Plummer, Henry. The Architecture of Natural Light, The Monacelli Press, China, 2009.
Blue wall curved art:
www.artreview.com
Judd Copper Box:
Batchelor, David. Minimalism, Cambridge University Press,1997.
minimalism 55
Resources continued...
15 Works in Concrete:
Ruby Sachs and Ursprung Minimal Architecture Prestel Munich 2003
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Ruby, Sachs and Ursprung, Minimal Architecture, Prestel, Munich, 2003.
www.chinati.org
www.unc.edu
Steel boxes in Mafta, Texas gallery space:
Cantz, Hatje, Donald Judd: Architecture, MAK Applied Arts, Germany, 2003.
Ville Snellman Elevations:
http://diffusive.wordpress.com/2009/09/22/gunnar-asplund-villa-snellman-1917-18/
Gothenburg Law Courts Interior Piazza
http://upload.wikimedia.org/wikipedia/commons/4/4d/Asplund_R%C3%A5dhusannexet_G%C3%B6teborg_06_(pho
to_by_Seier_on_ickr).jpg http://www.ickr.com/photos/pg/2362888941/
http://upload.wikimedia.org/wikipedia/commons/e/e2/Asplund_R%C3%A5dhusannexet_G%C3%B6teborg_04_(phot
o_by_Seier_on_ickr).jpg
Skogskapellet Interior
http://www.skogskyrkogarden.se/en/media/
Skogskapellet Exterior
http://www.ickr.com/photos/pg/2814171363/
Skogskapellet Sections and Elevations
Treib, Marc. A Reconciliation with History: Gunnar Asplund and an Architecture of the past. Architecture and Urban
ism, April 1991. p. 38-65
Stockholm City Library Exterior
http://cavin2009.com/japan/sweden/stockholm
http://www.panoramio.com/photo/33316
Gothenburg Law Courts Exterior http://www.ickr.com/photos/pg/2362865621/
Woodland Cemetary
Wrede, Stuart. The Architecture of Erik Gunnar Asplund. MIT Press. 1980
Stockholm Exhibition
http://www.arkitekturmuseet.se/ung/utstallning/modernismen/english/default.html
http://www.aggregat456.com/2010/06/impure-opticality-or-when-urban-screens.html