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In 1971 the artist Donald Judd left New York to create a permanent setting for his work at the Chinati Foundation in Marfa, Texas. His sculptural pieces - series of precise cubic forms such as '100 mill aluminium works' or '15 concrete works', arranged without composition - seem to be stripped of all cultural and metaphorical references, but their placing in the landscape has brought to them another dimension: that of the personal experience of the material object in natural space and light. The intense physical experience of Judd's work has brought about a particular critical vocabulary - scale, form, material, light, and topography - for both art and landscape. We felt that these experiences have been forgotten in most contemporary architecture.

'specific objects, specific sites' : Thomas Deckker lectured on the work of Donald Judd at the 'Rethinking the Architecture / Landscape Relationship' Conference at UEL in March 1996.