{"id":14075,"date":"2025-09-04T05:34:04","date_gmt":"2025-09-03T22:34:04","guid":{"rendered":"https:\/\/cstc.vn\/blogtsk\/interview-donald-judds-architecture-office-in-marfa-texas-set-to-reopen-this-month\/"},"modified":"2025-09-04T05:34:04","modified_gmt":"2025-09-03T22:34:04","slug":"interview-donald-judds-architecture-office-in-marfa-texas-set-to-reopen-this-month","status":"publish","type":"post","link":"https:\/\/cstc.vn\/blogtsk\/interview-donald-judds-architecture-office-in-marfa-texas-set-to-reopen-this-month\/","title":{"rendered":"interview: donald judd\u2019s architecture office in marfa, texas set to reopen this month"},"content":{"rendered":"

explore the architecture office of a minimalist icon<\/h2>\n

\u00a0<\/p>\n

A landmark opening is set to take place in Marfa, the small Texas town whose transformation into an \u2018artist destination\u2019 was famously led by the legendary Donald Judd. Among most important American<\/strong><\/a> artists of the minimalist movement, his practice extended far beyond sculpture and furniture into the field of architecture.<\/p>\n

\u00a0<\/p>\n

Judd had moved from New York City in the 1970s to this remote small town which dots the endless high desert. During those days he was busy establishing large-scale art spaces and undertaking ambitious historic preservation projects. His many endeavors included an office<\/strong><\/a> in the heart of town which ultimately became his working studio dedicated to architecture.<\/p>\n

\u00a0<\/p>\n

The office occupies a two-story brick<\/strong><\/a> structure which was first built in the early twentieth century. Its recent restoration<\/strong><\/a> led by Schaum Architects follows a seven-year effort that began in 2018 and paused after a fire<\/strong><\/a> in 2021. Throughout it all, the design team\u2019s approach is driven by Judd\u2019s own principles \u2014 attention to proportion, respect for original materials, and thoughtful adaptation to context. The renovation of Donald Judd\u2019s architecture office in Marfa has reached completion and will reopen on September 20th, 2025.<\/strong><\/p>\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman<\/a> \u00a9 Judd Foundation<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

a restoration driven by donald judd\u2019s design principles<\/h2>\n

\u00a0<\/p>\n

The reopening of the Marfa office is led by Texas-based studio<\/strong><\/a> Schaum Architects along with the Judd Foundation<\/a><\/strong>, which sees to the preservation and revival of Donald Judd\u2019s architectural works. Through this restoration project, passive cooling strategies, a rooftop solar array, and sustainable insulation methods are integrated into the original structure. Its historic spirit, meanwhile, is maintained and celebrated.<\/p>\n

\u00a0<\/p>\n

Interiors become gallery spaces, archives to display Judd\u2019s plywood and metal furniture, physical models, and archival material. Visitors are invited to explore these rooms to experience the depth of Judd\u2019s architectural practice in the spaces where it came to life.<\/p>\n

\u00a0<\/p>\n

Ahead of the office\u2019s September 20th reopening, designboom spoke<\/a> with Rainer Judd, President of the Judd Foundation and Donald Judd\u2019s daughter, about the project\u2019s place within his architectural legacy and its role in the ongoing story of Marfa.<\/strong><\/p>\n

Donald Judd in Marfa, Texas, 1993 | image \u00a9 Laura Wilson<\/a>, courtesy Judd Foundation<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

dialogue with rainer judd<\/h2>\n

\u00a0<\/p>\n

designboom (DB): Can you describe the spirit of Marfa through your eyes, and through the eyes of Donald Judd? How has it has evolved since his first presence there?<\/strong><\/p>\n

\u00a0<\/p>\n

Rainer Judd (RJ):<\/strong> Marfa has a small-town history that is the core of its spirit \u2014 generations of individuals and families have helped shaped this before Don. From its days as a military outpost to its period as a cattle town, through the de facto segregation period against Mexican American residents, through its economic up and downs, it tells the story of change in the southwest, demographically and economically. Before it was settled as a town, this region has been inhabited for thousands of years.<\/p>\n

\u00a0<\/p>\n

For Don, Marfa was a place to install his work, a place to be in and care for the land, and to think. Inadvertently, it was an opportunity to do something locally that did not go against the nature of the place. He was against Marfa becoming a cattle town museum, and an art town as well, he was against the idea of an artist colony.<\/p>\n

\u00a0<\/p>\n

Today Marfa is considered an \u2018art destination,\u2019 and it was not when Don was living there. It is our responsibility to show up to the challenges we\u2019ve helped create. I think for the work of the Foundation it is important to consider Marfa in an everyday context, of a small town, with us being one of the many individuals contributing to the next chapter of the place\u2019s history.<\/p>\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

DB: While he is known first as an artist and designer, he famously had many built and unbuilt works of architecture. How did these di\ufb00erent creative disciplines intersect for him?<\/strong><\/p>\n

\u00a0<\/p>\n

RJ:<\/strong> Art and design were individual parts of a whole, but you can see how they work with architecture, they all deal with space. In his writing on all of these \u2014 art, architecture, design \u2014 he states that the need to preserve and install his work in spaces that he considered appropriate and the invention of his work, were two primary concerns that \u2018joined and both tend toward architecture.\u2019 Concerned with the space surrounding his art, this led to repurposing buildings and envisioning future ones for different purposes.<\/p>\n

\u00a0<\/p>\n

That being a given, he understood that art did not have to concern itself with function the way architecture and design do. He emphasized that architecture was not art, but that did not mean that it could not be artistic or cultural the way that many objects and structures clearly are.<\/p>\n

\u00a0<\/p>\n

His concerns with scale, materials, form, and quality were the points at which these disciplines intersected. And also dignity, which he refers to often in writing and in interviews about architecture and art. The dignity of spaces, for living and for working, he believed good buildings had that quality. And of course, the inherent dignity of art, which led to his concern with its preservation and proper installation.<\/p>\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

DB: How do this building and its restoration illustrate his architectural and artistic vision?<\/strong><\/p>\n

\u00a0<\/p>\n

RJ:<\/strong> Considering the historic and spatial context of buildings, understanding their original structure and function was important to Don. When he bought the Architecture O\ufb03ce, one of the first things he did was sandblast the facade, he wanted to return the building to its original condition. This action takes into consideration the town, the style, and the time in which it was built. He respected original thought, labor, and materials. He was interested in not wasting this. He understood that the building could serve other purposes and even have his \u2018unusual furniture\u2019 inside but structurally it should be returned to the context, or as he would say the \u2018situation.\u2019<\/p>\n

\u00a0<\/p>\n

This aspect of understanding historically, spatially, and culturally where one is and what can be done with the available materials and resources, can be seen in both his art and architecture practices. And it was also what guided the Foundation\u2019s work in this restoration project. The building needed to be up to date to protect the installed collection and the integrity of its structure, to adapt to the desert climate and be energy e\ufb03cient, but whatever had to be done had to consider the existing situation and how it fit into the broader history and community in Marfa.<\/p>\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

DB: What discoveries were made during the team\u2019s environmental condition studies, and what were some challenges in bringing the building back to life? (Especially with the harsh Marfa climate?)<\/strong><\/p>\n

\u00a0<\/p>\n

RJ:<\/strong> The building has beautiful details that were able to be maintained and preserved or rebuilt after the fire \u2014 from the archway on the second floor, to the press tinned ceiling, to its double hung windows, to the framing of the building. Following the fire, we had the opportunity to have new conversations to the possibilities within the structure.<\/p>\n

\u00a0<\/p>\n

The building itself, built circa 1915, was structured with a lattice of wood beams across the attic ceiling so it all had to be rebuilt. This provided our talented project team with a time period to consider how to do it better, more e\ufb03ciently, with the time of one hundred years to reflect upon. We installed a system which I am excited about, which reflects the \u2018technologies\u2019 humans have used for thousands of years in desert climates in which the cool night air flushes the building.<\/p>\n

\t<\/p>\n

\n
\n
\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n

\t\t<\/p>\n

\u00a0<\/p>\n

DB: Judd\u2019s furniture and design pieces, especially physical architectural models, are a huge part of the restoration. How do these elements help us better understand his legacy?<\/strong><\/p>\n

\u00a0<\/p>\n

RJ:<\/strong> Don\u2019s art and furniture are widely known, there is a great deal of scholarship about his art, and to some extent his furniture and writing. His architecture is perhaps lesser known and the scale of it not wholly understood. Building big and new at large scales was the norm in 1980s, and it is not that Don did not have big projects, but he understood that resources are finite and that destroying existing architecture in favor of the \u2018new\u2019 was against reason, for him even to an ethical degree.<\/p>\n

\u00a0<\/p>\n

The architectural models and plans in the space illustrate not only his range within his practice of projects he was working on but also serve as examples of one person\u2019s understanding of architecture, of form and function, and of space and time.<\/p>\n

second floor, Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation, John Chamberlain Art \u00a9 Fairweather & Fairweather LTD \/ Artists Rights Society (ARS), New York<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

DB: With the Architecture O\ufb03ce now restored, how does it fit into the bigger picture for the Judd Foundation\u2019s long-term vision for preserving Donald\u2019s legacy in Marfa?<\/strong><\/p>\n

\u00a0<\/p>\n

RJ:<\/strong> The Architecture O\ufb03ce marks the completion of the first total building restoration project in Marfa (following the completion of the historic restoration of Spring Street in New York). In the scale of artists foundations both in the United States and abroad, we are a small team with a large mission that involves maintaining Judd\u2019s physical spaces and art, public engagement, research, publications, exhibitions, land conservation, and gardens. The restoration was therefore monumental for us in terms of how the community, both in Marfa and beyond, came together along with the restoration project team of engineers, specialists, and craftspeople, to preserve his spaces.<\/p>\n

\u00a0<\/p>\n

Looking at the bigger picture, this is a small triumph, full of lessons in resilience and collaboration, that will guide the rest of our restoration projects.<\/p>\n

\t<\/p>\n

\n
\n
\n

Architecture Office, Judd Foundation, Marfa, Texas | image by Matthew Millman \u00a9 Judd Foundation<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n

\t\t<\/p>\n

\u00a0<\/p>\n

project info:<\/strong><\/p>\n

\u00a0<\/p>\n

name:\u00a0<\/strong>Donald Judd Architecture Office<\/p>\n

project architects:\u00a0<\/strong>Schaum Architects<\/a> | @schaumarchitects<\/a><\/p>\n

commissioner:\u00a0<\/strong>Judd Foundation<\/a> | @juddfoundation<\/a><\/p>\n

location:\u00a0<\/strong>Marfa, Texas<\/p>\n

previous coverage:\u00a0<\/strong>July 2024<\/a><\/p>\n

completion:\u00a0<\/strong>September 20th, 2025<\/p>\n

photography: <\/strong>\u00a9 Laura Wilson<\/a>, \u00a9 Matthew Millman<\/a> | @matthewmillmanphoto<\/a><\/p>\n

\u00a0<\/p>\n

design team (Schaum Architects):<\/strong> Troy Schaum, Rosalyne Shieh, Andrea Brennan, Ian Searcy, Tucker Douglas, Ane Gonzalez Lara, Tsvetelina Zdraveva, Ryan Botts, Anneli Rice, Zhiyi Chen, Ekin Erar (formerly SCHAUM\/SHIEH)<\/p>\n

historic masonry consulting:<\/strong> Alpha Masonry (Sotirios Kotoulas, Kostas Kotoulas, Antonio Guerreiro)MEP engineering:<\/strong> GK Engineers (Davia Gernand)historic building consulting:<\/strong> Higgins Quasebarth & Partners (Cas Stachelberg, Jonathan Taylor)<\/p>\n

historic carpentry:<\/strong> High Desert Woodworks (Jon Antonides)<\/p>\n

environmental, preservation, and conservation consulting:<\/strong> Image Permanence Institute (Kelly Krish, Christopher Cameron)<\/p>\n

MEP engineering:<\/strong> KCI Technologies (Nicholas Badke)<\/p>\n

general contractors: <\/strong>Method Building Company (Faith Melgaard, Kyle Melgaard, Jimmy Magliozzi), RC Concepts (Juan Martinez, Jose Martinez)<\/p>\n

engineering:<\/strong> Simpson Gumpertz & Heger (Nathaniel Smith),\u00a0TYLin Engineering (Pat Arnett, Jennifer Chan)
\nenergy engineering:<\/strong> Transsolar KlimaEngineering (Erik Olsen)<\/p>\n

The post interview: donald judd\u2019s architecture office in marfa, texas set to reopen this month<\/a> appeared first on designboom | architecture & design magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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