Wikipedia talk:United States Education Program/Courses/Architectural Design V(Jim Sullivan, Meredith Sattler)
Welcome to our course talk page![edit]
This is a place where you can ask questions, talk about problems, and discuss the Wikipedia assignment with classmates and other Wikipedians. Jim and I are excited to see your Site Determination Statement drafts and accompanying images! Remember to sign all of your posts on this page with four tildes ~~~~ MeredithSattler (talk) 17:51, 10 September 2011 (UTC)
Site Determination Statement Drafts[edit]
Upon approaching the site, it seems like nothing more than a dry, desolate stretch of land. It makes you wonder, “Why would they choose a place like this for the Chinati foundation?” Then you look around, the mountains, the horizon, there’s a lot more than meets the eye. You realize how beautiful it really is and how much this vast expanse of land dwarfs the order-centered Chinati. Afetze2 (talk) 13:54, 12 September 2011 (UTC)
The Chianti Foundation is a pilgrimage site for Judd fans with carefully conserved art and building interiors, but neglected exteriors and landscape. It is located in a mostly empty part of Texas that features a harsh, dry, and wild climate that is beautiful, but often ignored.
Kckehoe91 (talk) 00:34, 11 September 2011 (UTC)
Marfa was transformed by Judd’s vision to create a relationship between art, architecture, and landscape; Chinati’s existing order was preserved and juxtaposed with Judd’s work in a vast expanse of desert. Judd believed that art existed on its own terms- not legitimized by people, but his endeavor drew the attention of many artistic disciplines. Although not intentional, the connection that Judd pursued between art and architecture was achieved by the relationship created with people who come to visit Judd’s work and become inspired. Lindsay Boley (talk) 00:24, 11 September 2011 (UTC)
Walking along the curvilinear axis through galleries, the primary view downhill is broken by barriers. Climatically at our site, all obstructions are removed allowing for an expansive view of the landscape. The momentum caused by the procession along the arc creates a tension that pulls one downhill into the landscape. AnnetteCouvillon (talk) 18:17, 11 September 2011 (UTC)
A long and expansive site where the contrast between sky and land make for a clearly defined horizon line. The military barracks follow a slope on the site which in turn, anchors them to the landscape and does not disrupt the horizon line. Icwa (talk) 21:59, 11 September 2011 (UTC)
The site at Chinati is one piece in a pattern of contrasting expansive and compressive spaces as well as the space created when these two conditions meet. This unique and specific pattern drives feeling and movement throughout Chinati and creates a transition and balance between two drastically different phenomena: neither of which would be as impressive without the other. (Awebre6 (talk) 01:15, 12 September 2011 (UTC))
At first, the climatic and seemingly monotonous conditions of the site means to accelerate one’s time there. But there is a magnetic experience from the concrete structures downhill that is captivating, which seems to distill one’s experience at the site and make time linger; harmony between art and landscape ensues. Cnguy38 (talk) 02:45, 12 September 2011 (UTC)
From a far, Chinati seems to be an untouched piece of Marfa’s history. Its historic buildings rest on a gentle open landscape. Up close, Chinati’s softness gives way to a harsh environment flooded with sunlight. The rustic barracks house minimalist artwork. (CShann16 (talk) 03:00, 12 September 2011 (UTC))
Donald Judd's concrete blocks were placed in the desert's rough terrain to exist in conflict with its physical environment. The explored site faces a similar opportunity by existing in immediate conflict with its surroundings. By celebrating conflict, as Judd has done with concrete blocks, two opposing elements can be unified into a balanced and exciting composition. Jgc3 (talk) 03:10, 12 September 2011 (UTC)
The horizon spans past my peripherals as an infinite space. The tones of the sky, ground, and structures blend well even though they are easily seen as different colors. The sun dictates the scene with its presence, weighing its power over everything.Ple6107 (talk) 03:34, 12 September 2011 (UTC)
The site reveals its contrast between void and occupied space due to the massive landscape compare to the buildings. Although Chinati foundation forms its own axial unity and is surrounded by endless picturesque views, the hot and dry climate proves that shading is needed. LingChen09 (talk) 04:30, 12 September 2011 (UTC)LingChen09
Our site at The Chinati Foundation encompasses multiple contrasting experiences and as you walk around the site one can encounter each of these conditions. Expansive views allow you to become part of the landscape at the Southeast end, the condensing feeling created by the buildings along the sidewalk to the galleries form a channel through the site, and the view overlooking the downward slope from the West allows the a sense of empowerment over the sloping landscape below. RobinLDay (talk) 04:34, 12 September 2011 (UTC)
— Preceding unsigned comment added by RobinLDay (talk • contribs) 04:41, 12 September 2011 (UTC)
The site has qualitative components that can create both uncomfortable and comfortable experiences. The open fields can appear boring while the harsh sun and winds can create such an unattractive experience. On the other hand, the openness can be appreciated and inspiring, while the same components may create a more enjoyable experience. Jjoh242 —Preceding undated comment added 04:46, 12 September 2011 (UTC).
The expansive land of the Chianti Foundation is where our site is located. Surrounded by multiple art exhibits and a vast landscape of dry nature, the site’s rough texture reveals details of the land in Western Texas. The combination of art and nature is a major component to fully experience Chinati. Sconst (talk) 05:01, 12 September 2011 (UTC)
The Chinati Foundation is a complex enigma in a barren terrain that offers layers of experience in both the immediate and surrounding landscape. When on the site, one can experience a multiplicity of conditions: intense solar radiation, dry soil, lack of shade, a gradual slope, and a strong presence of the East-West axis. However, when one looks out from the immediate site context, one can feel a force pulling towards the mountains of the East and the possibilities that lay in the distance. — Preceding unsigned comment added by Emanue3 (talk • contribs) 06:48, 12 September 2011 (UTC)
The site is located in a key position among the carefully arranged campus of buildings at the Chinati Foundation. The site is also interestingly juxtaposed horizontally between the vast openness and immensity of the surrounding landscape, sky, and mountains, and the strict order of spaces of the Foundation.Bboud45 (talk) 15:26, 12 September 2011 (UTC)
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The Chinati foundation is made up of contrasting experiences; both visual and spatially, that together crate a rich and harmonious experience. Juxtaposition between the minimalist artwork on the site and the natural, environment along with the feeling of compression (between densely packed buildings) that opens up to a vast landscape are just a few of the things one would encounter when visiting this site. — Preceding unsigned comment added by Apalme7 (talk • contribs) 15:39, 12 September 2011 (UTC)
The site illustrates an arrangement of characteristics as it gently slopes into a vast expanse of open desert. The texture of the dry ground is accompanied by the harsh sun and dominant winds. The surrounding WWII barack buildings give the site a past but the artwork within the buildings give the site a new minimalistic approach. Jfeinb1 (talk) 15:59, 12 September 2011 (UTC)
The site is positioned in a place that is entirely predefined by its surroundings. The Site's neighboring buildings were once used as a military base, and have been adapted to be used as permanent art exhibit spaces and each have a story of their own that has been manipulated and rewritten by Donald Judd, Marfa, and the Chihuahuan Desert. (Fapharis (talk) 16:29, 12 September 2011 (UTC))
— Preceding unsigned comment added by Mattieharris (talk • contribs) 16:59, 12 September 2011 (UTC)
The site exists as a disturbance to two already existing and overlapping systems. This disturbance exists as two intersecting axes: one, to the north and south, of the existing buildings and patterns of the Chinati Foundation and Donald Judd, and the other, to the east and west, of the view and experience of the vast, west Texas landscape. (Mattieharris (talk) 16:45, 12 September 2011 (UTC))
In the site, the most attractive view is towards the east, where 15 of Judd’s concrete works are placed on the open landscape, aligned with the horizon and the mountains in the distance. The orientation of the pieces and their relationship with the sun provide one of the Foundation’s most important event; Sunrise at Chinati, where visitors experience how the pieces interact with the changing sunlight while enjoying the peaceful environment. (Crodr25 (talk) 16:50, 12 September 2011 (UTC))
The radial effect of the sun upon the harsh, barren desert, resembles an orange, angry monster that is bearing down on the land, stretching over an infinite axis. The site sits against a backdrop of a chromatic landscape which is further illuminated by the intense luminescence of the sun. The shadows emphasise a dramatic spatial juxtaposition of voids and occupation.Rrchen (talk) 16:57, 12 September 2011 (UTC)
Sitting amidst the vast openness, Judd's structures frame the hierarchical layers of the west Texas landscape. The sun, sky, rolling hills, wildlife, flora, and even the coarse earth itself create the components of the sweeping views, while the natural light of the intense Texas sun creates harsh contrasts between the rough, dry outdoors and the smooth, bare indoors of the Chinati buildings. The buildings become the lense in which you see the environment.
The site upon which our building will be situated is a small barren glimpse of the wild nature that once existed before being transmogrified by the progression of inhabitants that situated themselves upon the tract of land now known as the Chinati Foundation. What was once wild, primordial was redefined to accommodate troops and now accommodates art works. The site, unchanged, presents itself as an inhospitable plane still open for a redefinition.(Kdaroc2 (talk) 18:16, 12 September 2011 (UTC))
Donald Judd, in many of his works, juxtapoes absolute abstract forms within the context of contingency and vice versa. The resulting guesture is a dialogue between the two abstract ideas which insight a revelation regarding the nature of dynamic and uniform objects and their position in the universe. The stereotomic may represent the contingency of Earth and its encroaching nature. The tectonic may represent the intervention of abolution that human beings codone and perform. The proximal relationship of these abstract and sentient ideas can bring to light the reasoning why Judd's atwork was not as successful in New York but essentially victorious in rural West Texas. (Dhamne1 (talk) 21:00, 19 September 2011 (UTC))
Far away from the standard venues of the art world, there is an intricate relationship to art and its environment. Amongst the barren, unscathed landscape it emerges as an untouched oasis of sacred creativity. The visual integration of nature brings this desert into harmonious balance with sculptural forms. Rjohn61 (talk) 00:40, 20 September 2011 (UTC)