Maya Lin has maintained a careful balance between art and architecture throughout her career, creating a remarkable body of work that includes large-scale site-specific installations, intimate studio artworks, architectural works and memorials. She peers curiously at the landscape through a twenty-first century lens, merging rational and technological order with notions of beauty and Utilizing technological methods to study and visualize the natural world, Ms. Lin takes micro and macro views of the earth, aerial and satellite mapping devices and translates that information into sculptures, drawings and environmental installations. Her works address how we relate and respond to the environment, and presents new ways of looking at the world around us.

1. ART + ARCHITECTURE
SARTHAKKAURA
CUN120301081

2. Maya Lin has maintained a careful
balance between art and
architecture throughout her career,
creating a remarkable body of work
that includes large-scale site-specific
installations, intimate studio
artworks, architectural works and
memorials.
She peers curiously at the landscape
through a twenty-first century lens,
merging rational and technological
order with notions of beauty and
Utilizing technological methods to
study and visualize the natural
world, Ms. Lin takes micro and
macro views of the earth, aerial and
satellite mapping devices and
translates that information into
sculptures, drawings and
environmental installations. Her
works address how we relate and
respond to the environment, and
presents new ways of looking at the
world around us.

3. The sculpture is fabricated from thousands of construction grade 2 x 4's placed on end.
2 x 4 Landscape Wood,
36' x 53' x 10‘
From above they transform a landscape into a pixel-like view of a hill, incrementally
rising in height to form the hill. Its form, imaginary but consciously shaped, makes
ambiguous the boundary between land and water. It is both reminiscent of a
landform and a water wave. The duality of this shape is noticeable as you walk
around it, and is oriented in the space so that from two approaches it appears as a
simple hill and from the other sides it appears fluid and amorphous, a wave about
to crest.

4. Blue Lake Pass, Dura flake
particleboard,
TWENTY 3'x 3' blocks,
18'x 23‘ overall Maya Lin used
a terrain chosen from the
Rocky Mountain back range to
create a topographical
sectioned landscape made
from cut particleboard.
By creating a sculpture that
details that topology, applying
a 3' x 3' grid to that terrain,
and then pulling the terrain
apart so that one can walk
through the landscape she
wanted to shift one's
perspective about the land,
allowing a viewpoint that is
more geologic in character.

5. Ecliptic Frey Foundation, Grand Rapids, MI, 2001
The underlying idea of the design involves the uses of water in its three physical states: liquid,
solid and vapour. Inspired by the city's name, "Grand Rapids," the use of water is literally the
undercurrent to the Park.
Embedded into the concrete floor of the amphitheater are fiber optic points of light that map out
the exact location of the stars overhead on January 1, 2000, marking the Park's place in time and
the passage into the new millennium. These stars are visible year round and are magnified in the
winter months, as their light refracts under the ice. The artist imagined a still pond reflecting the
night sky.

6. Vietnam Veterans Memorial,
Washington, DC, 1982
Two black granite walls,
placed below grade, engraved
in chronological order with
the names of the men and
women who gave their lives in
the Vietnam War. At the apex
where the two walls meet, the
dates 1959 and 1973 (marking
the beginning and end of the
war) "meet" thus closing the
circle of the time span of the
war. A returning veteran can
find his or her own time upon
the wall, making each one's
experience of the memorial
very personal and individual.
The siting of the piece is
directly related to the
presence of both the Lincoln
Monument and Washington
Memorial, tying it physically
and historically to the site.

7. Langston Hughes Library, Clinton, TN, 1999
The design of the Langston Hughes Library maintains the integrity and character of the old barn
while introducing a new inner layer.
This integration of old and new allowed the artist to leave the main body of the building exposed
and untouched and build the library within the existing structure. The interior expresses the idea
of a separate inner skin slipping inside the old barn. It is only at the points where the two layers
meet that one becomes aware of the transition from old to new.

8. The Riggio-Lynch Chapel
Children's Defence Fund,
Clinton, TN, 2004
At the heart of the design is
the abstracted image of a
boat or ark that is constructed
out of wood and forms the
main body of the Chapel.
It is both a quiet reminder of
the motto of the Children's
Defence Fund, "Dear Lord be
good to me/ The Sea is so
wide/and my boat is so
small" and a contextual design
decision that allows for the
introduction of a modern
boat like form into a setting
that includes numerous
historical log cabins.

9. A memorial or monument is
known as a single stationary
object.
Imagine a memorial that
would exist not as a fixed
static monument, but as a
work that would allow us to
rethink the idea of a
memorial. Imagine a work
that could exist in several
mediums and in multiple
places simultaneously.
What is Missing?, Maya Lin's
last memorial, will focus
attention on species and
places that have gone extinct
or will most likely disappear
within our lifetime. The
project exists as a multi-sited
installations.