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Rochard serra11/2/2022 The horizontality of the sculpture would have contrasted with the taller buildings, but the sculpture's angles and wedged openings would have thrust the dense traffic flow in to its interior. At the base of Red Square the sculpture would have been in a more urban space. After University engineers deemed that the floodplain ground was too unstable for such a heavy work, Serra moved his concept south to the crest of the hill beyond the square. When Serra first proposed Wrights Triangle the idea of the work was based on the confluence of college pedestrian traffic at the base of Red Square. After all, Wright's Triangle (1979-80) is a free-standing prop piece. In taking on the cube, he slanted its walls so that any sense of ideal conditions turned to a world of contingency. Using the same geometric shapes as Judd and Maki, Serra had led the way in pointing out that these forms' meanings had nothing to do with an ideal philosophy. Maki would agree with Serra's statement that ''drawing can be an activity that filters reality into another form that allows one to rethink one's experiences." 20 In taking a drawing from a two-dimensional to a three-dimensional space, Maki tends to continue to emphasize the eye while Serra has also built into his response a gravitational theme. Concerned with the freedom to make spaces which are different in kind than that of architecture, Serra allows the viewer to walk around and through his work so to come to terms concerning ideas of confrontation, enclosure, and the union of physical action and intellectual thinking. Walk around the sculpture with Google Street ViewĮach of the triangular openings of Serra's sculpture echoes one of the three paths which meet at his site adjacent to the Western Gallery's plaza.
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