well-balanced
We know that fields don’t have waves like Wavefield by Maya Lin. Wavefield learns us not to look practically how to make profit on the most effective way in the short term.
This is an artwork.
An artwork asks you to look. To let your eyes follow the lines. You see shifts within the lines. The lines have a variety of angles. There are shadows. Maybe the clouds throw their shadows on the area.
Wavefield lays along a mountain ridge with trees with a variety of heights and colors. The artwork fits in with the surrounding environment.
While I’m looking at Wavefield I feel balanced by seeing the movements, by paying attention, by the pleasure of the shapes and the colors. I would love to walk through Wavefield, see the change in openness and intimacy, the sun and the shade on my skin, the loss en sight of companions, enjoying being outside.
By Theo, www.artatsite.com
Vertaling
evenwichtig
Wij weten dat velden geen golven maken zoals Wavefield van Maya Lin. Bij Wavefield leren wij af om praktisch te kijken hoe profijt op de meest efficiënte manier op korte termijn verdient kan worden.
Dit is een kunstwerk.
Een kunstwerk vraagt om ernaar te kijken. Je ogen volgen de lijnen. Je ziet verschuivingen in de lijnen. De lijnen hebben ook verschillende hoeken. Er zijn schaduwen. Misschien werpen wolken hun schaduw op het gebied.
Wavefield ligt langs een bergkam met bomen met verschillende hoogten en kleuren. Het kunstwerk voegt zich in de omgeving.
Tijdens het kijken naar Wavefield voel ik mij evenwichtig door de bewegingen te zien, door aandachtig te kijken, door het genieten van de vormen en de kleuren. Ik zou ervan genieten om door Wavefield te lopen, de afwisseling te zien van openheid en beslotenheid, de schaduw en de zon op mijn huid, het verliezen en het zien van reisgenoten, het genieten van het buitenzijn.
Door Theo, www.artatsite.com
www.stormking.org:
Viewed from above, the undulating swells of earth forming Storm King Wavefield appear to naturally rise from and roll along the grassy terrain. Set against a backdrop formed by Schunnemunk Mountain to the west and the Hudson Highlands to the south and east, Maya Lin’s earthwork inspires a broad perspective on the landscape from which it emerges and entices deep exploration of the grassy alleys between the cresting peaks. The seven nearly four-hundred-foot-long waves, ranging in height from ten to fifteen feet high, proceed at the same scale as a series of mid-ocean waves. The resulting effect recalls the experience of being at sea, where sight of adjacent waves and land is lost between the swells.
Storm King Wavefield is the largest and last in a series of three of Lin’s wavefields. (The other two are located in Ann Arbor, Michigan, and Miami, Florida.) Lin selected the eleven-acre site as an environmental reclamation project, a sustainable reworking of the former gravel pit that supplied material for the New York State Thruway. When Storm King was founded in 1960, a significant portion of its grounds consisted of large stores of gravel in surrounding fields. The ravaged landscape was in turn landscaped and shaped anew by the very same gravel. This compelling, untold story excited Lin. “I’ve tended to create works on the edges and boundaries of places…. I always knew that I wanted to culminate the series with a field that literally, when you were in it, you became lost inside it.” Working with the New York State Department of Environmental Conservation, which sanctioned and supported the reclamation of the site, Lin collaborated with landscape architects to utilize the existing gravel and topsoil at the site. The low-impact grasses and natural drainage system she introduced make Wavefield an organic, living work that continues to evolve.
www.mayalinstudio.com:
The Wavefield is comprised of seven rows of undulating rolling waves of earth and grass. The waves range in height from 10-15 feet, with a trough to trough distance of approximately 40 feet.
The work at Storm King is the largest site specific art installation that Lin has created, and it marks a culmination in Lin’s series dedicated to the exploration of water wave formations that are translated into large scale, site specific earth works. Because it is executed in the same scale as an actual set of waves, the viewer’s experiences is similar that of being at sea, where one loses visual contact with adjacent waves.
The curvature in plan and in section creates a compound curve that allows for a complex and subtle reading of the space— in the form of an environment that pulls the viewer in to its interior and allows for a sense of total immersion.
www.mayalinstudio.com:
The sculpture is an expression of a simple water wave, taking its inspiration from the study of fluid dynamics, aerodynamics, and turbulence. In approaching the design of a sculpture for the University of Michigan, the artist wanted to relate her interests in landscape to aerospace engineering. A specific image of a naturally occurring repetitive water wave became the foundation for the artwork, and makes a connection to flight while typing the sculpture to the context of its site. Water and fluidity create an endless motion within which visitors can enter and interact. The sculpture is viewable from both the classrooms above it and from the surrounding garden.
www.wikipedia.org:
According to Lin, she has been concerned with environmental issues since she was very young, and dedicated much of her time at Yale University to environmental activism. She attributes her interest in the environment to her upbringing in rural Ohio: the nearby Hopewell and Adena Indian burial mounds inspired her from an early age. Noting that much of her later work has focused on the relationship people have with their environment, as expressed in her earthworks, sculptures, and installations, Lin said, "I'm very much a product of the growing awareness about ecology and the environmental movement...I am very drawn to landscape, and my work is about finding a balance in the landscape, respecting nature not trying to dominate it. Even the Vietnam Veterans Memorial is an earthwork. All of my work is about slipping things in, inserting an order or a structuring, yet making an interface so that in the end, rather than a hierarchy, there is a balance and tension between the man-made and the natural."
According to the scholar Susette Min, Lin's work uncovers "hidden histories" to bring attention to landscapes and environments that would otherwise be inaccessible to viewers and "deploys the concept to discuss the inextricable relationship between nature and the built environment". Lin's focus on this relationship highlights the impact humanity has on the environment, and draws attention to issues such as global warming, endangered bodies of water, and animal extinction/endangerment. She has explored these issues in her recent memorial, called What Is Missing?
According to one commentator, Lin constructs her works to have a minimal effect on the environment by utilizing recycled and sustainable materials, by minimizing carbon emissions, and by attempting to avoid damaging the landscapes/ecosystems where she works.
In addition to her other activities as an environmentalist, Lin has served on the Natural Resources Defense Council board of trustees.
www.mayalinstudio.com:
The Storm King project was preceded by two other wave fields: The Wave Field (Ann Arbor, Michigan, 1995) was the first in the series and was based on a naturally occurring water wave, called a Stokes Wave. With repetitive cupped waves ranging in scale from 3- 6 feet in height, it is 10,000 square feet in size (100’ x 100’) and is situated in the interior courtyard of the FXB aerospace and engineering building at the University of Michigan; and Flutter, installed at the Wilkie D. Ferguson, Jr. Federal Courthouse in Miami, FL in 2005, which took its form from the shallow wave formations that are created in sand by wave action. Each row formed a continuous wave pattern with the height fluctuating from 2-4 feet and an overall size of 90,000 square feet.
The site Lin selected is an environmental reclamation project, in compliance with The New York State Department of Environmental Conservation. The Storm King project involves the reclamation of a former gravel pit. For this project, Lin worked with landscape designer Edwina von Gal and horticulturist Darrel Morrison to create a low impact grass planting scheme.
www.stormking.org:
Lin’s biography provides some insights into Wavefield’s origins and imagery. Growing up in rural Ohio, she visited the earthen mounds of the Hopewell and Adena Indians. She learned about Japanese gardens and architecture from her father, a ceramist and dean of the College of Fine Arts at Ohio University, Athens, who had grown up in a Japanese-style house in China. These early experiences, along with the influential innovations of earthwork artists in the 1960s and ’70s, helped shape what has become Lin’s lifelong interest in working with the landscape.
Lin earned great prominence early on, while still a student at Yale University, for her Vietnam Veterans Memorial in Washington, DC. Breaking from typical memorial form, Lin’s striking design features a deep cut into the earth and is at once profoundly minimal and metaphorical. Such qualities have threaded throughout her prolific career in art and architecture, along with a sustained commitment to environmentalism. What is Missing?, a multi-sited, ongoing project that Lin considers her final memorial, focuses on bringing awareness to the current crisis surrounding biodiversity and habitat loss. “Whether it’s art, architecture, or memorials,” she notes, “I realize now that all my work is intrinsically tied to the natural landscape around us.”
www.wikipedia.org:
Maya Ying Lin (born October 5, 1959) is an American designer and sculptor. In 1981, while an undergraduate at Yale University, she achieved national recognition when she won a national design competition for the planned Vietnam Veterans Memorial in Washington, D.C.
Lin has designed numerous memorials, public and private buildings, landscapes, and sculptures. Although she is best known for historical memorials, she is also known for environmentally themed works, which often address environmental decline. According to Lin, she draws inspiration from the architecture of nature but believes that nothing she creates can match its beauty.
We know that fields don’t have waves like Wavefield by Maya Lin. Wavefield learns us not to look practically how to make profit on the most effective way in the short term.
This is an artwork.
An artwork asks you to look. To let your eyes follow the lines. You see shifts within the lines. The lines have a variety of angles. There are shadows. Maybe the clouds throw their shadows on the area.
Wavefield lays along a mountain ridge with trees with a variety of heights and colors. The artwork fits in with the surrounding environment.
While I’m looking at Wavefield I feel balanced by seeing the movements, by paying attention, by the pleasure of the shapes and the colors. I would love to walk through Wavefield, see the change in openness and intimacy, the sun and the shade on my skin, the loss en sight of companions, enjoying being outside.
By Theo, www.artatsite.com
Vertaling
evenwichtig
Wij weten dat velden geen golven maken zoals Wavefield van Maya Lin. Bij Wavefield leren wij af om praktisch te kijken hoe profijt op de meest efficiënte manier op korte termijn verdient kan worden.
Dit is een kunstwerk.
Een kunstwerk vraagt om ernaar te kijken. Je ogen volgen de lijnen. Je ziet verschuivingen in de lijnen. De lijnen hebben ook verschillende hoeken. Er zijn schaduwen. Misschien werpen wolken hun schaduw op het gebied.
Wavefield ligt langs een bergkam met bomen met verschillende hoogten en kleuren. Het kunstwerk voegt zich in de omgeving.
Tijdens het kijken naar Wavefield voel ik mij evenwichtig door de bewegingen te zien, door aandachtig te kijken, door het genieten van de vormen en de kleuren. Ik zou ervan genieten om door Wavefield te lopen, de afwisseling te zien van openheid en beslotenheid, de schaduw en de zon op mijn huid, het verliezen en het zien van reisgenoten, het genieten van het buitenzijn.
Door Theo, www.artatsite.com
www.stormking.org:
Viewed from above, the undulating swells of earth forming Storm King Wavefield appear to naturally rise from and roll along the grassy terrain. Set against a backdrop formed by Schunnemunk Mountain to the west and the Hudson Highlands to the south and east, Maya Lin’s earthwork inspires a broad perspective on the landscape from which it emerges and entices deep exploration of the grassy alleys between the cresting peaks. The seven nearly four-hundred-foot-long waves, ranging in height from ten to fifteen feet high, proceed at the same scale as a series of mid-ocean waves. The resulting effect recalls the experience of being at sea, where sight of adjacent waves and land is lost between the swells.
Storm King Wavefield is the largest and last in a series of three of Lin’s wavefields. (The other two are located in Ann Arbor, Michigan, and Miami, Florida.) Lin selected the eleven-acre site as an environmental reclamation project, a sustainable reworking of the former gravel pit that supplied material for the New York State Thruway. When Storm King was founded in 1960, a significant portion of its grounds consisted of large stores of gravel in surrounding fields. The ravaged landscape was in turn landscaped and shaped anew by the very same gravel. This compelling, untold story excited Lin. “I’ve tended to create works on the edges and boundaries of places…. I always knew that I wanted to culminate the series with a field that literally, when you were in it, you became lost inside it.” Working with the New York State Department of Environmental Conservation, which sanctioned and supported the reclamation of the site, Lin collaborated with landscape architects to utilize the existing gravel and topsoil at the site. The low-impact grasses and natural drainage system she introduced make Wavefield an organic, living work that continues to evolve.
www.mayalinstudio.com:
The Wavefield is comprised of seven rows of undulating rolling waves of earth and grass. The waves range in height from 10-15 feet, with a trough to trough distance of approximately 40 feet.
The work at Storm King is the largest site specific art installation that Lin has created, and it marks a culmination in Lin’s series dedicated to the exploration of water wave formations that are translated into large scale, site specific earth works. Because it is executed in the same scale as an actual set of waves, the viewer’s experiences is similar that of being at sea, where one loses visual contact with adjacent waves.
The curvature in plan and in section creates a compound curve that allows for a complex and subtle reading of the space— in the form of an environment that pulls the viewer in to its interior and allows for a sense of total immersion.
www.mayalinstudio.com:
The sculpture is an expression of a simple water wave, taking its inspiration from the study of fluid dynamics, aerodynamics, and turbulence. In approaching the design of a sculpture for the University of Michigan, the artist wanted to relate her interests in landscape to aerospace engineering. A specific image of a naturally occurring repetitive water wave became the foundation for the artwork, and makes a connection to flight while typing the sculpture to the context of its site. Water and fluidity create an endless motion within which visitors can enter and interact. The sculpture is viewable from both the classrooms above it and from the surrounding garden.
www.wikipedia.org:
According to Lin, she has been concerned with environmental issues since she was very young, and dedicated much of her time at Yale University to environmental activism. She attributes her interest in the environment to her upbringing in rural Ohio: the nearby Hopewell and Adena Indian burial mounds inspired her from an early age. Noting that much of her later work has focused on the relationship people have with their environment, as expressed in her earthworks, sculptures, and installations, Lin said, "I'm very much a product of the growing awareness about ecology and the environmental movement...I am very drawn to landscape, and my work is about finding a balance in the landscape, respecting nature not trying to dominate it. Even the Vietnam Veterans Memorial is an earthwork. All of my work is about slipping things in, inserting an order or a structuring, yet making an interface so that in the end, rather than a hierarchy, there is a balance and tension between the man-made and the natural."
According to the scholar Susette Min, Lin's work uncovers "hidden histories" to bring attention to landscapes and environments that would otherwise be inaccessible to viewers and "deploys the concept to discuss the inextricable relationship between nature and the built environment". Lin's focus on this relationship highlights the impact humanity has on the environment, and draws attention to issues such as global warming, endangered bodies of water, and animal extinction/endangerment. She has explored these issues in her recent memorial, called What Is Missing?
According to one commentator, Lin constructs her works to have a minimal effect on the environment by utilizing recycled and sustainable materials, by minimizing carbon emissions, and by attempting to avoid damaging the landscapes/ecosystems where she works.
In addition to her other activities as an environmentalist, Lin has served on the Natural Resources Defense Council board of trustees.
www.mayalinstudio.com:
The Storm King project was preceded by two other wave fields: The Wave Field (Ann Arbor, Michigan, 1995) was the first in the series and was based on a naturally occurring water wave, called a Stokes Wave. With repetitive cupped waves ranging in scale from 3- 6 feet in height, it is 10,000 square feet in size (100’ x 100’) and is situated in the interior courtyard of the FXB aerospace and engineering building at the University of Michigan; and Flutter, installed at the Wilkie D. Ferguson, Jr. Federal Courthouse in Miami, FL in 2005, which took its form from the shallow wave formations that are created in sand by wave action. Each row formed a continuous wave pattern with the height fluctuating from 2-4 feet and an overall size of 90,000 square feet.
The site Lin selected is an environmental reclamation project, in compliance with The New York State Department of Environmental Conservation. The Storm King project involves the reclamation of a former gravel pit. For this project, Lin worked with landscape designer Edwina von Gal and horticulturist Darrel Morrison to create a low impact grass planting scheme.
www.stormking.org:
Lin’s biography provides some insights into Wavefield’s origins and imagery. Growing up in rural Ohio, she visited the earthen mounds of the Hopewell and Adena Indians. She learned about Japanese gardens and architecture from her father, a ceramist and dean of the College of Fine Arts at Ohio University, Athens, who had grown up in a Japanese-style house in China. These early experiences, along with the influential innovations of earthwork artists in the 1960s and ’70s, helped shape what has become Lin’s lifelong interest in working with the landscape.
Lin earned great prominence early on, while still a student at Yale University, for her Vietnam Veterans Memorial in Washington, DC. Breaking from typical memorial form, Lin’s striking design features a deep cut into the earth and is at once profoundly minimal and metaphorical. Such qualities have threaded throughout her prolific career in art and architecture, along with a sustained commitment to environmentalism. What is Missing?, a multi-sited, ongoing project that Lin considers her final memorial, focuses on bringing awareness to the current crisis surrounding biodiversity and habitat loss. “Whether it’s art, architecture, or memorials,” she notes, “I realize now that all my work is intrinsically tied to the natural landscape around us.”
www.wikipedia.org:
Maya Ying Lin (born October 5, 1959) is an American designer and sculptor. In 1981, while an undergraduate at Yale University, she achieved national recognition when she won a national design competition for the planned Vietnam Veterans Memorial in Washington, D.C.
Lin has designed numerous memorials, public and private buildings, landscapes, and sculptures. Although she is best known for historical memorials, she is also known for environmentally themed works, which often address environmental decline. According to Lin, she draws inspiration from the architecture of nature but believes that nothing she creates can match its beauty.