TY - GEN
T1 - Between System and Improvisation
T2 - 20th International Conference on Computer-Aided Architectural Design Futures, CAAD Futures 2023
AU - Hadighi, Mahyar
AU - Hadighi, Mehrdad
N1 - Publisher Copyright:
© 2023, The Author(s), under exclusive license to Springer Nature Switzerland AG.
PY - 2023
Y1 - 2023
N2 - In this paper, shape grammar is implemented as a computational design methodology to analyze the design language of Donald Judd’s “100 untitled works in mill aluminum”—permanently installed at the Chinati Foundation in Marfa, TX. Judd (1928–1994), an American artist, writer, and critic installed 100 aluminum objects—with the exact same outer dimensions (41″×51″×72″) but unique configuration, “all made from ½” mill aluminum plates—over a four-year period from 1982 through 1986 in two former artillery sheds of a de-commissioned US military base. The question we are seeking to answer is whether these 100 works belong to a system, and, if so, what that system is and what delimits the system to produce 100 objects and no more. Our hypothesis, having spent considerable time examining the works and exploring the archival materials, is that there is a system, but the system is tempered by improvisational moments at multiple junctures in the project. We are interested in deciphering the system, but also the moments of artistic improvisation by Judd. The project is significant in relation to serial art works of the 50’s and 60’s. We have been calling them “serial” assuming there is a serial order and a system in their repetition and variation, but this very issue has not been researched in the context of the present work.
AB - In this paper, shape grammar is implemented as a computational design methodology to analyze the design language of Donald Judd’s “100 untitled works in mill aluminum”—permanently installed at the Chinati Foundation in Marfa, TX. Judd (1928–1994), an American artist, writer, and critic installed 100 aluminum objects—with the exact same outer dimensions (41″×51″×72″) but unique configuration, “all made from ½” mill aluminum plates—over a four-year period from 1982 through 1986 in two former artillery sheds of a de-commissioned US military base. The question we are seeking to answer is whether these 100 works belong to a system, and, if so, what that system is and what delimits the system to produce 100 objects and no more. Our hypothesis, having spent considerable time examining the works and exploring the archival materials, is that there is a system, but the system is tempered by improvisational moments at multiple junctures in the project. We are interested in deciphering the system, but also the moments of artistic improvisation by Judd. The project is significant in relation to serial art works of the 50’s and 60’s. We have been calling them “serial” assuming there is a serial order and a system in their repetition and variation, but this very issue has not been researched in the context of the present work.
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U2 - 10.1007/978-3-031-37189-9_2
DO - 10.1007/978-3-031-37189-9_2
M3 - Conference contribution
AN - SCOPUS:85168991336
SN - 9783031371882
T3 - Communications in Computer and Information Science
SP - 21
EP - 35
BT - Computer-Aided Architectural Design. INTERCONNECTIONS
A2 - Turrin, Michela
A2 - Andriotis, Charalampos
A2 - Rafiee, Azarakhsh
PB - Springer Science and Business Media Deutschland GmbH
Y2 - 5 July 2023 through 7 July 2023
ER -