The use of names was a way to bring back everything someone could remember about a person. The strength in a name is something that has always made me wonder at the abstraction of the design; the ability of a name to bring back every single memory you have of that per-son is far more realistic and specific and much more comprehensive. Then someone in the class received the design program, which stated the basic philosophy of the memorials design and also its requirements: all the names of those missing and killed (57,000) must be a part of the memorial; the design must be apolitical, harmonious with. These were all the thoughts that were in my mind before i went to see the site. Without having seen it, i couldnt design the memorial, so a few of us traveled to washington,. C., and it was at the site that the idea for the design took shape. The site was a beautiful park surrounded by trees, with traffic and noise coming from one side—constitution avenue. I had a simple impulse to cut into the earth.
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But on a personal level, i wanted to focus on the nature of accepting and coming to terms with a loved ones death. Simple as it may seem, i remember feeling that accepting a persons death is the first step writing in being able to overcome that loss. I felt that as a culture we were extremely youth-oriented and not willing or able to accept death or dying as a part of life. The rites of mourning, which in more primitive and older cultures were very much a part of life, have been suppressed in our modern times. In the design of the memorial, a fundamental goal was to be honest about death, since we must accept that loss in order to begin to overcome. The pain of the loss will always be there, it will always hurt, but we must acknowledge the death in order to move. What then would bring back the memory of a person? A specific object or image would be limiting. A realistic sculpture would be only one interpretation of that time. I wanted something that all people could relate to on a personal level. At this time biography i had as yet no form, no specific artistic image.
Throughout my freshman and sophomore years, the database stonecutters were carving in by hand the names of those killed in the vietnam War, and I think it left a lasting impression on methe sense of the power of a name. One memorial I came across also made a strong impression. It was a monument to the missing soldiers of the world War i battle of the somme by sir Edwin Lutyens in Thiepval, France. The monument includes more than 100,000 names of people who were listed as missing because, without id tags, it was impossible to identify the dead. (The cemetery contains the bodies of 70,000 dead.) to walk past those names and realize those lost lives—the effect of that is the strength of the design. This memorial acknowledged those lives without focusing on the war or on creating a political statement of victory or loss. This apolitical approach became the essential aim of my design; I did not want to civilize war by glorifying it or by forgetting the sacrifices involved. The price of human life in war should always be clearly remembered.
Partly it was a practical need to type list those whose bodies could not be identified—since dog tags as identification had not yet been adopted and, owing to the nature of the warfare, many killed were not identifiable—but I think as well the listing of names. The images of these monuments were extremely moving. They captured emotionally what I felt memorials should be: honest about the reality of war, about the loss of life in war, and about remembering those who served and especially those who died. I made a conscious decision not to do any specific research on the vietnam War and the political turmoil surrounding. I felt that the politics had eclipsed the veterans, their service, and their lives. I wanted to create a memorial that everyone would be able to respond to, regardless of whether one thought our country should or should not have participated in the war. The power of a name was very much with me at the time, partly because of the memorial Rotunda at Yale. In woolsey hall, the walls are inscribed with the names of all presentation the yale alumni who have been killed in wars. I had never been able to resist touching the names cut into these marble walls, and no matter how busy or crowded the place is, a sense of quiet, a reverence, always surrounds those names.
I remember the professor of the class coming up to me afterward, saying quite angrily, if I had a brother who died in that war, i would never want to visit this memorial. I was somewhat puzzled that he didnt quite understand that World War iii would be of such devastation that none of us would be around to visit any memorial, and that my design was instead a pre-war commentary. In asking myself what a memorial to a third world war would be, i came up with a political statement that was meant as a deterrent. I had studied earlier monuments and memorials while designing that memorial and I continued this research for the design of the vietnam memorial. As I did more research on monuments, i realized most carried larger, more general messages about a leaders victory or accomplishments rather than the lives lost. In fact, at the national level, individual lives were very seldom dealt with, until you arrived at the memorials for World War. Many of these memorials included the names of those killed.
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I think the most important aspect of the design of the vietnam Veterans Memorial was that I had originally designed it for a class I was taking at Yale and not for the competition. In that sense, i had designed it for me—or, more exactly, for what I believed it should. I never tried to second-guess a jury. And it wasnt until after sessay I had completed the design that I decided to enter it in the competition. The design emerged from an architectural seminar I was taking during my senior year. The initial idea of a memorial had come from a notice posted at the school announcing a competition for a vietnam veterans memorial. The class, which was on funereal resume architecture, had spent the semester studying how people, through the built form, express their attitudes toward death.
As a class, we thought the memorial was an appropriate design idea for our program, so we adopted it as our final design project. At that point, not much was known about the actual competition, so for the first half of the assignment we were left without concrete directions for what they were looking for or even who they were. Instead, we had to determine for ourselves what a vietnam memorial should. Since a previous project had been to design a memorial for World War iii, i had already begun to ask the simple questions: What exactly is a memorial? What should it do? My design for a world War iii memorial was a tomblike underground structure that I deliberately made to be a very futile and frustrating experience.
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While you're here, like us on Facebook! You can also subscribe to our channel on or follow. Twitter for updates or to ask us questions about walk-ins or appointments. Its taken me years to be able to discuss the making of the vietnam Veterans Memorial, partly because i needed to move past it and partly because i had forgotten the process of getting it built. I would not discuss the controversy surrounding its construction and it wasnt until I saw the documentary. Maya lin: a strong Clear Vision that I was able to remember that time in my life. But I wrote the body of this essay just as the memorial was being completed—in the fall of 1982. Then I put it awayuntil now.
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For example, it doesnt write matter much if you believe in the mission of animal shelters, if you're not planning to get a dog; however, once you're looking for a dog, it is much more important. The conclusion of this essay might say, "Since youre in the market for a dog, you have a major decision to make: where to get one." This will remind the reader that the argument is personally important! Writers Helping Writers Write better, welcome to uwf's Writing Lab. Having trouble writing a paper? Having trouble using commas and semicolons, choosing the right pronoun, or making your subjects and verbs agree? The Writing Lab can help. Graduate and undergraduate Writing Lab assistants are available to review the mechanics of writing with you and help you upgrade the quality of your papers before you submit assignments to your professors.
Here are some strategies for making your reader see why the topic is important: Tell the reader what you want him or her. Is your essay a call to action? If so, remind the reader of problems what he/she should. If not, remember that asking the reader to think a certain way is an action in itself. (In the above examples, the essay asks the reader to adopt a shelter dog—a specific action.). Explain why this topic is timely or important. For example, the animal-shelter essay might end with a statistic about the number of pets in shelters waiting for adoption. Remind the readers of why the topic matters to them personally.
a mere list of your major points, the best conclusion will draw those points together and relate them to one another so that your reader can apply the information given in the essay. Here are a couple of ways to do that: give a list of the major arguments for your thesis (usually, these are the topic sentences of the parts of your essay). Explain how these parts are connected. For example, in the animal-shelter essay, you might point out that adopting a shelter dog helps more animals because your adoption fee supports the shelter, which makes your choice more socially responsible. Context, one of the most important functions of the conclusion is to provide context for your argument. Your reader may finish your essay without a problem and understand your argument without understanding why that argument is important. Your introduction might point out the reason your topic matters, but your conclusion should also tackle this questions.
Make the context of your argument clear. Restating your Thesis, you've already spent time and energy crafting a solid thesis statement for shredder your introduction, and if you've done your job right, your whole paper focuses on that thesis statement. That's why it's so important to address the thesis in your conclusion! Many writers choose to begin the conclusion by restating the thesis, but you can put your thesis into the conclusion anywhere—the first sentence of the paragraph, the last sentence, or in between. Here are a few tips for rephrasing your thesis: Remind the reader that you've proven this thesis over the course of your paper. For example, if you're arguing that your readers should get their pets from animal shelters rather than pet stores, you might say, "If you were considering that puppy in the pet-shop window, remember that your purchase will support 'puppy mills' instead of rescuing a needy. Revise the thesis statement so that it reflects the relationship you've developed with the reader during the paper. For example, if you've written a paper that targets parents of young children, you can find a way to phrase your thesis to capitalize on that—maybe by beginning your thesis statement with, "As a parent of a young child". Dont repeat your thesis word for word—make sure that your new statement is an independent, fresh sentence!
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Learn about the elements of with a successful essay conclusion. The conclusion is a very important part of your essay. Although it is sometimes treated as a roundup of all of the bits that didnt fit into the paper earlier, it deserves better treatment than that! It's the last thing the reader will see, so it tends to stick in the reader's memory. It's also a great place to remind the reader exactly why your topic is important. A conclusion is more than just "the last paragraph"—it's a working part of the paper. This is the place to push your reader to think about the consequences of your topic for the wider world or for the reader's own life! A good conclusion should do a few things: Restate your thesis, synthesize or summarize your major points.