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ahead.' So, without planning, we built this huge tree house 40 or 50 feet off the forest floor in Vermont. Frank was wonderful. He madę me realize that it was OK to be in between art and architecture. I remember him saying, 'Don't worry about the distinctions. Do what you need to do.'"

Today, Maya Lin has worked as an architect in a morę traditional sense, building two houses, but she continues to create sculptures as well. When asked if she is making a conscious effort to challenge the barriers between the two disciplines, she answers, "I have not tried to make an overt statement. There is inspiration and artistry involved in making a monument or designing a house, and yet you are still apparently involved in making something which is functional. For me the Vietnam Memoriał was a sort of exercise, because I never expected it to be built. It was an ideological commentary about trying to go against our standard approach in the United States to monuments. I tried to avoid making any overt political statement, however. What I was concerned with was not modern art - it was not necessarily an esthetic statement. To be apolitical became political - to not declare a victory. The identification of the individual as the individual - that is a twentieth century idea. I had no notion of making a hybrid of earthworks of the 1970s and architecture. I do not tend to approach that kind of esthetic theorizing or commentary within the work. I leave it to others to make such comments."²³

The architect Michael Rotondi, one of the founders of the SCI • Arc school in Santa Monica, and former partner of Thom Mayne in the firm Morphosis, has created a new firm with Clark Stevens. Called RoTg, this firm has worked on a number of highly unusual projects, which challenge accepted ideas about the materials and forms of architecture. Their Cemini Learning Center, in Morristown, New Jersey, was designed for an International business consulting group. It is intended to

David Hockney Retidence Hollywood Hills, California Photographed in 1994

Like many of hi* work* of art, the home of David Hockney i* pamted in the taturated color* that he prefers. The intentity and pre*ence of the*e color* it *uch that the vi*itor ha* the imprettion of entering a painting, an idea that Hockney obviously encouraget.

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