Customer Reviews

Boundaries

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Maya Lin's "Boundaries" is much like her three-dimensional creations - austere, at once both subtle and direct, outwardly detached, and ultimately effective in evoking a deep emotional response from within the beholder rather than imposing an exterior sentiment. Lin, of course, first came to prominence two decades ago when, as an undergraduate architecture student, she won the prestigious design competition for the Vietnam Veterans Memorial on the Mall in Washington, D.C. Her concept, popularly known as "The Wall," was fiercely criticized at that time for its radical departure from traditional memorial designs, yet from its unveiling in 1982 the Vietnam Veterans Memorial has been accorded widespread recognition for its profound aptness and - there is no better word - genius. Although Lin's work since that remarkable debut has been on a smaller physical scale, it continues to follow a line of imaginative external simplicity in use of shape and space, covertly deceptive in masking emotional complexity beneath. The title of the book is meant to express Lin's view that she and her creations inhabit the boundary between distinctly different qualities - architecture-art, natural-urban, inside-outside, Asian-American - simultaneously being neither and both.

"Boundaries" is not an autobiography. Maya Lin speaks through her architecture and her sculptures, and this book unwaveringly focuses upon that work and the creative process behind it. While the photographs in the volume are effective in presenting a broad impression of design and form, the real pictures are those drawn by Lin's words. For a visual artist, she has a rare appreciation of verbal power and substance. In fact, Maya Lin regards words as a vital basis for her designs, the reflection of her own background: her father was a ceramist and her mother a poet. As a physical object, the book itself has purposely been given a unique character to fittingly express Lin's artistic vision, occupying the boundary between "art book" and "reading book". The text literally begins on the inside front cover and spans the entirety of the volume, ending only on the inside back cover. Even the jacket has been incorporated as a harmonious, integral component of the whole. Like Lin's creations erected in public spaces and those fashioned in her studio, "Boundaries" is an exquisite embodiment of a meeting between restraint and stimulation.

Maya Lin's book 'Boundaries' is a well conceived and beautifully executed book on the artistic process. The detail in which she describes her thoughts and ideas crystalizing into artwork is very readable. None of the chapters are filled with hollow artistic philosophy as I often find in books on contemporary art and atistic processes. The overall design of the book is also quite stunning. Many photos from Lin's work and studio are included. She even goes as far as describing why the book has been created at a particular size. In my opinion, this is one of the best books I've ever read on artistic creation and process.

There are two ways to read this book, as Lin points out in the preface. First is just as a coffee table picture book. In that role, "Boundaries" gives a photographic tour of many varied monuments and installations. Lin is best known for the Vietnam Veteran's memorial. At the time, it was an unprecendented look and a deep controversy. Since then, I think it has become what Lin had hoped: one of the most personally involving war memorials ever. Lin has moved on since then, and this book shows many of her more recent works.

Although her family heritage is Chinese, Lin identifies herself as American. That gives her the freedom to use concepts from many Asian traditions. Many of her later works show a sense that I see as Zen-like. They are centered on stone, water, earth, and light. Like that first memorial, they invite the viewer to touch and become involved in the work. "Waves", for example, is a large-scale earthwork to be explored, offering surprising privacy in an open, sunlit lawn.

The second reading of this book comes from its text. It explains Lin's approach to her work. I was quite surprised to fined out how important collaboration is for her. Most of her installations are undertaken with archtitects, writers, or preparators of various kinds, quite opposite the 'lonely artist' stereotype. I was also surprised to learn that her first conception of most pieces is narrative, not pictorial. To me, translating word into image and structure is a complete mystery. My own thoughts work in the other direction. That difference intrigues me.

The book itself is a pleasant artifact. It's well printed, well organized, and displays some thoughtful, unusual typography. It's a vehicle well suited to the material it carries.

"Boundaries" was printed in 2000. That means that the catalog of Lin's work has developed since then. More of her work surely exists that was locked out by the publication date. I look forward to the next book documenting her work, and I look forward to her future development as an artist.

This book is a fascinating look into the mind of Maya Lin. It describes her intimate thoughts regarding the design of her most important works, how she develops the designs, and what they mean to her. It is written in a very accessible style and is a joy to read.

Maya Lin's "Boundaries" is both creative and stimulating.

This book is not an autobiography and it is not an art book, but rather an extension of Lin's work. Many know Lin for creating the Vietnam Veterans Memorial and like the memorial "Boundaries" provides a medium-both public and private-to observe and interpret what we sometimes don't even consider.

If you like photography, architecture, or simply wish to know more about an idea behind one of Lin's works then this book is for you. I love the format. It is easy to read and the pictures are of high quality. The pages are numbered from 1:00 to 12:00 and each chapter starts with a new hour. "Boundaries" is refreshing- it's truly unique and inspiring.

A very interesting book. Particularly interesting was the description of the difficulties (creative and otherwise) experienced by the architect during the building of the Vietnam Memorial. I was especially drawn to the architect's ambivalence with regard to the seemingly desperate determination (exhibited by politicians especially) that the powerful non-iconographic representational force of the monument be adulterated by the addition of traditional iconography (the three soldiers and the nurses). I think that many who have visited the Memorial will agree that it's power is only reduced by the statues that now bookend it. Still, the architect's vision carries the day--a fitting tribute to her creativity.

This book accomplishes for me what Maya Lin set out to do - it provides a well of knowledge that I keep coming back to. I have shared her philosophy with friends and family providing a direct and intimate dialogue with her work.
I first came across 'Boundaries' while doing research on public controversy and sculpture. I felt that I was listening to Lin's voice and began to understand why she depicted the works as she did. I was drawn to the simplicity of her designs that left space for human participation. When the book had to be returned to the library I had to have a copy for myself to continue my understanding of her works.
The aesthetic set-out of the book draws the viewer into the designs with more understanding. It is not just a coffee table book, but one that encourages one to rethink and revalue ideas.

There is a joke that goes around in architectural circles. It is said that if you want to get the best possible design for your project then just hold an architectural competition with a jury and prizes. It will attract a whole lot of architects who will work for you for free, just in the hope of winning the project! In the process of filtering out the designs, sometimes miracles occur. Miracles such as the discovery of brand new talent, fresh ideas and the architect of tomorrow! Maya Lin was one such miraculous discovery. By winning the competition for the 'Vietnam Veterans Memorial', the world discovered her.

So when I learnt that she had written a book, I decided to read it for two reasons. First, was to take a look into her architectural portfolio and the second was to read her writing. I knew that a person who can move visitors to the V.V.M. to tears, through the medium of architecture, would definitely be a fantastic writer. So here is what I found.

Maya Lin is a Chinese American and her life is a classic immigrant story. Her parents were from Beijing and Shanghai and settled in Athens, Ohio. Her father was a ceramicist and mother a poet. They both pursued the arts in education. Maya, their daughter grew up to become an artist and architect. Interesting play of genes! She grew up in Ohio, studied at Yale and now has her own private practice in New York city. Globalization in full swing! Well that is the gist of her life.

All of her works, no matter which medium, have a distinct blend of East and West. Although she never lived in China, the Chinese DNA in her shows itself through her work. The writing is simple, clear and beautiful. Her art and architecture are very sensitive to the environment, minimalist in design and rich with symbolism. These are complimented with 'verbal sketches' that reveal a beautiful mind within.

The best part of the portfolio are the memorial designs namely: Vietnam Veterans Memorial, Civil rights Memorial and the Women's Table at Yale. With each project, Maya takes the reader on a journey of creativity. She says, " I think with my hands " and " I like to think of my work as creating a private conversation with each person ". Before designing she writes a lot about its concept, what it should convey, the issues that are important etc. Then she creates a form which is " an idea without a shape ".

The' Civil Rights Memorial' is a wonderful example of this process. When she visited the site for the first time, she read the following words from Martin Luther King's " I have a dream speech" : " We are not satisfied and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream". When she read this, she says, " Immediately I knew that the memorial would be about water and that these words would connect the past with the future". What an interesting way to arrive at a symbolic concept!

Among the non-memorial projects, it was wonderful to read about ' Reading A Garden ', at the Cleveland Public Library. Here she has collaborated with Tan Lin (a writer) to create a play of words, spaces and water, in the library's landscape. Maya Lin's life makes a very interesting story of 'reverse commuting' in globalization. Let me explain.

Twenty years back when I was studying Architecture at I.I.T. in Chicago, many of my batchmates were from China. They learnt how to design long-span or high-rise structures and then went back to China. I am sure they all have contributed immensely in the creation of so many sky-scrapers there. Shanghai alone has more of these than all of Chicago and Los Angeles! And here we have Maya Lin, a Chinese in America, who creates her own magic through words, art and architecture and presents herself as a seamless 'Me Inc.' professional. Its possible only in America! All in all, a classic book for a small targeted audience.

Ratna

A very interesting and well-written book. It inspired me to want to renew designing my own fantasy house.

After days of a dry spell, in trying to figure out a design problem; I started to flip through this fabulous book. Maya Lin's Boundaries; is a book that is food for the soul of an architect. Ironically, the title of the book is Boundaries, but the whole essence and poetic journey allows for one to see the world with out "Boundaries".

Traveling through each project, Lin is able to take us from her thought process through a complete execution on each project. She is so delicate in describing each event, from growing up, the Vietnam memorial, to her goals in the future. The reader can travel with her, through each process, struggle, and creating architecture that is able to resonate within it's setting.

Thinking with her hands, Lin describes each event, each challenge, and solution, allowing for the the reader to gain an inside, touching the souls of what every architect and designer needs.