| Title |
A Study on Objectivity and Expandability of Minimalism in Art, Architecture, and Landscape Architecture |
| DOI |
https://doi.org/10.5659/JAIK.2022.38.8.125 |
| Keywords |
Minimalism; Formal or Anti-formal Position on Objectivity; Expandability across Genres; Site Contexts |
| Abstract |
In his re-evaluation of minimal art, Hal Foster contended that minimalism is both a contraction of sculpture to a modernist's pure object and
an expansion of sculpture beyond recognition. This study discusses objectivity as an object and expandability beyond the object, which is the
basis for both minimal architecture and landscape architecture. Objectivity appears differently depending on the position and form. In the
mid-1960s, minimal, anti-form-based art pursued a blank form; Donald Judd and Robert Morris conceptually redefined the condition of their
work to overcome the controversy over its form. Minimal architecture also started from an anti-formal standpoint, positioning itself against
the deconstructivism and postmodern architecture of the 1980s and 1990s. They focused on the perceptual effects of the architectural surface
and viewed minimalism as a tool that made these effects possible. As a result, the architectural surface became an ornament, and the focus
shifted from objective form to image form. In contrast, minimal landscape architecture understood minimal art as a pure form. In the 1980s
and 1990s, they focused on the visibility and formal strength of minimal art. Minimal architecture and landscape architecture more actively
applied expandability. Foster pointed out that minimalism sculpture was repositioned among objects and redefined in terms of place. These
characteristics were deepened in minimal architecture and landscape architecture where complex contexts such as the changing processes of
nature, topography, social contexts, and physical activity are considered. Minimalism seems to embrace the anti-form and form duality because
it encompasses both the perception of an indifferent form and the visibility that comes from formal conciseness. Objectivity and expandability
are fundamental properties of minimalism across genres. |