AN EVFLATIBN LDF THE
SIGNIFICANT DESIGF DEVELOPMENTS
F LANDSCAPE ARCHITECTURE
IN THE. UNITED STATES

COMPREHENSIVE .RIORT Fan Fm: DEGREE FF M L a. - -‘   ':

mCHIfiAN STATE SEWERSITY
4.0an FREDERICK EDSALL

1965

 

THES‘S

  
   
   

  

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Michigan State
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by John F1 eierick Ecsall

~‘ne design develognent of Landscape 41h.1tecture in
America involves five eeriods with ceitain even Us occurring

in each period which reflect the ch: ecter of the tines. I

taere is tne early develo: r.ent period from the foundini 1
our oorntrv to about the :id:ile 1340's; (2) the period of
early 7rofes iontl design work, when the neturelisn of the
English Landscape School prevailed, from the mid-1840's to
the Colu: 01: n Exg sition in Chicafo in lCCB; (3) following
this and L1 til the early l§30's there wcs a p riod of ec-

lectic formalism in L ndscage Archite ture releted to the

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current in any period; (5 finally there is the current desifin
trend, really a continuation 01 the Iodern Lovement, within
the last twenty-five years, in which the i-eas of the Hedern

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creaeing scale EL’ complexity.

John Frederick Edssll

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In the early Colonial Period Landscspe design followed
the pattern set in the countries from which the people orij-
inated. In later years, perticuldrly the ear y 1800 s,
desif; ns, such as those done by Thomas Jefferson and Andre
Parnentier, reflected a professional character, but
professionals existed as yet in Lnerica.

Englisa iaturalism - 13 5 tool€95:
he 1esi3n ideas of the English Landscape School were
first set forth in i rica o;r Andrew Ja hson Dorning' Down—

in3 is credited as QEVILS been the first professional Land-

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Jr. who were the most noted Landscape architects of the pe‘i—

od following the Civil war (1365) and until the 1:93 Colum-

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he 1"hite City" of the Columbinn Exposition estso

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ndscnpe Architectural desi_ns generally followed the form:
design style set by the huildi 3. Early in this period and

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Jon; Frederick Edsall
Landtcape Architectural uesign. Je ace becogin: gore con—
cerned as a nation with the preservation and enhanceuent of
the beauty of the United States. He ‘GSLTG an over 11 re_3t—
ion of gen to his enwironuent from the scale of the individ-

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ual site relationshie to the anslication 01 the total :03 :1

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Dippern to a “auioge_ pattern oi lanascige ieoi n cevologuenu.

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AN EVALUATICH OF THE
SI G III FI GIST DE 31311 DEVELOPI-IELTTS
OF LA? 33 EYE uCflI TL "1 oTUI“ t;

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h THE U"ITE STATES

John Frederick Edsall

A CCIPIZIETS V3 I RT

SUbIflittCCl to
Al “hi an Ste te Universit"
in partial fL llfillrtent of the requirements
for the degree of

KAJTER OF LATDSCAEE ARUNIIECJU:T

School of Urbcn Planning
and Landscare Architectur

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, these :Q:;;le3
er jiven because their work or tint project reflect the do;-

inant 1311; cape des 1TH trends of that period. Design then

should be our first consid ration, for it is the principles
of pzre design WIiCh underly the various :hilosotlies of

(N ‘1’“! H“ j, . '. 'L ‘L'w‘v I‘ '. ._. g .‘ - O "a -n I: . "‘1 ‘4‘ ' ”‘1‘
Landscaoe “PCJerCvmral QeSan exoressed QUBluQ dilierent

in Lands 3; Architectur e, as in cnv other art, there
have accu: lcted tnrou,nou the course of tine a storehouse

..
1

.3 1'.

of ic deSi 1principles end stwnlgrd” of ex ellence booed

(L1

. ‘l

1+
(0
’3
m
8
U)
U
(D
C)
('1'

1""

laréelr on 1e opin qualified to pass
judg ment. Deepite the fact that nrir ciples rev be :ugject
to change, it is uS‘elly the ’etails of the design or points
of View (s oci: l testes) cs anplied to the design that are
effected by time. In ess nce, the orincinles, though nod-
ificatior may result fr m theCe v; r711“ intergretaticns, fien-
erelly remain the same.

The following quotation is e jood explanation of how
the various elements 01 desijn are combined to produce the

end product of all true design - beauty.

H )I “I o a H ".1. 0 ‘ ,.‘ fl , ‘- -' ' v-- - r~ 1‘ r"
A PUxPOS ' lo associmued with a peel NJLCH genereces

an Idea in the Lind of a huslan beinj. throushl is
IrSVinttion Opercting within his fienory :1d Exper-
ience this IDEA is accuslized into a FORM. out of
m.ste1ial (natursl ans/or nan- rode) b' Amno ‘818 and

q

Action b3r Leans o: icols and I1 ocesses (depend 1
on liand and/or m:chine) pi JrOpriate to its inte need
use, Iissisl1s one or another of the Art Ele1e11ts
(Line, Sh1: pe, Tone, Texture, Color, Lass, Space) :r
r hi: ed according; to the Art Principles (Rhy thm, Bal-
ance, 'hehas s) 0;;Ahised by IrOpor tion to :roduce
an efiect of Repose or Liveliness (in either cas
posse ssingg vitalit,r) so ordered as to result in
AnhnOnl w11ic1 is a conSi stent relationship of Unity
with Varietj, and i1 Stre11e instances she Art Prod-
uct (e11bodinent of its razer's purpose)-may achieve
BEAU1(.'(1)

.1

he inter el tionS11ips exoressed anl he sequence

followed to asiieve the climatic element of BEAUTY. It is

this same process which produces the best works of lands

desist. T fullv or derstand this total process we Should
consider the elements which constitute this quotation, as
they are "““710 ble to Lands ate Architectural des' n.

These elements include form, the "art elene1ms", the "art
principles", proportion, larm n;, unity and varietv, and

inally beauty.

FC?1___-__I_I° .

Form is the resultan express ion of a design problem.

1s

0 insure a form that will articulate and express

q,

ity to occur, we must oe careful to rid ourselves of any

conceptions. For in essence all art has a svnbolisn in for:

which is tile ori jincl expr ssion of the desijner, genera

- ,., h 'g “h a, _., 4.- ‘ .
in a tm e-direns iona h nner. The La 4 01 a t°ue aruis
L' _ 0 '. ., 0 ,,, .1..- ‘ J. ;
(l)J Janet K. emith, Desi,n: Lin Intco.1ctl

va «v-1. 1 _. ;; . 7;“ ;;;_ r~ l 'q' , n; “J. V “V‘- y' ," ;' .; 4‘ .Iv-
DEB-VIE} I’Ll1jllf;::i 11’ C “110121-; , 15 1o). 1mg“, 1,01 3 pop _.'.‘_"._;‘l"3 o s ..
L7‘?‘°"““ fC J1 ivinfi o. NS

, i 1 .

 

designer, and that quality which enables him to create orig-
inal works, is his ability to see form in many simple relat-
ions as carrying certain abstract qualities and dimensions.
THE "QT ELEMENTS":

The art elements include, as previously noted: line,
shape, tone, color, texture, mass and Space.

Line is a familiar element to almost everyone. Line is
considered an elastic term suggesting movement in some direct-
ion. Straight lines are bold and powerful. Curved lines are
soft and suggest repose. Lines are the substance of form.

.2 ”h

.
"3' '

\‘H‘l

In a successful landscape composition the various uses and

 

 

"1 Repose

Power
expressions of line should be in balance and not, therefore,
unreasonably forceful.

‘§hap§ involves line construction with the result being

called a figure. There are six basic forms of line con-

struction:
1. Mass balanced against mass over a __Z&_
central fulcrum.
2. The triangle - a figure of stability
when placed on-its base or side. %
O

3. The circle - completeness or self-

containment.

5. The swinging curve. .wSa new

6. The rectangle - at right angles E:::] I

or cross-axis.

These forms are manipulated by the designer in his creation
of beautiful compositions.

lgng and £919: may well be considered together since
one, particularly tone, effects the other. Tone involves
light and dark, value or chromo, and its range is from white
to black with infinite gradations between. Tone is one var-
iation of the element of color, others being value and hue.
Value refers to the intensity of the color and hue is the
color in its pure sense. To obtain harmony of color in design
some one element must be constant. .It may be value in the
sense of light, medium or dark tones; or it may be hue, all
the same color and intensity. Usually the best design ex-
pression is in the monochromatic, where hue is constant and
variations are made in value and intensity.

Texture is often thought of as a structural quality in

that it determines the character of the surface as

 

apprehended by the senses of touch and sight, touch
being primary. Texture is often related to scale and certain
principles of perspective. For instance, coarse textures are
generally considered inapprOpriate in small spaces and even in
large spaces it is thought best to use finer textures in close

proximity to the observer and coarser.textures in the distance.

.Magg and fiance, the last of the art elements, are best
discussed together because of their interrelationships. iass
with its corresponding weight and solidarity

exists in space. velume is mass given def-

 

 

inite shape, which may be solid or hollow.

 

In common practice mass, with regard to 4*Mass in Space“
volume, is thought of as being solid and the hollow or void
aSpect of the volume is thought of as space or "Open" space.
THE "ART PRngIPLES":

fihythm, balance and emphasis constitute the art principles

and are the guidelines along which the art elements are ar-
ranged in design. In a landscape composition the designer is
attempting to direct the beholder and get him involved in the
unity of the composition and thus to diSpel the cares of the
exterior world. The designer therefore presents a rhythmic
succession of points of emphasis or focalization leading to a
final unity or climax which require the full attention of the
beholder. ‘

The factor of emphasis or focalization involves the at-
traction of attention to an object. The degree of emphasis,
by contrast or differentiation, will depend, in a direct re-
lation, on the proximity of the two dissimilar perceptions in
'time and Space.

"Effects of climax depend on sequential demand on

the attention, culminating by directing)the atten-

tion to the object of most interest."

(2) Henry v. Hubbard and Theodora Kimball, t

Wm (Boston: Hubbard Educational
Trust, 1959 9 p. 920 .

This progression to climax in a composition moves by
means of certain forms of order, sequence and repetition,
both manifestations of rhythm and halange.

Sequence depends on the progressive change of at least
one characteristic in a series of objects in a Specific -
direction. Other characteristics may change but enough
must remain constant so that the intended sequence is dis-
cernable. The most common type of Sequence is in a contin-
uation or repetition and generally in a linear manner.

"The interests and attractions which are set

together in any composition should have a

logical connection and relation and the re- ‘

lation should be one of sequence. The first 1

interest should lead us to the second, the .

second.to the third, and so on. :In that way ”

unity is secured with no very serious loss -
either of interests or of attraction."(3) *Sequence*

 

"Rhythm means not a continuation merely but
a continuation with regularly recurring
breaks or accents."(4

"Besides the Sequences of Centinuation which

Rhythm combined with harmony produces another form of
sequence which is called the Sequence of Alteration.

give us the sense of Harmony and the Be-

quences of Repetitions in Alteration which

give us the sense of Harmony and also the

sense of Rhythm, we have a third type of *Alteration“
sequence in which we have the feeling of an

orderly progress from one thing to another, either

upon the principle of an arithmetical or of a geo-
metrical progression. The sequences of this third

type I shall call the Sequences of Progression."

   

(3) Dr. Denman H. Ross, On Drawin and Painti (Boston: Hough-
ton, nifflin Company, 1915). pp. E3359

(4) 112151. P. 700

"...these Sequences of Progression take

the form of gradations leading from one
tone to another, from one position, meas-
ure, shape or attitude to another, always
by degrees. The changes are not only .°u
gradual but uniform in their character. ';.y

The changes in themselves mean variety. '

The order of the changes means unity. (5) *Progressionfi

 

Thus rhythm and its manifestations in repetition and
sequence, when closely related to unity and balance, helps to
create designs which have movement or progression and, being
less static, have a greater emotional impact.

Having considered rhythm and emphasis we may now address
our final art principle of balance. Balance is a feeling of
equalibrium or stability. Balance as applied to landscape
compositions is considered to be the equlibrium of attraction
about a vertical axis.

There are two primary forms of balance used in landscape
design as well as in the other arts. These two forms are
symmetrical balance, sometimes termed "formal" as it is a
primary characteristic of formal or architectural landscape
design, and asymmetrical or occult balance, often called
"natural" balance as it is the type of balance found in nat-
Iare and is thus much less humanized than symmetrical balance.(6)

Symmetrical balance involves an exact repetition of elem-
ents and forms on one side of the axis as are on the other,
asuch that the attention attraction power of elements on either

side is equalized.

(5) 1121.4. Pp. 71'72' u I! u u
(6) A discussion of the formal and the informal as applied

to "style" will be found starting on page 71.

O.)

In the case of asymmetrical r occult balance the ob—

3

on either side of the axis ma* not be exact v

C)

jccts or form
alike or even similarly placed. TLey are chosen and arranged
.such that the sum of the attractions is ecualized on both
sides of the vertical axis. In other words one object may
have the weight or mass to balance two or more objects, each
with a lesser mass than the single object; thus macs equals
mass rather than object equalling object. Examples of sum-
metrical balance are often most effective from a sinfile
vantage point, whereas asymmetrical or occult balance is often

noticeable from several points of View.

 

 

 

 

 

 

   

\

 

 

1"
. .I

Symmetrical Balance' Asymetrica Balance
EROPOR'I'IOZT :

Pretention and scale are often considered to ether since

v

-\ J V _o

they relate to the composition as a whole aha to one ~arlous

D

g

Ielements which help to create the design. Eropcrtion and
escale are relative terms whereby we measure articles of use
and beauty according to some standard - usually human.

Scale applies to the relative size of individual objects.

PrOportion involves the proper relation beta-men the objects

\0

 

(Dr components of a desi': :gi tidi? relative extant. Pro-
;Qortion may vary :ith t;e size of ghe area asveloped but
:30210 oes not Chan e. an obgacc on clenent is in : ale
Ifhej its size up ears to have a rlensinj rel tionship to
catier oojeCos or so the desi“n is a unif’ed conp _ tion.
7.? 7» * - (\"1! .
.-_.la .

Hirggnv lTVO7V‘ latt"r:‘lon 3n” orfsnizitiwn o; gesi n
and develOpment, fitness to lunatioo and form, 3nd one s end-

the whole

u—I

rhythzic sequei

 

to mains

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n by .L J. CLVDl ‘l A .th!) Je e p 80. 1.11 1.1-1.1. .L '5'. 0.; u .L. “-0 l.L
«x - - - 4.7, 4.1, _. 1. q- i. . N,“ .2 s. -, ._ j“ .
a-ccocuaice visa b,9 00-;leuem850 of or anlzaoion. :or

lO

exam ile .

l. LOjicel Lnity or truth is the M001; lete accord—
ence of a :rouu 0: ideas witi unire-sal low a
we know it.

2. Moral unity or oolness is the complete sus—
mission of all esrects of WA act to a moral
purpose

. H .1. -

3. Economic unit? or usefulness is corpleue and
orfsniz ed fitness of all tie :ualities of :n
object to a lefi‘. iite use.

. . . . J. .. u .

4. Finally estnet 1c unit? or senucy involves tne

perception OI com plete esthetic orjs inization

with its nece.s serily a e npanyins pleasurable

emotion, in List we call oesttty . (7)
"Unity in any 19 nds age composition nee s that
some one idea shell prevei thrOLgnout : nd th9t
all details shall be subordinate to it. Sozr1e
verticu er stVle of expression must be deter-
mined upon end consistenclr adhered to; end the
chosen site must not be varied except witnin
wide limits of Spa ce.‘ '(8)

HC Vin: already discussed variety in conjunction with
:previous design terms, I should: erely like to add tiet
‘ Q iet‘r belonjs to details gore than to the production of

anole.. It may be attained by den sin: different elements

Irunerous different ways and by the introduction of a crest

Inumoer of d ifereLt kinds of ele;nents. .ne intricacy use
Trsriety introduces thus produces ntnv points 0
Gelicits new beauties through dii
Loinsti01-s of elements providing the bdrmony necessary to
risintein unity is not lost.

(7) Henry V..Hubbsrd and +-1eodor" Kimball, an Int: ductio

n to

 

 

  

LA:
' ~ .- , ._ (
jghe Studv of Lc-nds -c:ce Desi -n, pp. lo, 17 :nd 19.
( 8) Eran: A. Hair 11, ' - “311-: .- Of”- Care on”: 1i” (hex-I .‘1 1‘11:

     

3 ._
CIrsnge-Judd Puolisnin; Coipanj, 1:26), p. ll.

ll
Unitv is consiiered to be the first and most important
‘n.. It is t11e product of the preper inter-

:relstionshins of all art principles and art elem-1.1ts.

In the plastic arts — architecture, sculptur and L

5)

3nd...
scape Architecture - begutv consists of value relationships
of the art elements, the art principles and all the other
previously defined Lactors o: deSign. Through the plastic
relati onships der‘ved by the artist a vision of order an

nermony is revealed beyon d that already known.

u . .-_ . 3
Beauty is onus ceigilete unitv of organization;
Ufiline33151ack of unitv.'_(9

J.

’ -I 'I I "I
'Bec ut: is ileasure ressrded as one cue lity o: a
I
fi1inn. (10)

Beauty is the end product of the true des'fn effort.
‘The artist himself may Ieel his creation has beauty but the
'beholder may see only ufliness; hence beauty is an individunl
svalue jud enent, it is related to the testes oi
1431 oerceivinj the des i ner creation.

(30;;on to a sin gle nerson or to a group mi

‘4‘ . . — ’V J‘ 4- ‘~ -5 ' .A r. - .- N :y ; .- r P1 - - ,3 J‘ u -\ —
1uime. dust as one yaSSive LurL oesiwn Hus goguler a censur;
are, so is 1-1e ”ell co 1r 1 " ‘d nls‘; ‘1 11nd todL *.

.5“ . J' “ ‘ r“r“ '- ‘L a“ r - - -~\ r I: .- J)
41ml J.”€.-_1L_f‘ul b0 perils}, JG 3 ceive 0b 39 01,3 Q; 31311111511

 

 

 

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(E?)-Jenff V. -douuis std Lneodora ni sail, A; isiroduccied to
[‘1' - ~‘ " o r.
she LCUQ: of L: 1USC'ne Ues:"n, p. :0.
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" '(‘Q A, .- \“ - #- vu—
Cler s 501s, leéu), p. :1.

r.)
‘—

f “0 I120 . H 4‘»: ‘ J"_~ o ‘ V“ V--.-.'). Aw _-_ 4“ :9... 1‘: J."
SlLllarluleS. no tdIs tyne s hediIied In the airecbIon oI

the part of the observer. Beauty has been achieved.

aste is the name for the node of this esthetic
svnthesis.... This oer ceived 1odc OI orfianiz atien
n in -. . "‘ 'r“ v -\ t r1 ‘ 1 A m
is cLlled the desifine: s trle, and lus a desi;ner s
stvle is merely the objec*; iIied expsession of his
taste. Taste is involved in the appreciation of
oesutv; style in the creation of beauty. (ll)

is we recosnize a node of esthetic erranization in the

_| '_- 3 '| -‘ fl _. F‘_ a s“ 0 V ‘ I
u ste 01 the desI HOP, his style, there is also:

H a n 1 o o _-1 _o ‘ V o 1 o "1
... a.moae OI esthetic organizatioh union is a

result of the Operation of the forces of nature

not uided by man" :,nd which we cell (the land-

scape) chara cter."

u. , . 5, .. .. 1.. J,
Lvery osJect in the world, then, wnicn has stvle,
or character, or their perfection in soue aSpect—
beauty — thereby arous s in us a correseonding
emotion; 7ub eveiy osject ha a fur ther erotienal
effect, pertlv due a 'tiues o less ensnscueristic

c
...)

..1.
L:

ettriot tes of the ooject, even perhaps to ve ry
transitory and unessential conditions, an always

. . H
varyinj in some degree with our aental attitude. (12)

The total emotional reaction, attr Mu ed to the land-

scape in a qualitative :orm, may be termed the lanaseape ef-

4-

t; the perceived beauty of the scene.

This total process the1 is design. Janet K. 5: :ith, as

quoted on pages one and two, takes you on a r‘te1-01- LED tour

the design process. In brief, though not to be taken in

lieu of the more detailed definition as quoted, QeSi:1 in—

volves the orderly Erran5e ement of all the des i :n elerert s in-

a "iven idea. The best order then results in the best

 

 

..T 'v *7. q - “ ”.1: ‘ T‘r ' ‘ “‘1 I" H A T .' Ju-
ll) near} V. duooard and IneOdora nihcaIl, an,Int ILIUCUIen so
5‘ - I ~ - '1 I. 7‘ ' - ‘ "'
s otr1r oI Lcnzscete JCSIUn, p. dd.

‘ 0 v? . a Q ‘ 'v' . ‘ - " "‘ J“ 1"". "7‘ ”'-"

uesiQn. Order is Increased s, lnCTGESll; uJO nIn 8‘ 04 5u4 '
q 0’ ~ ‘ . 'L - :“‘ - w a t ‘w v fir‘ ‘ . .‘

ments oetweeh ODJCCuS and MACH ivin; e; a sgste: tic ar-

lfifi':1*"e‘ne‘L .

...

Desirn is: "... the art or act of deterniniri the
characteri of an object 3 that it will serve any
nredeterm mel nurpose or rteno es and .. "lend—
c ee d ‘
i; Y) -_

O
O :l - I " o ‘
esIII will ea ‘sed Irsl? as neaninfi ee-
a 'e

{:3 (0'

”he. _l.'.,:, -1 1:
;-.I..LJ .L .1. I I-) o _._

I] 2
I ‘ f
D
F).
O

I
H c
(I

; .
,J
,0;
I)
O
{J

3

r0

. F1. 1“ .u ,.fi . r-fiJ‘ r '1
Is desI n In landscage materiais

*—
rv'
,I)

what we call Lsnfisca e Architecture. Lnn’sca: Architectur
may be best considehed with r 31rd to its word derivation; its
necning deduced from the analication of design prineigles to
the otser Ml world.

Ihilip Cilb oeI t Ear erton, in lees, set down the derivation

-' .L‘,‘ u ~ ~ - n~ (\‘a .‘ ‘-\ 4‘ (N u ”J- . n~ rx‘ ‘9'"
0I the mores LgfldSCg:e ArCIJI secure as related In a1 article

by Stephen Child.
'ne use tIe Lord (landscage) in two tiltincu senses,
:2 f“eIIeI°el. ciid a,I::n?tj_CIiL€”°. III tile :fizhirwsal F(3TR3-
the word landscas rithout she article, means th
visiole material "orld, all that can be seen on the
sr°fcce of the earth b‘r a nrn "ho is hinself u:on
the surface end In th sheciul sense a lendseepe
neaIs a piece of the earth's surface thct can be
seen at once, but it is always understood that this
piece will have a certain artistic unity or CL'MGot—
ion of 111i ty i tselI ... :‘Ilthoutfh the wor‘: re_’ers b0
the nalur: 1 land, it does not exclude any huxan
1" ‘1 J, ‘ _ 4‘. ll .
wor..-s u‘lCU are upon the land. (1 I)
Lands cepe is derived frOh two Anglo—Saxon parts, ”land”
.—,I . . n... I! n I u - _. u n . . u
L~1d the SUIIl" s a;— correSpond n3 b0 shIp or ship , as

. ‘ '4 v -" ‘ ‘4 . ~. - ‘1‘ - K M '3- .r" J. r~. “L - fl 4‘ . 4 4“} -

111 the ford IrienvShIo, m -aniI J the state or canaItIon oI oe-
. f‘ 'v ' (a ‘N «ff 1“ J‘ 14 J’ "L r- J‘ (N J‘ ‘ I r . .3 V' '1 ; f ' ' -
1411- hence lmncs he i the setul stuce or con lUIOfl oI seI33

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tep en Child, Duo Decades f L

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uo the 11-3e11 -nn nis environment i1 -to h;1
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auLuaument. (13)
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and 03 3nc1 it3 nos t imp rtCLt Iunction is to
create e";1d preserve oeaut; in the 3ur"; on". 1i- 3
human n-31u-u1on and in lie broader natural see
of the co.1n- tr';-eut it is 3130 concerned with

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tne lendecepe or , can abundgntly provide."(18)

Whatever definition, fr m any of the gm1e eellng sources
K315)? orl B. Lonmcnn, 11:21:61,: 03.": :‘rcnitecture I: G --OCLCIII
"’C'Zfl’: (Gil...1..-7L..L n, 111.:1'116’ :QCCHl-qlflerd finer-"819(1), ' 1'
—(3E37$Henry Stua rt Ortlofl {Lnd n€T1“V 3- Raynore The 30‘: Of
Lennrlcc care De 31"";1 (flew Kori? .4. 333 “rows C 00., Ina“ 1:93:51: '13-

17) :i. .J. :3. Ole Vel 3.1.1, 1.1-10-3 Lite wure (Chicago: Jeri
53621 KcClur" 3_:d C”$:”N7, 1C73) po 170
(IJBS from 3 letter 33 President Lneritvs 'lirl H. 3110: to
‘tkue Edito°3 of LGlecene Architectur (Octooer SlglO , D- 40-

 

rs

( .

or from other sources you mev know, appeals or apt nrs to
reveal the true meaning of Lnndsc p figc hitecturc to you, it
should be noted that they all convey ajpr xinitely the same

idea: that Landscape Architecture is the ordered droonficmert

of objects nn' elements upon the surface of the earth, or

Tne for n3 discussion of design, in its pure art
sense and in rele tion to the landscape, and Landscape Arch-
itectur was intended to serve as a frames rk or foundation
to the principal subject mts itter of this comprehensive report
which follows. The embodiment of the principles of desiin in

Landscape Architecture are reflected in certsin eve its and

'_:o
p
O)
i...
S
(2!
H
i-
}. t
(‘7)
W
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Er
(D
%
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works done by various lendscete des '10?-

F‘ ~ -\ . "I T . r“ ‘4‘ nw'x'L Y . h '- :
OI uncriC'n history. eucceedinu cuugtcrs dlll deul Jinn

snecific time .cr lO

- .5

Q:
(J)

and the landscape design events en

.1.

I. T.“ - c 'u} v ‘t '; . J_ I -: _o . N
e tneS— riods. It is DJ underStdncinQ

C)
c}-

r“ . {‘0 q 1“ 1 N I 1
desi ners duo do;in.

[‘5

O
U
(I)

.L‘ w

onese events and net the desi; n philos ounies in—

(1'

. -
GSluLGPS

x/

Q

lierent in any one period may be COl“Cl nded.

sarly Lhulsctue Works In An~ricez
Uolonisl Period to lL

" ,- r~ - 1‘. u ‘ -. 4- 4 — ~ ~
LBHQSC¢TG rdellnw depends, DO eafLwnit extent, 01 sur—

“ _ . ‘ ‘ “ f: H. 'V , J' -. """I L ‘ -‘ \-—, r - I“ . W ' w ‘
rlus inc me Lnl leisure inc. ancscsie .1ruenin; in “series,
J’ '\ r4 J'- ’-‘ s 4' Or T. .C J- ‘ ’ -'~ ‘V "'
uuou n iu so an at a verd CLri: date, devoloscd vcrf slowl .

g1 - I. U
(111

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- -. s. '1 T -. '1' V\\ ‘ PV ~"\ “ ' '2 V J-
oioneers and sec: u- e nis u we and ener v necessarll! nod DO

-.--1 ‘ -..
oe €I.-_.-_'_ “9" OulQiH‘IlT—L C.

p0

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, :- - - .m, .. 7- a - .- . ..V .. ' .
U was nos until tne erious colonies oecnme firly
’, ~ . 1 H L-‘ .L -, f ‘ - ' ‘ ‘ _'_ f If! _ r.
e.tdolisned snot AOnes end rardeis oefian to we COHJl dered Ls
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J.

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‘. TY , . -. ,L 7 in “~. .1. ‘ f1 1 .. 0. 3-: 1f .1, 4.5
in sea Li_l.nd, (J) tne nutcn Lsrdens in new -orn, (4) one

.1. . -. ‘ 5‘
town fiercens and open Spaces 0;

"fl ‘ ‘ 4' I 1“ f. . “ ‘ _. - J- v {-1 ‘ 4'- . J. I‘ L
.Snd (5) une An lisli 1orasl Cerden in cne :-ox 1ern segues,

 

 

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l7

and geometric or formal in design. This fiornalism was a

carry-over from the gardezis that the Iissionarie; had known
in their home land. In Spain the
of the adverse heat and drought and the fact Qflat only small
areas could be easily irriga ted. The ncowtric plantiLM
pattern was good then because a greater amount could be plant-
ed in the Space available. In the arid refions of the South-

west the conditions were much the same as the" had bcxn in

\-

Spain and thus similar harden forms were devolOpcd. In th

main courtyards of the Mission Garden, water, because of its

('-

cooling effect on the surrounding area, played an im;ort
part as it had in the gardens of Spain. Side courts were
'often deve10ped within the walls for a; ricultura purpose:
and such that the inhabitants could maintain a food suooly
even when hostile natives threatened. This garden t"ne, how-
ever, until fairly recently, did not have a very marked ef-

fect on landscape desifin in America.

 

 

 

Colonade

Flo: Vel‘ls
Pool & hero:
Mission Ilaiz‘.
building court

 

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41-3}.

Id a1 1 ;'_-;;-

 

 

 

 

 

 

Food .=::::'E;E:] J J E J J 3 J Side
aardens E J r J L J[ j court

 

 

 

 

 

 

The Mission Garden

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L4 Gallegnanles,

w 3! ~:-\ 4- 3. u '1- . "\ ~ -. 1~ ..- 3-: wu: I? ... . -.. ..., 1 ~ «'3 flu,“
in ar 4; ouu our clules, ana ln 5444 4:444 440 4 U4 our 144d

* A9“ T'io V‘“l” “"**Pwr '~ “ anwo *‘ owl’» “ w 1r 0
uO1,._.‘,,'f.. l...o ....LC :11. _1--c.-.Juo- -1 lo P91111013.» 1.118 6111.11.11.12811 .LO 1.1. OJ.

”T;e farmer was the first len1sche desi"ner. 10J
ever remote from reclity thef mug hove :i11c e oecox. 1e,
the Great scdools of lrndsccpe desijn sprang from the
afiricultures of tee oeriod. Lost advance: - n u 3 ant
types, rum! fertilijxrflz, ' I COVIMWZMICCLOH e11fi.n:- nt crmi
methods - wese deveLOped to i1cree:c airicu tvcil 3:0-
wet on, not to ma: posciole a luillerie: r a Lc1-
sinjton Glrden."
"I: farncr has n preconceived ideas of form; he us 3
all available knowledfie and techniques to no t a give1
neei; he glents std cultivates without asstr"0u the—
orils of desi‘n or beartg. He is uterested in the
maximur; produ “ion for minirvm cxcend’ture of

o . .

s are not static, out cdanje
1" ’L‘- n {’1‘ 4“.“ . ‘fi.~

118 , ‘1 .1— L’Ll C- 1JLav :1 065 111 J- :vr‘rlbll

13. Lie resulting le11dscso s

A.

time or eff
conste1r tly wl
ILC LailOCLS C CC; 1.‘
3o tgeir ‘35
which expres
dramatic terns."( 9)

a iolog'ic,S elastic quality
ac-1ieve:ent and es; ir etions in

In the late seventeentd cc tury garden develOJMVKU in
1e er 3n7lcgd colonies was relatively 3101. Because 01

‘2 "-1 . 5':- ' ‘~ '. ' W J" r W‘W J?! '1‘, 1 '~‘ ‘
c111-1c,tic coz1dti.-11s and W1 111 due; 1: ans 01 11110 Wco; le, 13,3:-

)

dens u-re not created in or" grand or clejant scale. Kost of
the arable land was needed for croys, eevin3 only a small
tortion to oe set aside for decorative purposes. The dec-

rative 33rdens that were develoijed we1e termed ”dOOTQTE rd

0

{garders or inflish Coo age C:rde1.s. These gardens, like the
73- f, 10.111 “' ('5 ”T306, poo-1 w ”4. 4.4. r," 1‘6. .L‘,‘ a."1 ‘4 .1.“ ,u 1 4-1,‘
__- PeV_OL¢u_._d QlJCLL») V .leLO. pQU UV 5*.1, 1.19., u--€l- L00 L10 .Lkl U-;e
Snail of the mother-comm trJ.

In 5nfla11d the Defisoant 3grdeus were placed close about

"tile house f r -ese of cultiv1ti1n. These gardens were smell,

(3.9) Garrett 5ckbo, et. al., "Lewis crpe Desifin In the Urban
“ ‘1 ‘t ‘ c ‘ ‘ —-
-1V‘rorren* Arccite chur€l_ CCOTd (13V, 1939), Do 71-

2O

hedged, fitted to the top05raph; and used local natcrial s ” r

construction. They were composed mainly of vc;cV.Ul;s with
c'lowers lining the w9 lks and planted oy door* s. Roses and
flowering vines covered walls and 5ates and often grex over
the roof of the house. The use of local materials for the
house and outlying walls helped to blend these min-msie forms
with the landscape.

Many of the colonists had left such cotta es rnd cottaje
gardens when they came to America. in America the local ma-
terials for house construction were wood rather than stone
because wood was more plentiful and ouildin

structed at a more rapid rate. As individtw ls became LOTG

settled, however, the rough wood 5ave way to more linishca
boards or stone and gardens oec.-in to appear around the houses.
As previously stated, it was defense and econ Tr of laser
in the often unfertile land that kept the 5aro-1 close to the
house, despite the bounty of Space. Flowers that serve; a
:medicinal or culinary purpose as well as an esthetic function
'were found along the walks in what was otherwise a fr‘it and
‘Vegetable garden. Flowers were also found in the front door-

:rard as reminders of the 5arde ns in the countries from which

the people had come.

 

  
 

 

F“. :3": If“: :

' o I ' ' I

u.. ':: ,, 5 -
Dooryard p, ‘d._ 3; lethJ vcoctaole
herbs and ‘~ -¢¢Qfi Ei§:'fu 5arden

I.-.) -.J 1.-.:
flowers ' -II——n-—n—u—x——x —¢—-;-5—-~——'-u—n—ul

 

 

 

 

The Cottage Garden

21

As houses 5rew in the pros ‘33eri1115 Jew Enflanf colonies,
so did t heir gardens. These gardens also had their probo—
types in the mother country, with their white picket fences
and latticed vine ar‘ors.

II V - g, s . ‘5
...tne pee -tree boa rdered wolks and the area 01

lawn and box-bordered flower beds and vegetable
5arden lying close t05ether, or often indeed 101:

in5 part of one simple desi5n, were all what their

owners still could see when thegr returned to the

mother country...' '(20)

The New England Cotta5e Garden differs from its English
counterpart not because of differences in desi5n details, but
rather because the environment dictated d'fferent material

choices and eventually a different metb od of 11? n5.
\\\~ Another out5rowth of the hew En5land count side was
1;;l55eeggen. This was the first cX'si e o: the preservction
of Open SpaCe in community planning in Ame1ica. The 5reen or
commons served as a central area for defense; a meeting,

"recreational" and marketing place; and as a settin5 ior the

\5 important civic buildings of the village.

{HHU

5.:— cg? urea 11

'4. S r. r

 

 

 

Town
Hall

 

 

 

 

 

 

 

 

 

: {Emma . "1..“

Residences Stores
The Village Green

(20) Henry v. Hubbard and Theodora Kimball, 1: I t 1 tion to
Walsh. 13- 51-

22

Q

The Villa5e Green per as was our first public park in
America. It was an area where townSpeoplc could relax and
watch their nei5hbors 50 about their business. A site was
often chosen with a few good existin5 trees, or if this was
not possible trees were planted. Often if trees were plant-
ed they were placed on the periphery of the area with one or
more trees omitted at the ends so that the church or town
hall, which were usually placed at either end, would be en-
framed. The central'oPen space that remained was p anted

with grass and little else was done.

 

 

 

ital

 

 

The Planted Green View 0 the Church

It is this Village Green concept that has influenced and
guided the design of towns and cities throughout .fczericsn
Ibistory. As we shall note in a moment, in Penn's Plan for
IPhiladelphia, the Village Green idea was the basis for open
IBpace preservation in the early American city, just as it is
'today.

I would also say that the Village Green, by ts stab-
ILishment of legal principle, is the forefather of our present

Parks and park systems. It is, like the public park idea, an

[‘0
\JJ

America m1 insti1t1on.
The Dutch Gardens:
L ar5e manor he.se s were developed by the Dutch

H? v. . J.‘
new 1 rL in one

H,

settled the Hudson River VLlley o

seventeenth centurv. The tenant farmers on these a

Li

5ardens w‘11ich, if develOped, were SL811 and enclosed

“. (3 ~ mr‘ ‘ r'\ - T- ‘5 T? v ‘I _-~ .- m ‘.
the s--.z.:e 1.1.3111,” 113 were T111088 oi new .411. l.,nd. - w1

like those in thSRV, flew Kerk, sh wed strong Dutcn

 

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m‘e . - -, r ~~~ » - “.1- _ 11 '1 ‘ - 1 -
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Jae e; 1.0-1111, a 1e 11 011611 wardens .110. 0 Cut“? .3 1,51,
r- l ‘14- '2 - 'L' T -. '0 J" ‘l‘ ‘ r ‘ fl - .‘ J‘ :1
an ir port 1 par b 111 one 111 e 01 these early se sclers . 1.1e
7 1.71. ‘0!“ "'71 n q/ t3: I“ lh'r F)?" n(“” 1.7 ‘1 r‘l” I‘ “W """1 1“; 'Tnflr‘J‘
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11 Ecnnsylwwn1a, esbtslissed by J1l1lah tons in loo? we
_’)0 . PH , I ‘ 5_ - ‘_ ’j u '\ :\ . JI- .. q __ v _0 _ [1
11nd a 111 1 1: u111e1eno ”arue1 so le, -a.b1cularlv 1n and
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around 1dilaaelpa1a. in pr1fase ,eress were Slmjle, con11.ed
. r1 f -—' rv -« J' . 1 _f'\ n‘1 . \ ,‘y . ‘1 a r‘ .‘ . r - —" J' . V‘-—T 'x" I k‘ '- T
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;.
~.- 5‘} '9 __ _o .4 _'-‘_ - 1, .2. I“ .,_r.< -‘ J“ 1 ~‘. \. ’a v , .'-‘
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' "' '1 v -“. 1‘ A z 1’) '. ,' J . f' u" ‘ r. ’ ' .‘\ _‘ F“ I! ‘ '~ "' "j
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24

their urban pepulations grew, to be able, through design, to

lessen the threat of disease and decay.

)

"Let every house be placed, if the Per: n yle.se
in ye middle of its platt as to the breadth ”a“ o-
it, that so there may be ground on each side, for
Gardens, or orchards, or fields yet it may be a are-
ene Country Towns, which will never be burnt and
will always be wholesome."(21)

f
U
3 v

i

To further aleviate the problems found in old EurOpcan
cities William Penn instructed his commissioners, when lay-

ing out Philadelphia in 1682, to incorporate a Pattern of

(J)

parks for community use which might be linked by green Space

“0

8.0-

in the future. His ideal of town planning was heartil-
cepted by the colonists and they were able to maintain the

I , J.
city 83 a 'sreene Country Towne" for more than a century.

A City Square
I ,Psrk PHILADELPHIA

William Penn commissioned the surveyor Thomas llolme
to lay out the city in 1682. A rigid gridiron plan was
adopted. Two major streets crossed in the center of the
town and formed a public square. A square block park was
placed in each of the {our quadrants. The early dwellings
were single-family houses. In the middle of the eighteenth
century it became common practice to build dwellings on
the side lot lines resulting in continuous rows of buildings
which cut all access to the rear yards. Alleys were then cut
through the center of the blocks. These alleys have since

becomestreets.

 

Arthur B. Gallion and Simon Eisner, The Urban
PattZrn (New York: D. Van Nostrand Co., Inc., 1963),
p. S .

.T_ he Formal Gardens 9: the South:

.\

 

English settlements further South in Marylan‘ and Vir-
EEInia were made by a wealthier and more aristocratic group
of people .

.521J James and Louise Bush-Brown, America's Garden Book (new
fork: Charles Scribner's Sons, 19587, p. 51.

">5

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‘“rieninfi and ?ortieulture Tove “oozived flom infleni and
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the work of seating country seats”, :3 these estates were

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South Carolina area the economic, climatic an. social con-

3

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'5‘. F1 J‘ ‘ I“ . 1'. "‘ "' f " “ "‘1’“ J‘ ‘4. ’7'... '
lOoUQPGd h ltrger and LOTG eleudnu Sud_€ oi ,L-den-

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lflh QCVClOpLCflu. in une curl; ei,nseentn centurJ, JAGA 330
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'1

Hiddleton were developed. ledleton is ienergllj COHUjCUCPC
to be the iirst oso-ess “Hill? desifned garden in America.
It is felt th design pien maJ have been made bJ Andre Le—
Ljotre, the fgmous French ldrlds ave gardener of the seven-
'teenth centurJ who des fined the grounds for the Palace 33

'Versailles, since it shows a uronounced French influence.

.‘NV

American Landscape Architecture or landscape design
'trulJ begins in the cit}? teen ch cen M‘rJ with the farmer and

ftentlemer botanists.

- .1. .-.,_L

‘ 7“ "L ,~ vv‘ :1 'L‘, '7‘ 3/; Q 1 " 13-": z: 3. ~ r‘ "I" ’r C J‘ l-‘hi
Joan Dill" Drum .LS bile 1. ll 8 u 00. or.) occuulfld 3134.19 0 me Cu Lac...)-

" -
-\‘]“7

otanical collection and arboretum near Philsde :n_d,

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Efieanleanie, in which native Species were cultivated. Sec-
Orld onlv to Philadeluhia at this time iL the nunoer of botan—
i£3ts and botanical collections was Charleston, South Cq°olin3.

‘irst nurseries were becun in the earlJ eifihtechtn

__ .1. ,3 ,.
up" sudrto'l

Ceantury. The still famous Erince u°otler Jur‘erJ

111 173 O in bluss Long Island. thers followed suit in the

-A—h— -,

'1

{Sl‘owing 01 seeds and nucserJ stock, pa rtic ulsrlJ in the Phil—

q

. 3. 0 ,.._- -.
lpnia region.

8. C1 e
‘lso estdblished in this period were two collegiate Do-

A“

, 1 ‘7): ,L r f7" . 1 ~ " .L". > ‘ ,_ .1
"18 lirSU KILLS ficrvafu 8.110. v-18 SCCOTICL .I.,.S

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__‘*1inn Botanic Ge rden in Le: iork along with Columbia ColleJe.

The Eltin Gnrden was s arted by Dr. David 3 sack vno also

led a country cst te of seven hundred acres at Hyde Park on
the Hudson w1ich he developed into one of the most attrac
snoz places in t1e country. This ne did with a wooded park

in the con+e1nor1rr En lish style and a host of "rccu1ous s

U

hotnouses, shruberies and flower and Kitcnen gardens. It is
one of tne e “lies t examples of the ”Enflisn SchoolH of nut—
urtc listic QCol in fiverice.

The early nineteentn century was a period of gained soc-
ial, economic and artistic cnnn3e. From about 1800 to 1850

J.

America exterienced tne beginnings 0

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the industrial revo—

lution. The ponulction be3fn to move from the country into
the urban centers where 3003 in tne new factories were to 30
found. Slum.nrens, cor 3e sto d and poverty ridden, develoyed

:ed11 for the 3ernination of 30018113 tic

and provided a 300d
tendencies. T1113 was 51 pe riod N.-1"cl1 was 1-1:1,.r‘_:cd by the appli—

of scientific methods and principles dnd the wenkenin3

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Jefferson's original intent was to leave the south end
of the court open thus allowing a view over a steep, narrow
valley running across the axis line with a narrow ridge be-
yond and then a high hill view at some distance. This view
has since been terminated with the erection of a building
designed by Stanford White. (See building #25 in the plan
of the University of Virginia below.)

...—.....- --————————-——.r—

      
 

UNIVERSITY or VIRGINIA 3
CHAaLOT-rcsVILLn-VA. ‘
PLAN or ans'rmc CONDITIONS .
_ 5:51.; Inna-5005:? :
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. I- . . .. . .-Hn‘..

William Alexander Lambeth, M.D. and Warren H.
Manning, ‘ *

Go., 19135, appendix.

  
   
 

New York: Houghton, Mifflin

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dinonstrate 1vork of a ver; L‘3n quality, none of then can be

4.

4 ‘5 -.i *9 ”tr“!!! "\ ('\ M“ r“ . I"! '1‘ \\ x J‘ ,-- rfir:
celrid cred to so oroied.icnal. Inio lo not QGQJU to de_rnue

1-

4. ‘ —, - g ‘r .:' 1.~ ,—‘ 4 - . ,-‘-1 'fi‘ ~ 9 v w . ,'- 1 /~ f"
these norns oi landscape ue31_n. .ne peeple .no did ”nose

Cardens kept tne ideals of the beautiful landscage alive un-

N O

til others were read; to direct t1 ei r i'ull time and ‘alents

to tnis task.

\“'
ms '10 _ .0 , . f‘ 1 ’1 o o _' a or
ine Iirst pr ofe-ss isnel orden deoi;ner in America has

A “ n y»- s '1 -« r~~ ‘ r. 3 . - .-‘ 3» ~ ’ ‘fi . 1 A r- -‘ R
nndre Parmentier Iho oe._1 meCthng i1 th 1e earlr nineteoncg

century.

0 l

rarmentier : 130013 an exaup e as navi-g off
1‘ ‘I‘j C. ‘ ,—‘_—‘—,-u -\ ' ra
e..r Lo e ior lOl‘dS ape .._de: in;

ose or any other individual was

”In so or as regards the literature an p1 tics of
landscaoe "arae1in“ as an art, in Eorth nmerica, al-
most everything is y t before LS... the only erecti-
tioner o: the srt, of any note, use the late K. Ear-
nentier of -4 001 :l1.r1., Loni: Island ..'..-.re con- e. r Li.

'1 n

c

irst, Dr. flosa n OI the al in 40 nnical Garden tried to en-

Fl)

courane him to take over the superintendenCJ there. PSPECH-
+. . ‘1' "‘ “n ”J‘”"1 “‘ 1. ‘ ‘ ‘. "i. ".— ‘F‘.1' ”m T: r‘J‘h-
uier, n he.ei, started his OJH private enginess. ne escao-

lished a co2Lercia ("rden on Long Island wnere h Special-

Kru—

:Lzed in fruits and fruit trees with particular -:;has is on
M fifi- _f‘,' j r71 6“ (“:1 (371-11 "7“ m4- qlfl TI. 0 fit 14"- n-n‘L 1; _
'__I" L/v Jed . -\‘Le k—«...~JO 81.1-»...C.J.U._4 LJ . *‘lo A.LO)~) 1.:1130A. ULVALU (30.1

‘tltibution was the introduction of tile len.s a: style into

Ele desicn of the place. The whole acreafie was laid out wlt

 

 

 

'— ~ I m .'- . ...L‘ m‘. - ~ ‘
233) Andrew dachson Downint, A IPcCulSO On one Ireorj an:
m 4' ”2-. - 0‘ “"3” "" P‘»"' I" ‘“'g 'A " .‘T 1 Y‘" 7" i t! j - (\
é C biCG Oi Lu. 3 LUCC‘J.‘ - 1.1-..“th114 11. (-481! ...Ol’H-: "lief .nd ILlull_‘.1-.,
.—\
—~. 1 f~f\ 1’)
1941), gp . :o-al .

34

a definite plan with sinuous walks which took advantage of

the slight irregularities of the normally level groun‘.

   
  

 
  

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Among the many places which Parmentier laid out was Hyde
Park for Dr. Hosack. Although the grounds themselves were not
entirely his work, a great deal of the picturesque element

was undoubtedly the work of M. Parmentier.

.\

\

Parmentier's ideas followed the European thought which
was then current. He advocated the return to nature of those
I‘lghts which have too long been separated from her by the un-

due regard to symmetry.

\31
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owners and co -ne eons atenu Lesire b0 grov new Llancz.

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coultryside, for all nnerican gcrc ndes i2n in the seventeenth

sand eifnteentn ceLturies dds essentiall;r 131: .al. It wa

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Anomas deiiersoa 3U Aoncicello, David A seen in an

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cxf his horticultural garden Lay have considered naturalng
75E3t it was not until the decade before the Civi Tar, when
Alildrew Jcckson Downinj be; n to adJoc.’e and practice the

IQ il OSOphies of the English Landscape school, that ALGTlC“

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tcere Eel D“GL two brzic xxrescions of lenis Lye d
The nobility, on their “rout landed estates, bed
I..£-..‘.y i‘iLe fonle j:=‘“;ons in tLLe eJt I118;11'181”‘ of tile
or Dutc* :t’les that were cuureltlv pogulgr on tLe

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cont :ent .; 333351 A, on no otno: Lani, no; 181
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elogei,

i113 :att:rn of develo;i lavi‘n :orL?l gardens Tor ,he
we lth» n5 excll, oinle gardeLL for the p—asunts i: reLi-
iiiscent of SiLiler events that t“ nspired on the American
(zontinent. Again, With reftrence to the orcvious ch“pter,
Ire find the English formal tradition develo;eu in the ;ereL

3,1335 of the southern colonies which were settled o
c>i‘ 3 English wristocratic back round and tho Laint:

-illCCl

(-c J- n _ c o ‘ C‘ 0 ~ .0 -v _. '_ 7‘ ’ ' ’W‘ .. '~‘, Q ‘3 . o
~= thus in Aeii new land. imildrlg tne “Cd Ln luflfl coLOAict
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litcrucure

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or Lrt, or one bbqle 01 tne 1eren, tLe elements 01 tne

4.1

American culture- life were, for one Lost111srt, oorrowed

- ...i

In England the social reforms in one IHiCL e of she eight-
eenth century were cased 01 the conce1zt t11ct each inCiviiusl
“erty, equality and the pursuit of
in

3 - . .' . w w . ‘. . J- . 1 ... . -1 .
nappiness. A new Lioole elLss of Lorenenus JLS growing

3d sceugulsted some wealth

5.1 n 5‘ m1 ‘ v“ 4- -r ‘A‘
Lnfl;wldo Laese peovlo, mien used 1
1" r‘ t‘\ 3 ~'-« -.~ . 4‘ . D w .' -‘ . «z- ' 1 A “ . .

Lno “SSUD d Jos1uions o1 lessersni' ans prestige 1n t11e COL-
. , ‘ . h . J- ‘ ,1 - r1 J- ‘ ° ‘ 1' . 1 o
munitf, oegen b0 Ltmafld one ripits no p; 1vile

”'4-

for years been the sole oossossion 01

1'4-

w ._. 1 .- . _,

one nooiiiuj.
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no one stage tine List one 1..er‘:13.:..-t cls ms * 11m 111

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eaventuallg, with the combination of forces on the peru of
Th.iese two :WTOLp the land was arrested from the nobility 31d
I‘etur'1clo to the possession of *he comm n Len.
nere were certain moral reforms that developeo in lime
I!i.th the above economic and social changes. firitcrs, sues as
ifillliam Kent (1584-1748), served as the Loral theorists for
pl7cu3tition=rs like Lancelot ”Capability” Brown (1713-1733).
Kent's tenant that ”1ature sbhored e strsijnt lin was

SCNDII to Spread chaos s1 destruction on the En;lish landscape

. " (1 '1 - . l qq_ 1 .' . J.
lrl Tine works 01 Capaoilitv' srown. It was tae fassion U0

.. 11- H .'\o .1 '.' u- ,_, ~ .r.‘ . - l. 1 , -
Lo 1atural and Langr iine exan1‘31es 01 1 lisa 1orLal 3L me:-

N‘L J- ".,' r."
lObb U0 this new erase.

I J_ . I. ',“1r"l' w
1t CPS.L.U"G 1.5:]. u-1¢;.L) CL‘

l__J

I’M H- . ,r .— 4-
drown liLenea are uO

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1

_“ ...-y
;4 see 1128

the run of a sentence: a comma here would break the sentence;

(CD!-

where a1 in rupti was nee as: 3 there w uld be the marks

of a parenthesis; a eonclusi on would be signi”ied "o-r a full
stop. Another sentence would be begun and the flow of th

‘-\~ . J- . ' Yr 1‘ a 4‘ I. " ' ‘V- .L: ‘ h . 1 . L.
co position L11 a continaous movement, tae GthuSJS o-in;

" "- ‘ 1 r f! 4“ P'LJ-,""‘-'. ' (\1 T 7- ~ q '4"
a garden oecause the attent1on was oroLeL aid the
n .- r: in'H v '7. 1 "2' I": fi‘fi 0'“ —\ r t" ‘ ”0 «’1
lost grandeur. grandeur, s: an eiu, aeandod rotund iorLs

_ ." ' o ‘1 "- c ’ k _ ‘ ' J.‘ -- _fx -1 ‘ o 'a - ,L ’1 'v .3.
and unaulat1nQ lines. Vrown s mGuflOQ 01 des1-1 is related b0

_/

the unfett red ease of prose ratier than the more ordered

Ineter of rev-ins verse.

It took Lens 01 taste, judfiement and order, with a sense
cxf rational litness who eliminated the excesses and vulgar-
ifities, such as nuizlerv Hepton (1752-1813): 41d Sir ’vedale
3?w'ice, to Lidify tLe ex reLe tendencies of Kent and bromrn.

Repton and Price helped to restore the horticultural
Cilem ent to the relative bareness of the L;re pictorial land-
1e idea of forLa ity near the house
53151 info rmality at a distance irom the house. He founded the
H“

L4 - N . (‘1 1 ll . . ~ ., 1. _ 1 .;.~. q.- -1 .2 1
‘r51,l sh Landscape ocnool wd1cn aQVOCQUEQ the 911n011le

q l ‘ ‘1 - 1 v- v- ‘ J. J— _:_ «I, < I ’— 0 "\ 1. .. ‘ ~ 4‘
‘~ lulnes epe 3 aces ClOSClJ related to use OUlldlLQ saould not

KN
KO

Ctr lve to cepy nC-'ture, but that it should be in luenced by it.

\

m1

0 _n 1,. '0 -v. .4" ., w
1313 no urLliSL10 or romantic style 01 lsnnscsL

1:11;, :chic‘1 had orir‘jimtled in “file“.1 in the ;..i;‘dle

1 the United

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eoouu e centur; lSuCl. ..Jecozli‘1 1r111y eLtLolLLAed

ALL)

.1.

Q ' o J. ‘ (w _-| J_ \. f‘ -7; l‘ a _f\ . _‘_ J.
le4O s, lb reLLlned tn vo1ue lor Loouu 111u
.I‘ . .'-— "fi- .-~ - 1 -.« . r‘ - r- - -. l‘ v- ‘ "I
Lerics, li1e unblend, dad her literLPJ oeoL rs

new nettnrel school. Henrv David Thoreau SlEl7—1362

«J

O 4‘ l‘ _ _ o H
‘eture 'l.in, unlike many 01 see 1ort: culturalists

"“ Q ' ‘ ‘ 1 1 V'x f“ ~f‘i - - ‘ l'“ r '3
Lid—lo4O s, end he snowed tn- re.e do to oe’reeped 1

“resh ettentive study of her licel Q‘Llities and can

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LllOI‘GcAl 11-411160. U0 €4\"J\'_1.:'.CL1 143.-) L10 .1153 (711.1-

1fo711130t; ti el.

"’11

-- 1 n - - - .- ., -1 ' 4- .- 1
1or-e LEI; a ver_; ep,r grlete Lhelogj et1ene

“n ~ '1‘ '3 - 4' v ~ 1“ 1“" \ —- it".
tlem at 01 our country e1d e Lue zroom l‘nt. 1n oge

'1

“'4 1 V. "I' ‘8'“ y’ ‘ ‘ h-vv-e “" r h" . J“ ".
fitsflb ~39 e1e never 18 ~ ole ground, Lad lb see

C)
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the set-

2113311140 01:].

-..-4. -. .0 4.- - ..'-
aLite awscellss. .Lhe settlement 01 our country is JUSU a

ZLerLe scale mushroom hznt. Je are looking for a sin;

Larsen sites, coal mines, gold, or oil -1.1t1 everr o
‘tlsihute of t1e le dscape being ne3lected. Thoreau l
'tlle totality of the natural e vironL nt.

fie advocdted the WCTGSGPJ tion of natural areas
tj-CNJlQP merit lest the; be lost to the Speculator.
destiLed to develOp, however, until several

lsztmsr when many of our most scenic land 8 were 0L the

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ther at-

ooked to

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7"“ - ~ 1, :~ 4. 7 . r .,. H. '1 - - 3 ., ”1- - -
Lgoreax loolec at t1e l: .-o ago ex3re33eo cestaln ,rln-

. ‘ . ‘ .. ‘ x.' ‘ ‘7‘ . ‘1‘ " "X T '1'. ' v- M J. ’1 'v

olplec 33103 :re CpgllCQJlG UO land; age .eclrn even cola;

fl. - "J" ‘1‘" ' >341: 4" . - (V .‘_ 4" P‘ ”"'\ V. b r‘ r‘ - q n

rlcvu, ”‘H S accltlono to one lwniscuye cucuei “ neel one u
5 ..O 4‘71 ~J" ‘3') o 11):: I ‘,‘u. (‘ vvrwrr 3'1 (3‘! 3 '“ Xf4“‘ 1! 1r:

coue OJ. Ll... L‘UL]. CI- DV :1. 11 ULLlD 3.1. ;':J A. _'L«J.1J_c L-)ro 1.1 U-4L {5‘ (Du—U.

‘ ‘3 ‘2‘- N 4: "‘\ '1‘ 1 H w c" ‘7‘ "L - 4‘ . ~ '4‘ 1“ 1 1“ + 7 ‘5‘ r' 4"
“esult. ueCOLu, he 1ocuoeo couCflblOH on uue oewutf 01 net-
' A 1 ‘1’ P‘ ‘L \ ("1 1’ r- -‘ V ‘L “~," '1‘ -' ‘L . 1‘ - «fa n ‘l‘ “

1ve plants anl ureg3. we celleo CEUbelOn to toe We; uhtlre

‘ I. Q q
.0 J.‘ - ~ , {g H . r I w ‘
lectae-s cowh 511073 neg: eroxs, rocloloes and Nate r courses .

.-. --3)
He was aware of color in tle ls ndsc l we and the way contlacts
he 3htened interes Finally Le echoed Repton _; a 3 1303
that restraint is the secret charm 01 ms; e'lects. The

1 - .3 -~ ‘ " ‘ ~'-'-~" ~ -‘
nuIJanlzel anusc::e was i10“€&u 3 local. n oeruul1ul lano-
scape suggested a cult ole naoitat.

undrew a kson DOYnilf 1315—1332) was much igprcsszd
with the geilOSOphicc of next, 3r fin and Lcrticu a1ly Repton

o “1‘ u

of the English natural tradition. use ouol 1c dtlon of Down-

 

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11.1w. 3 000-- , A if‘CO.ul 5’3 051 u.'lC -.IC L“ '{ 5.1111 1 1" 5.3 v.1. CG OJ. @141);—
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SCLL e we“? "€113.11“, lfl lL/‘Ju, toe lll°lu 01. .LUS 1.11" .11 1L1.k,"f'lC.'l,

 

N ‘.x v r a ‘- ‘ \ " a ‘. fl - . w \»\ 1 "‘ ' ‘ “ *’\ . ‘
:zlco sloweo U48 lnl ucnce o: ”Aoreaa ago tge lani3ca; Balat-

f“ ‘ [q :( l . 'L‘ Yaw -" ‘,- v ‘ ’T‘ " , " “
one oalv tor “ota, woo Jere 01 one odvGJ-

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Lmdenbl centu; rom13tlc QCJOOl

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4.— ~

‘ . _' M fi 4_ . ‘w n _ ‘ \_ __ _ a .-
DOWXlH3 alvocate’ a lagloc;ge wgere natare wa~ :c1lned

51:13 softened by art. The iniiviiual Should take 31v 133 e of
tvhuxt N'3 pcculicr to his c"i site and 211*;izc it with jufii—
<3i<DU3 tronoglantin", inf r""l ”row:ix 3 o treoi, plztcgnt
C“3”10ra3t3 of ru‘"3i ”ro:;h, cloze lauren l.”“ , zontr"zto of
134711“ and dark folio e, #11 with Cracefully CH‘Vth road: in

.
lfi -'\ t“ ‘O‘ — v . i f“ 7' ‘- " '3‘ ‘w
L .4 f \ . I e U - .

A.-- .A.-_-’ h

n J-

i-x’" '" we 'I‘fiv 1" ‘5'ho 'n ‘71.}! '3‘“. rV-q '7‘ D 1" :71"'f‘ .3 ‘r ’3 1’":
ti-U U.- \J__..'.e 0—. U-.L'~J _-..14.-....LC'—IU_L\J-- O On-.. .. _ L) $400-; Lu 11.0 UJ.‘

fl'L‘- " -.~~-\r‘« -~\. '- .~'. - 3 ' ‘1'" ‘fi'. ,‘q ' ‘1 ‘ " .1 \ ¢ - ‘v-
cultural QUJOAJJSBC grevmileo in ufie iieli oi lancsc. e worn.

4' ‘ . A‘ 1 J‘ ; J‘ IN ’1 ‘I‘ — "1 '3 J- 1", x | '. ‘ “1'“ 1‘. "‘ -. ~ 5 1
to a lease“ oe Lee tnc bmuuvu c1 cne kerisc ior a ”orticei—
“fie r1 “ ' Tl "C '-"' r‘ ")0 '1" '1‘ 7“ "‘3‘ van 4‘ ‘" 11-2..“ 2 " m 4", °~ n 314‘
JLILLJ. (-31., L.’ L.)“ e O “.0 H1 H Oi-'u O— U-;e -'— .L‘. A) U U0 L) U; .45.) U110 l-..i1_/'O.— U-

'1 rd

ance of native plant mate ial in lenosccoe e11ect3. fie nio
not, howefier, cancre to this idea 313713317 :3 did sore of
nis irmeoiaue followers.

.. b.,.J )1...

ll
Downinfl's "3*718 of lrnficc re frr’eninfi ””3 “t7

-'- _ _'_ I I ‘ ' .. ~ .11 o 'L "I ‘__ u .1 - o _ I _{_ _o' ‘ ', ‘ _ ~ ‘ 1.1“ ' v'
naturalis.ic, 1n 31.c its 1e313n 11391333101 x33 lran 11 4

J. ‘ .:.. . , '0 J. ‘. ,1 . .2 ‘ .2 w .0 -l- .0 .0 J. " J. ‘ , J. 0 '.
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L
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0., J- r on --‘ W.- "V J' I ‘w-x “V . --x .‘N v "‘ . ‘5 r" I
3:3 q czsracter unli1e Us Ln.llSl countt" J1“ Doxgin» lil—
.. ~. KI -- .. J— A_’ .3.
.. J. .1 3 4-. ,1 1 ,1 - 1- - 1 1 . g- _.L 1. 4— ,. - ,-
kt-I’CI". U... a ub‘d [39 ‘U .'."~‘.‘;eL1 bile i_3I‘d.€-1-“-;Q- 1133111”: , 0;." 7.32.1711: ..: u'-‘ 3.475113»..-
.1. 1' :t . - . . 1 A. ~._ . ,... ‘- .7 . f?“ 1' -hfi . . - , . -
tne 11 w r feroen an: UJe anoscgue Loreen. ine .10 or [cree3,
1,4,3." "‘ “L 1 Q 1' .101 4‘ q --« f3 r‘ ('1 +‘1 vr r‘ v‘. ’ t" (j o (“"7 1
:16 C 3-1 -A.C\i , ‘I'I- Q DO Db CqLe f8... O‘A ‘J GEL UV :4 CLdUe LJun-e e“; 8 L43. ALOQV LVL;CA-
4- x — - '-. 1 ,. » - 4- 1. + -'- .~ ~19. ~
tn thCJefl Lari n to lease one palate, out tie lanl. .:e
H . . 1 . .1
P‘ ‘ fl w ,-. ~ . m --‘ ... .-‘ - -' - ‘-
i;aro~n w,s an apne £1 to that sence oi cne oeautilul 33¢ tne
‘h . I" ’I) '1' ii rw '1' ‘L 3': . "\ 3 + .D ‘4 "‘n F‘ 4- ‘~" " ( f )
L4.-l 10 0118 OJ. 1;.-.18 1; UL)... lizLLUGD OJ. CU}. ;-<.ULL.L e. (—1.)
D r) 17. 41.0, ~ -1 ,. .. ...L:
nelore bulS Ulme tie 33rde: wbs esoenclal
.- ,. -. ' - ., .1. .-1 _ ' .1. ‘ .1. — . , '1 - F. .‘ ,.
Linen one “GSlQCQCE. Ib w;3 a separate eatit; leSlTHel along
' 1‘ n, n! . '3' ‘ a - .1 J. .‘ . 3 1’ ‘ J. ,r1 ‘ >2
:3120Metric lines. I e guroose v.3 to Qisglsr plant , 33331-
..L . 1'1 :1 ,_.1J. . .1. -1 . n ' 7-,, ‘3‘ ‘1“ . J- ' '.
eaetu" i lectures and 0t or engcl_1-nncno gAd uws complete J
W o '
" D M ‘L ‘ ‘ w . «I .9. 7 - ~- : - ' ‘r I‘~" " ‘.
C«'lvorcec‘l lTOm use sur_°ou:1c1n, lanasca e. (ace illus rluion

l Colonial williensgurj on 13333 25 and 2 ).

l: , - ‘J— 4- ..." 1- ‘7 11, - :3 11 1, "1‘11 .11.. ,3
renr; Euuart Ortlof1 and uenrf u. Harm re, ine too" 31

- " v - - ' ,9. ., ‘ 1.." 1- _,

ace DGSan Mex -orL: n. larroW u 60., lflc., 1933,, ).3

AA

fiJM

T 1e rns.r so no -l cw aiought CY’NDCSZCG.LLH1C these

4 -. n‘.» M - — 1-
qualities 0e asanloned and

J.

clude a much territor7 as possible so that, accord n;
Domiin3,d1e li13e es should loose thecs elves indefinitel-

unite Cfreeaoly and 3rC€uall7 Ji' n t1ose of tne surrounding

country."(27)

~‘fi'- 1 .‘L ‘ r- ‘ vv C "‘ -..]."4. 1 '.+‘

OJnCr filufl one acre as wGll as to the eCCLCe own1r wits
"9 -. ~ ~ ‘I 'V ‘ . H v, ‘. v:-\ (N . 1v ‘ ‘4' "L1

or 1ive nunared acres. 131s was primarily due b0 Cne

4' . ‘ “"I .' "' ‘4 ‘ r‘ '1 '. ‘ r“ '0 .S‘ ' 1‘ f“ w ~r ' a" C v
Cnat nucn of tne pleasing e11ect was due to ogen laJns

”But if land.:c of3e firuenin in its L3rooer sens

can not oe olied to the emJeiliul1nPu of the

d

has three trees to plant for ornament. If the

sor of the cottC e acre would embellish in a cor

f

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--.cmle '3 )liCIP ole to the co

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.11-
est cotta3e resif eices in tne countr;* , its princi-
ples ma7 be so died at advanta3e, even 07 him who only

8

.9: ,,
C3011“. ..LLlC

7 .l... ..'_‘, ,-~ :I '.
nCC Ca wnole _araen Siould in-

F4)

cf-

witlx pronriety, ne must not, as we have sometiaes seen,
and
518-

render the whole rediculous by ain'ng at ambitious
costly emaellisnment; but he will rrnter see}: to

.1.

light us 37 the good Crete evinced in the tasteful

o o I u 1 H f"
Simo1101t7 of tne wnole arranjement. (2o)
'lm‘

$118 l’lu‘

fl . w t ‘ ‘ P N

11 er OI ir dividuals C-Oi; us Jn 9033;3u

weCltn aad
1

iLerent su11icient to enable then

e
n3. And thou3n, unt il latelj,r a very

l
mearre plan of a,i1, out tne grounds of the resi-
the
taste for elegant rural improvement is now advancin
rapidl7. Jith us a feelinj, a tCste or an inorove-

dence, wcs all that we could lay claim to, yet

r : to
3leas ure of count 7* li fe...is every day

('-
Q

ment, is conta 3ious ; and once f: irly ap13reciatcd and
established in one portion of tne coun‘tr7, it is
l‘“Cfllnubld Jitn a celerit7 t:1at is indeed onder-
ful, to ever7 other portion1 And though it is nec-

’ I I a 1 ..fi -'.. J." . -
ssC r117 tne cas wn3r anaCeurs 01 an; art are C ore

:3

in devising and c J°r7inj r1 ns into execution,

- I
Ibi , o. 54-
123:; ’ l). 550

m \1

Cerous than its professors, that there ”ill De,
Cany

,‘ff 8

Specimens of be‘ taste, and perigee 3 sufficient
nLuoer of efforts to improve without any real taste
whatever, still we "re con iicei the efject 0 our
rural emoellishments will in the end he hifihly
afreeazjle, as a false taste is not likelv to he s
permanent one in a comuunitr “here ev ry‘hin; is

so subject to criticism.”(;,)

Altdou u“h Domrni n1; is :enerolly associate with works Glen;

‘
I

toe Yudson River in Sew Lork State, he prOposed or actually

‘ O

~~. fl ~- ' 4- N .'. .(\‘ -. - A
did a nuLoer o: trogecus in urious or us.
, .1. 4 J.‘ - n .2.-

He was one of ale foremos u insoiQutors or Die ides age

public parks were nee eded 31d hel

Q
{J
'4

taste in tlii s direction. His be sis was that men? people

TCTQY visited the rural 08L eteries and any otho“ cevelou“ sit

C.

PGSCL{Jli a pork. This th ; did for purposes of relief from

the Mt therefore the po‘k should be brought into the cior.

P‘

It would be e means whereby peeple could develoo an

4. .v .9 t. .. ., i: ”i , .z. ‘1 .9.- .. ”.1. «L ~_.« 3, r1
Solo“ lor rure sceneru. “e 2 s *ctu: lly sue llrot U0 orogooe

a lorfle park for the city of new Lork and in much the same
In his proposal for Wes;inrton, D.C., he exh’bited :10
{e developed a schem-

lu- . ‘r‘ VI‘ 'L - '1‘ ‘ ,9 ' “4‘ "‘ J“ {V ‘ -—- " -
j. ioring every i rue treaoment o; L snidnts plsi. he gro—

- ‘ "' V - ‘4 1 '9 ‘.' -: ‘ . . I 4-. 7 ‘2 ~A
g)osed pleasure LAPdGAS, mazes add lountaiis 1n use Jest “CU-
w ~ ° ~ 4L“ ,. .1. . +~ r1 ,, - J. W 4.
“Cl uaziner. In lieu oi tee QFCCU mall 'rou no oopiuoi DO

Tw—W 'hqr‘fj '1" V}: ”otfiLYY‘ 1 ‘fififl "\ 61;. ”1 ’5‘ 16(14‘ (”AW/3“ (311'.- 3] ”Te
“'.e 90'“! ~~~~~~ Uon “ A- ~A.1(Ip‘-L’ ’ .18 1:}... 0-,JOL—Jv C;_.DO-- ...».Je 0—)Vn- J‘w- .A—~—
'-T!'W 1, ' ' D "'V' H 1 ~fi {113“ r “/ - . ’r“! er ,- ‘."' ‘ '= J‘ -‘
“t,l s in an inloruul SCJOMG. Lmoqu neJer lhfllereduefl, it lo

1' ...- ‘ ~ .,-. . ‘.. fl- . . . ‘a n ~,-‘ ~ h
-lCNi at tlflt tJlS r on was a rest 13:” luence on toe ueutrul

 

1+ 1;.

Park designed by Frederick Law Olmsted Sr. and Calvert Vaux,
which had been Downing's dream.

A final project of merit was his design for Llewl*
Park, a residential subdivision in New Jersey. Zhe design
concept expressed is the basis for our neighborhood pa k today.
A man of limited means can not buy sufficient acreage to be
assured that he will not one day be surrounded by an advancing
population. If a number of people banned together, however,
with a desire to pool monies and thus be able to buy a larger
land area, a certain portion of it might be set aside for the
common use and enjoyment of all. This land, as it was often
developed in a natural manner and located in the central space

of the neighborhood, became known as the neiihborhood pa k.

w

 

The Concept of Llewlyn Park

n7“m‘. 1"!-

14...v--U

-fl. C.‘

Lu- u T

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Once done, e develo

“‘1 n M _ c) -,
CL‘XrQ-eofitc. va K1].

4.1 ..n ~n.
one rural enarac

ilctu 13-1.8 ul-l€;'

over-all unity in that

i‘l‘ .‘fi 1 l ‘dm’finn no ’3 ‘4' r‘ '3'". "'"a 'r:
XI DJ. 1. Al.uJU\lC l bleak/10‘s; U0 Gui-Ll-.. O U.-e.'.
4"" ~ Haw» 7/1 t" 7’“ O :4 0 'W"‘~" L71rfi° ° " n n
.L .L-.€ “"L‘CLJ‘ (”(3.1 .a. OCvl_. ., L'As' U -91. e l .3 t... V;
Ir 4'" J“:- P‘fi ‘Arfi-‘fl 1."". ‘. 1! 1’3 TV ‘L
vLef‘ 1.1,; \11 Of Ulle {v1 OUA'. IL) l--Ll Cel v-‘I ou \uL -AO U

T

of ordinary . finiuule.

One of Downing's

.
~.\w-7 ‘.“r-‘ flv'
_“-‘.L .L.-ilL.l J

of cert ain land u'eape effects. In other words he was con
cerned 1Iith the izipact that a ;rticular oercep+ ion of a

and: cape would upon a person. Within this andsca;
e-iect; style, claracter and other facoors nust find the
esthetic justification. Each ands age, it must be renew
w’ll have a different effect on each ind’viiual in accorda;ce
Wit; h’s t stes ani, thozef ore, the effects will be as ~
as the individuals who behold the3e landsciles lev~r“-e

tvn st

”(fires

'the beautiiul tn' the picturesque.
"The sea 1tiful," Downing said, ”
obeying the universal laws of pe
(i.e. Beauty), ea ilv, freely, 11
without the display f poweL.
nature or art obeying the sane l
ly, irre“ulaily, and off 1 di:3l

*ence we find all beautiful f r
b: curving and flow lines - l
infinity, of 3 ace, a-d will’ng
pictuie soue fo: us charactarised
Dro lien lines - lines ex.‘ ressive
action, and pagti 1 Obedience, a
is es with the substance or the 0
T1 e beautiful is an ides of beau

CQIZCGI’DS

:1 .. J. F .0 a o J- .0 J.
GNU. C .1 ' will CL]. S lac U
preserv4s; there rds
«qua? "1C! .rrnn 1h 1""
-4.“va \J-a. G QuiJL OLLU
an . ’1 r." '3 1'51 ‘1'“?!
bbvldAl lLflu J-Vl V—LLW— l-Lbab.)

rie in

-.., .... J-
A 1.1.1- U

'7 ask)

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the

fi . '5 -o' '4‘ ~ (5
uo1n1in _, 8 es 1 ...Lwt
' .. - .1.
la natui e or art
' H J‘ N'-
rlect ex. is ten
O‘“'O-HLOtr“l curd

fine pic ure quue

ans rudei' Viol :
F 1.,” H

. powxr

711.11;

as lar"ctarizeu
.2 ~~ - .. ..- :5
ne expressive 01

all

e11 c e ; and
' and

irregular
violcr ce,

struf le of the

. ,. Lt ..o '1 - . M
OLLCLJ. 01.011 0; 06.151“).
13" ""l l ’* .-::ci

‘J C4-o‘a.—n—

.( a 4-
89 01“ 1.3.1.1 L)

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l

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bored,

6’

_,
"‘1"! 'I'i ,"1 (j
. ,.L O 1K1.LJ

production

fl

- : --- 1 4—1 A- L -.: . . A. - .. _-.
haJJOEIc sly e1,ress»5; Lhe pIcLu.asque, as Iaea OI
-4 v _A v -. t‘ ‘ .0 Q _’ J. I_ - ‘ A ’ ’ H w
beaqu 0: power s r on,ly aid irre,ularlJ eggressei. ()0)

12' h 14‘ “v -. v ~ r “ f" q.- J‘ r— 1 v7 -. v- ‘1‘ m ' '1
seaLLJ Is all naturLl OJjGCbS, as Le conceive 1L, rises

st...:1;és on all his rizs. The oesutiful living form is one in
1e individtal 's the liarmoaious and well-balanced 5e-
velOpment of a fine tyge. scautJ is repose, rot pow3r. Ferns
express;n3 beauty a1e cha'a terized bJ smooth ans flow a3

0 n q I a fi

lines, 'KLT-SSlVG of InIIni‘J aha 3race.

m. H-fi _._. a u . IL. 5,“ . - .
LAG seauLiIul Involves tiose eIIeCts Which are
associated with smooth and rounded objects, w’th
soft-textured surfaces, Jith louirg lires, with
sequential QTTQDQCHELt f for:, - sceies, that is,
in .hich the attezitiOh passes from object to ob-
ject easily, by short eta es, without sudden ar-
restinf of the attantio: by anv ovject in the

c s081tioa.“(31)

ll .

.Jhen Downing cliéned her an: tra isolaJLcd Lhere

”1 n he c shied th stra'yht to the grcc efullJ wi15-
o

23 and when he co poses the controllasle lorefl“
as a framework for the far an5 una tcrable uiS‘
he achieved the same pruned iIiforIiality, th ‘
113 of house and seLtinfi, t1-e t; ctful un;1
the beautiful which were n the tainted l
of his time.”(32)

*.

Ho
{3 (7)

£38 Licturesque forxs are Clerccterized by irre3ular

Emsohen lines. These lines are ersre-'s ive of ster, violence,

}-.' I

aLnsuot act o-L1nd Dertia l disobed’ence. There Is, in effect,

*4

. - O .. _f"| _ O ’ h - I "_ ,.‘ 4. 1 ' n. _ ‘0 1 I 4‘ .0 O
a Estruggling oI LLe idea JILh Lne suostaace or COJQluLOn 01

Ho
C‘-
W
O ,
H.
D
C}
O

) 1:3 "1, p. E]...
) hear; V. KLMDD rd and Jheocora Kimoall, in Introduction
1118 Stu5: of Lah53c re DeSan, .. 77.

53) Oliver W Lcrkin, Art and Life In America (How Lork:
y /
\-/,

U! \JJ
H ()

 

 

Adar-x

'UJO

 

O
- Company, Inc., lCa—C

7 . w A. {N
“lnCM.a-t ans 13. 2ou.

by the character'stics of tile 0?; ject3, and w"
J.

The 'Iicturesque" - those e--ects waich are associ-
aLed with violent contrast of l1 ht 3nd shale, of
color, of form; with harsh and coarse tortures; with
angula shaves; and L th vergr individlal objects, -
scenes in wiicll the interest is to erfuliy :ttracteC
s,’ «’2
-1V J:

*‘5
O C"
f’) '

'1’ ' . ‘ r‘- O J" v ' ‘F- fi “fi f‘\"\
aLLention basses, as 1L were, 93 a sudden leas
1 ‘L - _l J‘ _‘_ ‘ ‘wl fl |l 7'.-
one 1eaLure _n Lae co'3 sition Lo anotne . ()3)
:‘h ‘ 1 - I . '1‘ 1 v- ‘ q ~— 4"! J‘ fin ‘ ‘
macn scene has 1L3 Oafl la;ascade eifecL. aca scene

then, in order to achieve a t ta unity though several scenes
may be Lerceived, must as in ha;nony wi
ordinate to it. To maiatain the unity of the site, provid-
ing tieie were diverse cLaracters of tcoo: ;raph;r and/or natu-
ral scenery, DO‘m min: felt that the 1 Mid CQJe design should
always exploit the dor; inant character 01 the site rather than
trying to join and 1armon1 e several. He entertained the

J.

- ~ .1. J. S 1.. - .g h, ~ "-4.."
d-a a, however, L 0L as anie Lrew in size and compleiiLJ 1L

if.

K“? be possible and even desireable to develOp more Lian one

.L J

J.

-ufficientlr sesaraLed

f!"
p
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character But

la

in pa e so that the observer will not be ml re of th lo multi-
gflicity.

Though Downing lived but a short tim , his principles
°rd ideas lived on in the works of prac Hi ioners who follows
ti‘a. Through the improvemert of our towns and c'ties, by the

4.1
U?

4- ' o — 1 ,4 L - . 4-1, - r-‘
crHeaLion 01 paras and playgrounds, as well as Larou91

chivelOpment of many Urivate grep erties, his iLfluence has
been str n:ly felt.

C15) Henry V. Hubbard and Theodora
30 “Che SLUc_v of Landsc PUG Desi"n,

 

U;

«~-
11...

ter III

--! " ,- on” 4. “, .--- fl...
OlnstLQ S naturc 19L U0 Lclecglc r :Lal 2m:
,- | -._ ~- ts
lSHO 5 Lo Larly L CO
In the period ollowLnr Lairew J0 ckson Downiu: s d at;

J- —L‘ n‘ ’ ,- ° v. -| m 4"?“ vvnrv Q ~_ 3 '3“. n. "f‘
uO axe end 01 age C1111 Jhr liuule ”LL Lose 11 uae 1leld 01
L" H 7. ".-.-- ."' 1 71 ' ‘4‘ (‘~ . Am C. 1 'H" “ . ‘ V5.11, 1 I" ‘0 Id V1 4‘36 n
....11c1501Lte1L 01-1. cc LU — . r U€d L161 1_Ln or Lam- Ll
(— ." " '\ r. " ' ‘ J. r 1 ..i 1 q 7“ u”- f; V‘ 'L 4. J" (~‘. ‘ J- A. I“ ’5 r: . r-.
P T11w1.}£XlSULTtBQ Ln LL,L, JJUJJJ -LN Lo a halu, LL -11
~- 4‘ y 1 J- 1 . ‘ a; 3 .F‘ I: r—
303 eyerfoLing, Lgt1l t3 Jar u,s over.
1.9.1. . 4.‘ P!- o ". (.5 n . ,. .9 .,,- -. ' - , ._ J. ‘
ALUU nae lel JLr L ncw wave 01 gPOSjePltf sgeyu tag
. or - -(- r q ‘ ~r‘ '< 1 'K p p 4- A . d J. \ '- I g ‘ ‘ v \
count ° LLnj Lon LLa 1L e 1oruunus durlng uLe J-r Una went
‘ I" ' 1 1 ‘L fi'rV v -'- w 'IL "‘ J‘ v. rs “ ‘. 1- ‘ 'n -,-‘ ‘ a A 4‘ (— .
on to LocuLLlaue Lore JGL1LL. u u-5 L u1me o1 LLLLuriLll-

r "— -: ‘r-v. r -- v- ’N r‘ 4‘ r-‘v . “-‘ J‘ '. u“ - u'~ P‘ “‘ )
zLLLon, ehpouuib Lecgnoloug, invenuion L31 greLt lgna $460-
1 PJ‘ . yxr" 1’3“ . "‘ r‘r‘! r~ r‘ ‘1 "-‘J‘ (j y. '1‘" ’1 'fi‘fl/j J' J“N
u.¢.L.-LllO' Lo 0 I n S; LI 1 U ‘IICJD (.u LEI ex.“ erg. ‘a'ol ULl l .L.« \J'. O Lie
" .1 ‘ ‘ ‘r ‘F‘ . (5‘; '2 3 " 3 '9 4 1" q' ’1 flc1--\
“GLIu..-.L.1&.LZCJJ UCLO" OIL U;l{ .LK-¢&-Q.LJKJ A.-. e .
"\
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‘0 0'“ " o ‘ u ’ C A ‘ ‘ I ‘ ( .r ’L " 1 "'1’
1 Lr;.1,_n5, 0.1-61 na‘u “ ‘ l resour 01,-? , up 03.11 Lev elol:1:..;;1 u , 9.11:; Lle
“ v? - . 0"! . ~ I“ v D "I ‘ t‘ r‘. ' r‘ ' r-
J 3L5 of cnw1Le erln_. In L11 0: u 1ese arcLo Luc1 of ngt JLS
‘ Q r‘ 4‘ . 'L‘1 ~ " ‘ \ H A . '1' r“ J“
(Jone JLS HOD 1L ULe DeLt . t; 0311 anLreSUo
RY' . ‘ “ .- .,.' .1- ” L. .1.‘ _,-, . p 4. ‘ .2 L ° W ‘
ulta lLLLL 033 an L U33 f.:mer 01 ~31s yerloa prac-
J. a \ o ’_ H ’w .. _._ -. h ,-- a l__ J. _ A H - r~ __‘ '_
kaiced wnLt lS allsduculoL101 L rlUUlUUPU . Tl_is ass JLr-
-'- ' — - . . A 4—“ 1 4n .: w 4.1- ,. ,4. -- w" 4-4- . 1-
talcularly true 1n uLe Louug L1LJ ULe LWOMLAJ 01 coLuon. TLe
I!“ ‘ v -‘ 9 ~v- ‘L ‘ ‘~~ -. w J‘ . . J‘ ‘r‘ (‘ . - ’2' ‘1' r r r~ - ‘ F‘J-
luwrge woula a PL ~40 ana Lnbll 1U 1Llch uO poQuce L cuaLue
vr '1 3 .1. ,r. ‘ V w :- A J. j_ .1 .1. - - '
di.elas , until iu mLs re 1euLL, LAJ ”gen Love on go a new area.
1 ‘ 1 a; 1_ 3" . ,—',' ‘3 _ I , .C‘ - ,., (3.1. J. -_-; v r~ -1
TicB land me le1u 'cLiLL, QGVOli 01 JC_O u’. Live cove1, JLL
‘9 .' "I“ A“ :1 ”‘L w? ~1 *~ -' Jfifi - 4"."T‘V r‘ -‘—\ -- - ,1 ..fi 0“ 'fi ‘, "‘.. "‘
Ahr‘uaLr Leuurodea 3, L49 nLuarLl ;LuuoLeLL 01 esoL_oL..

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’l‘l’C‘lfie in I:L':\v:,‘: J{_L

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...-

sccpe wherever tgey
and fills They also 5

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to clear land for :‘jri cu1t ure
ens was o“‘1' e1. bummd 1 wshel‘ 1-

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liuiber

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w. 1- n . . 1+ .- ' . 4- ~ . /
CAun1 out 01 our n_Lion s aaL‘1°1l resources.
T‘ 1 r‘ r“ OJ‘ ‘ f _ ‘ y 4" — - . . 1: I‘ - - .—-,‘ -.- I. 1‘ *5 J .... 3 "l' .'-
Lrs1n gronLn was cnaracLLcizo1 DJ CSOWQLLH ““1 11luu.
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11nd 1nd ool~ cove1e1 1

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37'1", .. - .. .:- ~- -. .. s ,4. V _-_ .9 - _ 1.. .L .1] ,1 .:
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rfi ' r 4“ . - 4- h + p. n “ v - 1 ~ ‘ fl‘fi
. 3 Laeir nasUre Lo 0 over rel: Livelr leiel 1‘11, 3”.

1:?“e

1" '. J- ”. - 1‘ ‘ 1\ '3" . ~ "“ - ‘a—l
nqs1e, with son 1nsLances OI hoL us1es 1L1rL110 iires U11
’ ‘ v" ' "5 . J‘ 1 ' 1 3 J- 1 “N l . ‘. ". l‘ 1"“ 1' 1 ‘ "D _
crauul1ed Lremenoous areas 01 L10 1U.1r1es an: ,rassl nos.

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1 1e1nez;,;r:s O1 111 e weUe 011:1 111 1 113111011; Pu... L-1e
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cities were ruinei: 111se1, Lye new iiiuZL r131 gowns

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denry ueorfie 33ve this new attitxde a political e33 econ—
M. 1 a" . 3‘ '1', " 1 '11‘4' v :1 J‘V" . J. ' 13
0310 DWS1s in L3e se3se tqu all LeulLs cones UlGlLabCly f1 3
< 0‘“ 2 1 1 . o L _I .1 WP. C‘ I f‘",
tne 1131, an u3oever den1es L318 denies his V: W e31LLL3ce.

1 J- ' ‘

1r . _ 1, ‘ T r‘ O -. .. ~53 A - 3'1
de was particularly st ucs 0y t3e conLraLt 01 L3e 1rLe 1313s

..C‘ r, 3 O ‘ ' .... . 4-3., V. ' ... .. .Y J." NJ. ,3 3, .1-‘ .- ...‘ f- - 0 I: 1.
01 Culiiornie 31d L3e Miser; UHHU uttertle ed L3e 1331v1uu l
.1. - .0 3 - 1.~ "‘n
preempLion 01 lam! 1n L3e bust.
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ave .11; iJiI1 1L11o_L> 1:1 11L e L36 .30L31e1,, ;3011111,L1113,

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even OllCOUI'Vi‘f'llfi'd a COIIZpCquLQiV-‘S‘ 1:] 163's! 1‘31]. .7..L.LIC‘, S

to monopolize the 13:3 to w3ich the coming millions

of our peoyle :Lust look for their support. In 3 few

years, th puolic doma'n will all be gone; in a fey

years more the 3omes to d 32- and the pLe- e ption law
0

1
se of riLinding t3 Door men

0
J

3

will Serve but the gurp ;L

of the 300d time pest. We shall fi nd ourselves e3-
ocrloassed by all the difficulties wnich beset the
statesmen of Europe - tL- social oisease of En l Ind

end tile Sc eetnin3 discontent of Er ance. ”(”5)

 

3e gublished his first pan;hlet,
T-.’ ' ‘ r r .' r ~ , " . 1 1.. 3 ' A a L ' ‘ V (1' ""
:otional Lni otgte, on t31s suoject 13 lVTl. dear] Leorve

 

0.11:1 110339013] would. 1:11;, eed free :10 1th in the

J.

1
future and advocated totall-atiom1:lizeLion of the land to pre-
'vent L3is. Des pite the e: :tremity of -xpression, Geor3e ex-
goounded some deep-seated trut: is which America use to soon
.“eolize, t3oufh often not soon enou“h.

#1

Even nor pepuler than Henry Ecclfie, in t e 0103 in3 years

D “ o 1 r- ,- r H ‘-‘..«'-‘ ‘ -‘ :40 '1 hr ' ‘1 . 1 I‘I" "': 1‘1 M
01 L313 ptPlO', JLD Liwaro L eiiudy. In 31s 0001, LOOMLfij

r334 was the base of a series of stre 3(;e utopias LhaL

L .L‘

III-‘1 f" -* Q J- h . 1 as vr'i ‘, ...Tn 7’;
u; -se unchLein wao orou_3L fo-L3.

I"!

(35) 1731:, p. 45, 13v Henry ~:~-eoriie~

These works by harsh, Seor e an LellLL; were produced
in ohscuritv and remained so until 3 Le y:-rs later. Clustel,
in addition to the ide as of Ti1ore31, ex_:re sed the lchlS of
these men, {enry Georie in particular. jut it "is n t until
the parks end conservation Love ement on the national level that

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MAP 0F '1'" Ii l‘l-ZS'I'RAI. PARK.

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FIRST STUDY 0!" DESIGN FOR THE CENTRAL PARK.

 

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FPederick Law Olmsted, Jr. and Theodora. Kimball, eds.,
Mariel; Law Olmsted Landsca‘ée Architect: 1822-1533 (New
York: G. P. Putnam's :Sons, 19285, p. 215.

Saucn Snowmc Tn: Scrum or GRAD! Szmunnons
A1 Tn: Scum tn. or Cum.“ Pan:

 

 

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an. II M GICANI COH'OQY '9. ”LI. "0 RAVI CON! 7. VII '0-
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Frederick Law Olmsted, Jr., and Theodora Kimball (eds.
W (New York: G.P. Putnam's Sons, 1928). p. 379.

and surroundings was in fact the keynote of Olmsted's work.

In this light the design aSpect of Olmsted's roads is of per--

131. cular note. The success of his road designs are due to

three factors: the adaptation of the road to the contour of
the land is primary; the individual character of the road is
due to a nodal treatment; and the road was always laid out
a]. ong natural lines.

He was, with regard to the afore mentioned nodal treat-

ment, the first designer to conSpicuously adopt the principle

0f rhythm into the natural landscape.composition. His roads,

57

particularly the circuitous roads, were composed of a series
of nodes and internodes. Main features came at the nodes;
such as the best views, (example A on map below), the most
attractive plantings (B). principal turns (0), and changes in

grade (D); and the internodes (B) were the connecting link-

ages.

 

F'- Viewing Points
THE NODAL TREATMENT

Adapted from Frank A. Waugh, Thfi Natural Style In
s G (Boston: Richard D. Badger,

1917 . P. 85.

Olmsted applied these ideas to all his works from the
ldzrge residential estate to the city park. Although he varied
tile scale and scope of development, his basic ideas were the
sense.

It is his park design, Central Park in particular, which
18 the most noted.aspect of Olmsted's work. His fundamental
1d<3as of park planning are very aptly summarized by Charles

31101;, Jr., and Olmsted himself.

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himself was the refashioning of the American land-
scape so as to realize this national purpose."(40)

Two other sSpects of Olmsted's work merit mentioning here:

residential subdivision design and campus planning. Riverside,

a suburban development outside Chicago, Illinois, done in

1869, might be termed the grandfather of todays "status or
quali ty" subdivision .

3

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Albert Fein, "Parks In A Democratic Society,"
W. W (October. 1964). pg 29.

(40) m, P0 310

Olgsted felt that unless a tionul eastern of suburban
develonment was ’mplenerted the countryside could n t be pre-
served, nor oouli the oit1 retain itu vitality. Tn. "r7
nature of land .s--o'-1‘l"t'10‘1 - igaividurlity *o the ; int of
self’sh exyre32ion agd :plo'tutlon - ne felt was destined to
destroy any e‘n1anee for unity in tie lrndserje. Without un’tv
then there would be Chaos, 3 loss of soeiszl and pnusic:l hir-
nona and thus tLe destruction of the Cities and the nction
alik . Vitality was dependent upon eooriineted plennin; 10h
that there would be a sequential fl w in1 interaction between
all the elenents in the landscape, fr 1 the snullest to the
largest unity.

Ol1sted's park pl: nninj yhilosoghv new 1 o be 1-31 e; to
his ea; 33us flanning work. As Stnnzord University in “ale Alto,
C lifornie, 10‘13 ity in close proximity to the builiin, is
exemtl ifiecl by the rerun e1ent of the builiin"s "round a cen—
* ~l “enitecturel ly treated gnlaze. The “est of the site,
however, is develOped in a 1ore nature 1en1 er (see olan en
3‘:;: e 61) Later work done by his ofjiee il us rote s now his
ifollowers erried on his rrineiules ’n the planning for Liehi-

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ilionor. 11oujn hls i eas w
1‘0 1 or by any other formal
its Chorles sliot Jr

3~§54), and Jo‘s Jensen (1%?

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as well as a practi-

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Albert. Fein, "Perl :8 In A Democratic Society,' "an so“:
Arohitggture (October, 1964), . 31.

t ' ‘r‘ 1 7, .u ‘ . ca 1 ‘0 -,1 J- ‘. n y‘ n 1 '. r“ l I": 1“ F“ I“ W -~ [‘3 " .
.18.“ 1-933. LloL J. 0-- «411:, J.u-;.LJ_1_V\) 1.3-1.12) Congo 0 -1 o .

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"V ’A!’ '\ —‘ i ’L w ’1’}: 'L :1 ’*1r‘("‘ 'fl “I“: (“ ( ’jf“ 1 (1 til 9" {

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.. «,3 7-.- 3-7 7 .7 ,1 . .1.“ ‘.».~.~'~ - 12., . ..
JOBHS o1 QluSued, come u4€ “ber1oan purge Move—

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Gaggr‘30 £011gn: tgat,ggu-ri :; 3111 (11“ J;;' be
2::pei of nubile jardens far eugerior to LLy now
in LuTOJe. Our grounds for tiis jrc;ictio“
in anPiCC there are no otge‘ mean“ by Union

is)
‘v " vn r -~ . J? P. _ _‘i . . ‘k -; . ‘ ‘
Cleul CHIC; 1-17.51". fiC .109 0.1.. .- 157.93 (7;-.1... C ‘1 DC Cir -
2'11 .,
‘ 'I

-133 the Americuns Qe1i_ht in “01“; eve»

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1172‘? -, {WJ’ Mo fir‘r‘v J‘ . ‘71 l1
_'.\,a - V . U11}. v ..L‘- ML: 001.111U1J. \.~\,‘_.~

r3‘V7«st saw“le, {221 t‘ :r
“$7101 evsry descriat ion of fiat3riel, tasoe and
.1 which are rapidly a oupulacin; a? :11 thgt a?
t to release this View. Is tn; Kenn-Lime, all
301-1113 hz‘ve 31113110 walk: or 5;“17613113, £721va in the

, —" .3- . ., J- V " . ‘ J- . - - ,V H
3 01 oxe condor; all naoare, as “so. E: 110; e

3, ,, - j“ .7,- J-7_M J. .1.- _‘ _- H
: Eu, 1: so ee_u 1- 1 UMWU usere 13 L need of

-r an ' 1 I I V f‘ ‘ 1 Q "I I ‘

"‘,' r2 r - 7'47 '.‘ ’1'? r‘ " .' - (,1 "r1.r ' 3“ fr; w~-':" 7 “a
(Ml-.1.) C. 38 41; '3113. udv u .3 OJ. u1l.‘.».> Li 1. ...0 JG-.- .-.u C- CL 1. 1...... U-.-e..'.
J- ‘, . -L " . J- J. ‘. .' J- - . . . 1 . V .. —'- ' J- ‘ -. " —

2 -‘ 2 3‘"! ,. ‘_ ' ”'5 ’ fi" " ‘4“ [2'0“ ’5‘ 2 ‘\"‘..r)."15 ' ‘3.
7.1.3.8 ~10' r; ‘4. U».J‘.~..1U U110 ll‘n- —.— bx... )J \. -'.;‘.l. '. .s lvav 1 U1( LAVA ‘—J JU-

,:-w 'l ’3 .\ .~ , ~ ”I: ,A .1 - - .\/ _ 7 -’- a
(lo1w-1500), a noted Lan;.3 )e .1011oecu J10 eeol goo one

I .
.~.rr-v- --

u eoem and 0530? pTOJOCDS 1n age LlQWGSU, quouee

v
","I '1’1‘-. ‘ “'4 ¢r ‘fih‘ fi_‘_.‘ " “r‘1 ~‘p ' ix." *1 “‘1 (‘1’. . . r‘ T... ..'- ‘fi
ma :’ ‘7 . ‘ ’. H— 4 ' :1 , A r“. - 2
run. $31.;1k) ALVJ~ AJA. J.~LA L‘fil.) «JUN/(.1 1 b...~ ‘- 0; ..:».1 U 2 11.”... #11 LL) J.-- V;~‘J

 

 

J-‘ ‘

-' -‘ J-‘ ~J- , -- 7‘ 1* 7, -3 J-
114.40er .fl“' U415, U U-1e 1.; .A. “Cul Of lAL.'lq {.211 3 L20 0-1.. :1\:.; 4.;0 U

‘ ,.,_, ..1 ,, .1. _ __ .3 .. ~ .
Logo“ 8 conuemgo;;rle;.

'7 ’--.--~ ‘a-.. ,‘1 -v« v ~, -'-" - _-_ . '- . - (w _,. .
,;1'JL ;_~.‘...e '31-...) -\-.17. vie-.18 on U118 00312111,:10111) 0. -1e

V 7 1" ‘7 "-77 7727 r7 #7” Ooh/""1 '7 n‘f‘ --7 7-. #77 7““ (1401!” O“
J-JC LklAOm ._ , ‘v\| .. -‘—'...\_j V \J .. '3 (..J - .—~. h-l \. as. —‘ x ”L ‘.-'-,'|_.. -.. s. L“»~ -J-
'

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"\,: T -W.--Y-‘I" ’ _"- ‘ ‘ q

— 1-. .4 ’ «L ' -.'.'.'.- , K7,. U v1- ...; -‘LL MOlL_ 449.4,). , 137/, ) y 1.‘ 0 ‘i‘lv O

Q‘s
KN

"To the great mass of the so—cslled cultivuted yeOple
nature he.s no attraction ex e: wh aided by the
merest cl: o-tre as of fezh oncsle entertainnent which
the reel lover of noture see‘s to es eye from. I wish
we could set up a crused a": nst the feedloniole des-
ecreti on of every sce17e of wili, nntur3l oeeutf., hh‘
I then: God mos t ferventlv that I s31 m c1 oi the o
liest port ion 01 suc‘ii rejions (i.e. Lt. De37rt ISlLlld
and much OI the weste n country ) in her pristine wild

w H v
oenutv . (4d )

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5

<9

8—

3 l-’

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r717“ ,, J.“ .1. 1 ‘ 1, .- ',-' _’ .3 ,1 ‘ n .1. -, , m a -3 ., 0 ... ‘ '2
i ile 279...? v.13 u at???) .1 S 000:. , . «1.1 311-1 ;- .3. 41130 9 the.) Mall ”1160.
C " n .1. - - ‘,.. -- - _ J. .- - .1 - - , "‘ ,M 1 -
(lco4) merked e turhin tOlflo 1n Eujllc policy. It we: tJGfl

‘, r - J— ‘ ['5 , n n- -, v" I: W "‘ . 'L T: l‘ " ' . 4" ‘
thdt the ied erul .overnhent ceded Iosenite Lerl, along Wlufl

the Larizg 033 Grove of £13 Trees, to California n the condi—

>~

tion that hev be me intair ed as a :7uo ic park. As years passed

FJ

more writers, as others had done before them, took up the cause
for the preservation of the Americ n landscaee. In 1372 the

e. The idea had

C“

Si

C.)

first national Perg, Iellowstone, was set

f wil

p.

0

been esteolisned and the dedication lands to forestry
and recre tion conticued with increased momentum.
These harks, set eSide to preserve the scenery of a cer-
tain priz‘.ev:l character, offered a new challenge to the desiggn-
1

er. When doing oer" work, the Lendsce we Architect has to con-

elations oetween ele—

*§

sider wide ranfie of see es and inter

3
u -18

C]

ments before his desifin i complete. Even when he reaches
largest landscape unity that the pork possess es he still has
to consider the fact that the landsc: 3e contixntes thou;h the

park steps. Thus he is concerned with the LRTIS iitness to

A

,1

the total land sc cape: to a city, to a etroooliten re ion, to a
(42) Theodora Kitool Hubhard, "H. J. . Cleveland -'An American
K . . "L D . T.“ ~--'n ~¢ I fi" 2P1 r\-‘

” oneer In Le.nd3 czm :rcniuecturc enr 1ty Ilandlflu, Len so ;e
c" twpe (Janiciy, 1930), p.103,

 

   

‘1' :3 "‘ r“ ~" ‘. J‘ ' 1““ . ~ ‘j . "‘ r‘ 'L . ‘~ '1 i"‘\-.
Suave, afld eyed no the nation. (ace lllUSwaUlOH O1 tsis re-

. w ‘ 3, ... . s p. . . n_, .v ‘1' "’¢ "L I 3 a~ T'rnV v“ v ‘ vx-v “
Dininisnind in scale 1ron bfl national 1.5Ls we flmfe the
.«4- - 4-1, J.“ -14.- _1 .. _ 1- ' .. a 4.1. 1" - .
state :nxi then.LunaIsecroooliiui1;xszis. It Fug) mle oosmei

' "‘ -1, 0,. ; ~“_» 1" +~,,1.1. J. .L‘ :4. ,
Retropolit an rarn adsoem (leSd) that 38b use 3 uter for me tro-

politan pargs. Desi ned by Charies sliot, Jr., durin; his

,_ .

"—1

partnership with r. L. Olmsted, or., the boston LetrOpolitan
Park System is indicative of Eliot's gflilosophy of 13 isc~ e

design and illustrates the influence that Olhsted has on him.

"Reel landsca 3e work is nothing if it is not broad,
simple, and conservs-tive of natural beauty.. It is
elaborate ant 3a1denes que only in Special circum-
stances. Its old name of landseate rardenin3 must
be discarded at once. andseape art does not con—
sist in arranfinf trees, shrubs, borders, lpuns,
ponds, bridtes, fountains, paths, or any ot_1er thin3
s as to produce a picturesm; e effect. It is rather
the fittinfi of the ls11dsca3e to human use end enjor-
sent in such a rannor as to oe mth appropriate and
host be utiful in any :iven Spot or re ion.”(43)

by Chcrles Eliot, Jr.

"A
n hark fairly ell aana:;ed near a larfle town, (Olm-

sted) oointed out, will surely beeore a new centre of
that town. n'itli the deter11n1tion of location, size,
and boundaries -hould therefore be associated the

duty of “rrsrsina new trunk routes of communication
betwe n it and the distant par s of the town exist—

ing assd f‘orecested. These 1sv oe either narrow in-
formal elongations of the park, varying from two to
five hundred feet in width and radiating irregularly
fro.t1 it, or if, unfo tinstely, the town is already
lsid out in tie rise3ng way that New fork and brooklvn,
Se Graneis co .nd Chicago, are...then we must probably
adort for. :31 pork..ys., Th 3 should be so planned and
co:3structed a snever to be noisy and seldom crowded,
and so also that the Twl”lui0“‘flrd IJOVGIOP t of pleas-
ure corriates need r1ever to oe obstructed uzles3 at
absolutely nece.:sary or 33in: ,by slog—30in3 vesicles

m.

1". ~ ’7 ‘. - 2: T) ~. A 1 .I ‘ j
and uenrg o. “a ‘ re, -33 £304,01

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CHICAGO

   
 

"A?! PARKS. CONSEIMTIG'
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M (on... 111130 I "to“, lunch. . p.66. 11110010. W. XXXVIII (July. 19%). 138.

..V"(° .Vl'.‘ “'I.'-l~Y 0' YO!‘ DhVIIlO.

NATIONAL PARK SYSTEM

an. 0'”!- AICAI Aunt-noun"! Iv not unnouu Din ulna

   

 

 

 

 

 

 

 

 

 

 

 

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uaeu Lor sexlereiel pup? 3e . Ii LOLLiule,

J“ 7- “w" l I“ I ' .‘ \fi - "‘ . “ PHI—A“ qv'. J'.'~
LneJ e10uld 0e Lr neled or PULlCQlQMCu gan_

of 3 similar class. (44)

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~—- r v 7 r" ‘L - v rs ~ ~ (\ a» '.._‘ ~4- »
by Larhwego Lo for; a Urceneelt LrOLnd JODU n.

a o ' 7"" 1
A

VSlOpei were gess;ve in nature. L

. - J”, L»- . 4- r. m - .,a
to serve as an inLroducL 31 Lo UJe eruer lJluSCQ

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OLner p; r: s sL-ns were “upifllj eeveiOQee, suen 33 Lne

'ne leLGers1i1 of Jens Jensen, which follove;

- V.‘ y _. , . _ _ _ m n '1 _ ' ‘ ' 1' . _n q .1, 3‘ :1 (1 ..v. ‘ " ' . -
tne intentions and ideno of Lliot b work 101 Lne LoLLon nette-

J

oolit31 Ear: ystem.

’—

"T‘ .0 - ‘ _ _ . 3 a .. -- ., ,3 J- J-‘ "a J. .1- ‘. J- -
neierence nus alregrg Lue.w neee Lo Lne IaeL bACb in
America the fundamen‘el taste for the natural stjle
of leni3 33 gardenin: has FevelOp & iz1to More dif-
ferent aepeets. n the one hand has oeen the Lem

4- 4- J-rrv

iency to lay our privsLe eSLuLeg and sit! marks in
:113'LLU33li *“ic, i_n:foerfiL negrnzr ; (n1 t1£2<3L3er'11;e
been the move11ent to preserve consi:e able areas of
‘11:tive lCHdBC 9e for pu‘peses of edueztion, heslt1,
and rec re3tion . 3. m331 scene y is reserved i'er
use. 1‘11ese “3e3e.°1rr:t'o:1s 11.:3ve "seen extensive; -.:1
this eepeet of nmeri lCRdSC“pe SPClitGC Lure i
finiziecnt of ell. agile :3n" of
nese reterV3Liens hsve ween meie 07 priV“te :urenase,
r my private clubs hel ' ‘ l'ifl Eer 3U‘;1 13 or
ieL1i11rj,or merely as 'c10untr‘.r clubs' for {general
ee reetien, by iar the largest and nest i310”
1

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grees Lure ClefliCL‘LL '3 no 3111.31.10 0111013311;

anile LlioL influence: the type of Leve'03"er , it we;

 

 

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(24‘)- r) Lew 3 quLL Li 01"” LL 3.16 14:0.1'11 MOONLL‘L; .9 (-~€.'I 3013-3 .LJOV 51" .L ‘LLJll-
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C (Ix/1013.5, 11.10., 5:1), 52;). :J-./10
' . ‘ 3 A‘ w .s ,W -- ~- H \ . ‘3 a. ”4
(4 5) Cllfrles L. 30011 gnu tertla 3. iltz erlae “ l 3 -3»-

tor; of Pfirhs an lee: estion In the Unitei 3t;

i“).

“L r‘ - 1 “" V- - " 3! A .5." ,-‘ .—~ ' — .- J- ~ . '.. ,1. .,. ' ..L 3 J- , .1
3cLuull; Lie orlz1c ples o1 leLiVA L.3L 0131s te ed 33; iniLisLed

1‘1 ' a qmn ' m ~~ (4w.— 3.304 - -— 1 “mo 3~ w‘e " 4 “‘- ~- -‘ -‘-‘~r»~r~+
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rwl'q “OUCNH -.‘.""-‘.4r3’_“ r3 ' an ° "‘ '3 YH-rm'f- -' :3 JO” 3‘ ... :3 r3 1 ‘3'“- -"‘ r333 "a "
\- IL k- -L ‘av‘ C‘IL‘Ial-fi ‘.-"-—I"—’l\/l* 1n L’ALG M“ -; 0-:— LIAL‘J U‘:L-AJ\J_‘ . U J-1L‘-’) 1.. i 0L.)-

‘red the ”Prairie Style" of lenisc3je i-si;n. Tle I‘rdirie
Style revocatid the use of the nattm clistic 3;;rosch to Le-
s fin. It was an end efvor to re- es 0 tae spirit of
onenness and to renew ent

.:| A 3.- ,1 .1 4. r..:. .-, , 1.3.‘4. ,, ., n .‘- . ,.-
o1 neLiVe plunL mesrials Uflub were 3vciljjle in tni.D re ion.

7713 V. _> o _ I p _;-a __ r- o _ _n :3 r< _- ‘ ,3 ..:." ‘r _ fl 0 .1 _.5
131s Spirit OL Lne yr3ir1e else involve Cu L1e “:PGSQlOA e1
4-1 I . . J— .. ' 4-, S —--1‘ ~ ,3» (\‘l‘ . 4“ r‘ ya .3 N“

Lge soris n 3liLj oi Lie lanescl¥e in L13 niuwesL.

f“ "' ' 3 --. 33/1.» - 3" ‘ J.‘ "r “" r‘ ' {a v 14' \‘3 3‘.
J‘H'loel". Sb eou ‘r {3.15; J. C~CL u;.LL..U Lu. ”flue ctr .QPOV.‘S OLLU OJ. L138

neLive soil. It is enr‘cn'ng to life as peeple ette;;t to

.--- . . x. , .‘
exgress and develoe 1L3 CJOJL1.

"1'? . _ 1 _‘ r . ~_: r. *1 ’1 "
1:1owle;'je 33o n1&erngnoin of Lse out-of-uoorm

‘ ~- ' "3-: ‘ ..- . AN nu- \ ' ‘w

“eveel to one 3 wind noLives - d forms. Tn se

notives and f rms ere notninj to be coyied, notl mi 3

J.’ J.

. 3.x- 3. .. ... --h-,_
to 'Lits e, DuL tgey serve Ls an isccirUL-on Lo
(2‘.

sle gin7 forces tnnt eventu-lly will bear wholesome
fruit. Art Crows out of the native soil 3nd en
riches life rs a peeple cttemnts to xpress and
develop this frowth. it is co1temvor crf to lite
i'self and is fastened i- th 1e encin of aura: e:-
iccvor. It comes from wit¢in, sti ulcted 3; en-
vironments and iniluence i by the custons and neb-

. n V II
its 0: 3 psocle. (46)

The pr 33 nove1ent continued to 13 regress aL the close of
tne ‘1i1.eteenL.1 c -11 into t1-e tx-Jentieth entur r. Jes'jjners, in
the early twentietn century, were still concerned with the
orimarily, at the city or metrpolit31

' J- “ s . r0 .7 r 0“, 3" V
on 111. Ln. UO‘.'.:.1 1113141131-- 1313-. -. rews are 3e gre-

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servea st tn national level but liLLle eisi7n wo3k was done

(45) Jens Jensen, Sift1n33 (Ch102f02 Ralph Fletcher Se;'mour
Publisher, l;36), p. lb.

7‘1 h w‘ 1 w“ '1 J. 1, ' . J- 4- ‘—, ~, 4- a 'v- ‘ ., a‘ r“-
*OWC ; tne end 0: tie nineseenUn centurq a 18W J__e was

written in the his tory of puolic des 1.; n projec ts; and Land-
scspe Architecture came into it: own. he city pls;1ni n3

\ I. - L. "t ‘—
movement, soon termed tn Cit; Beautilul novenent”, came on

" J.

the scene in the form of the Columbien Expos1tion in Chicago
in 1893. It ses, with its :lesming write classical ‘uildings
arranged around a central lsjoon, a marked contrast to the

II

- I ‘ -
orownstoneI and row houses tnot were so

at this time.

 

"It vss the World's Colunbien 3x10

wrote Henry Steele Cohnu,er in T; i

just a few years 330, "that co-ie¢neu Aneiiccn
architectlre to the imitative ”hi the derivative
for another generation.” But to the architects

W o planned it and the sculptors and paints rs
orn2mented it, nothing so gloriOLs ha.d ever seen
offered to the American peeple. It sss the ”Vhite
City,” filesming wi th plaster of Paris. Every one
of its tremendous structures was bedecked with
heroic scul ot*“e and fluttering fl:js and wrs re-
f'lected in L312e “lCdl”““ or in the la oons or in
the rtificsl cools. ( :7)

The most outstandin; feature of the Fair, outside of its
ma3nitude, was its overall unity._ Olmsted nsd producedt 1e
unifying expression for th :sir. his was a unity with vari-
ety, for he had, on the sane site, successxu- H17 conoined tzo
styles or nodes of desi,n - tn formal "Court of honor”
and.the informal lagoon. (See plan on ps3e 69.)

-ne lfncscsnc-nl ' is the key to the :ictorial

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success o1 Lje -ir as a whole, and, as we say it
generated the architectrre oi the water-CO1rt (”Court
of Honor”) by suppri13m1d1c Lions which sensitive

gr hitects had n choice out to ollow. In no Loint
was Ln skill of hr. Olmsted 31d his associate (Lenry
Codmen) more co 11s icuous than in the transition Iron
the 3Ju;eLc1c l and stzm ely treatment of the basin

to the irrefiular winding 01' the 1&3 oon. As the basin
indicated a border n3 f fornul and synm—triCdl a1Wc i—
tectur so the le_oon indicated and 11*.vited a pictur-
esque and irre3ula areditecture.”(43)

"3 1e cor -dition Upon .Lfi L: t1e etfecti ern3s of the

1.11 ole dep ends is that there slall be e. 1-Il1ole,1zgzt

1,7137”

7"
-LLH

'— v

ere s 1] be

(“(3wa

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.:hicn ever; er niteCL 31d
d.ecorator concerned sn oil

1

‘

has been i

ullil led in t1
. ti on , St! n -n ,3
ll

least in the L1
Honor, which is what ever
of the fCJl'“CtU“e of the
the fulfillment of this c
of the Fair has been
0: all, succ of un

n
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ricogn tion won

(1*-
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recO“ditio

, 3iven in honor of sniel

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4.

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the coo n tor ior t11e

Charles Eliot Norton and Daniel

" ell fineric'11art
"eve the desi)n

Lhe norld Pair,

3‘eat w r“ ':-1icn

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fie

sion to I 0;
0‘7

51.911300- (.4,

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1:110
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lutecture of

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answer
1 5'“

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ClieIVIe

"irst

xecution of
ever sculptor and every
co1triouLL. t condition
architecture of the Expos
t11e”Co1.rt of
:11 ‘ Speaks

r10
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£31-16.

+3.9
:3 U. C C C If; .F'

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seposition,
ition tgat
3Aat

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ted

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c e at dinlci, Larch 23,

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Qurnnan, an hitect and

('3 -7w1]::r1

15“ -v‘

m1d "es delivered in or

U

1.1 . BLIP O

11:: a

-

Frederick aw
laying out of

A

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v ”Lei,
the grounds
.71 OI LUCU]. Oi;
five ex-
scellane-

s, m
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1

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and con-
your own

you

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1:-nLJ Lgn1-:ood:x1 Ll 3 es; :;LL .1 11H£;s
:nd forest-covered 1:115; wiLn Mountain-
H -
cezn views. (;1)

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£33 ;.'I‘€‘«.'.:.OLISl LEOLCLL, Cl.-. USU. 11‘. 1.3.3 1.35311. 1 1 01" L.-e VO-

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T8LC1L€Q Ln LLLe. 1ne iormal tyle in 1: L3. 33e de11un°

also c lled tne Classic, Italian or e.icnitecturel style; was

i - ~ . . 1 - 9N ‘ ,-.i r— J- - J. J‘ ‘ _fi ' - A J‘ ‘: r‘ ‘ a -‘* 1" .1 . ‘3' ‘
CJCLCCté rized DJ repose, resL°ainL, Fillflcu nL 31d 1 ering.
IL -, .. 3‘1 . 1"“r‘lc. -‘ h: v’" j r *1 1 '. ‘1 H . 7’3 Dn‘fi1 "l” 1’1 ' 'r‘]

La 51....) CUL-1)..I_,-KJ.. LO. €3.31 - 11- .LJ e. —.18 .1...1 \JL 1-1. Sup, O 1.11

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lc1ds dge Le3131; also cLlled LLe uULQflLlC, Ln 1133 o1 nntu—

‘. 1 J‘ I 4‘ ..., v . H ' -' 3‘" r: 1 a -. “‘ “a . ' ~ 4" r- . ‘ ‘0 ~.- -r “xx
relisLic 3L,le; w-s ees onei to eAC1Le sentimenL 1nd 1-nc. L

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4.: ..n ._ 1‘ ‘1‘..- .. _- .:. - . .7- 1-_ .. .1. - .I. \ __ .1. ‘ .
Lnrou n tne 1LLLn QSLOC1eLions LLWL 1L LTOUSUQ. IL sas con-
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‘P . " a «An ~ ‘ J“ J" a -1 ‘ a A c - 1’ o o‘ s. O “ .-.- . . -:‘ ‘ . 5. -:‘ ‘ -,..
Le enrironLeLL Lo 9. oLch LorLs LLiCJ will give ULJL a Leelin,

.C‘

0;.

.!. ,. .1 3 ‘ L -'~ L - .5 _ -,
COLLOPL, grrneeur, u3e1ulnezs, oJ.utr, r some 0

nine which i; desiroL Dec use 0; the afore ets'

+~= 'L. 4- ...:.:.—'--' . ' L “ML-1..- . “‘— ..mL. 4.1.
nation litg, tr LLulon or $001 1 COM lblOfl. cor eLLLgle, .Le
(N vv- fi'v- . 4' ~ 4- r‘" I” ~ ~ 'V . a I‘ir‘lr‘ . h r J“ I!
eLrlL LLerian CotLL e aLcoeao, disc L ~d in Ca-fuL* I, were

.5 "‘4‘ '1 "L" f ‘ 1“, r! - ~‘\ g- ('1 ~‘ “'. ‘I r‘ . "V‘, .m‘l“. --\r‘ -‘ r\ ‘1'
3.in itate) in Lew L.i__..l.?.1-d Leo-,uoe 01 Lie “alien. 11LL101L..1 a.-.c;--

.. ,. J“ ~,- 4. J--' -r. -- ,«.n- * ,.. - r 2: -: ( ~
;round Lnd bflO fact tnLt unis tfipe 01 QLceen L_S trLL1t.onLl to

J- _ -- ”‘7' 4- 1 ' . r‘ n . 4" ‘ ~ (3 . ' -,
me peeple 01 318 soc1Ll oteuus : conLition.
The neues of these etvles a S are the result of certuin

0' "1 ' ‘nfl —- - n (‘I 1_-‘ ~ - -' - ‘\ f‘ . i J' ', "I . 1 ~ - . f‘.’
ore: 'tLe Exa31183 ihl) or1_ 11L, ted tL-erL, ccnuiusles 341 JLiLLl

' J-

ther arose; 31 individual L3'—00135ed with definite pieces of

v 1 j . - , ’1'" 4 ’3' '4" ~ ”.0 J‘q. fL-v ’- ax-
nor; WilCJ are ULe 11r3u exam; es 01 age Lque; or rLselyL' ‘L°oL

J...

the totyl estjotic efiect pro luced by the s vle. The two

I‘ ‘ fl ‘ ‘ - - ‘1‘ r “1‘ .,- .— r~~ J- - - (‘I \ . r. J.- ,.‘
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VVULAJ. but L: A

(1 \r 4- fl - - ' ‘ ’- . ‘ l‘ ' '1‘ ra ' - ‘1 f‘ .
nLte Lanes Lee coLSidureL, sucn .e Lumllaq or chgi

H.
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‘4‘
O

T r“" . W - v -v r» (V-A 1' . v“ t v - (\V" e f - ’ r‘ #1
an 1181 or natu: l reagectivelg, were LLLed on t;e Duals

of the countries in which the* arose or possiblv from
tal eetnetic e11ect produced.

Kuch has aleeady been said with regarc to tlie c1~racter-
Levies of th iLf01LLl or naturLl is;ic style is the die ussion

\

of And? 3 J3 kson no Mlin: :rd F. L OlLSLei, Sr., Out some

D ‘n ‘ ‘ rx . '1 'V ~f 3' x 1 r- r’\‘v 'L ‘r ~J" ~w- ..: ’ "‘ ~‘ 4"
1ur tLer elaooMfi. ion is neceLSLr LA order DO oeutLr under-ULLL
-- - “.1. .2.v .l. . n 4.1 L, .3. - _
the event US that trLzugired Lu Le turn 01 Une ceauucj.
' . - *~ " '1‘ ~v- L‘ '1‘ HF— P' ‘1 ' (\‘J— ‘ ‘ -.». ‘ F‘A
Lne ianCLe style 3 *ives U0 eLoreLb nLuure-ebLinLLce,
L '9

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rauner bflf—Lfl LTI-Qomlflulc . LLe tflpe o; glLLUS selected e;1d

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Lae Hey tner are Lsanfled to or te pleleu¢ coLoos it “101

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iorm, texture, eolor, ens li 1b end anode rel: tionsniss lS

.\

'1‘ .“ *H-v‘r‘ ‘.'__L.J_ ‘ 1 P' 1‘ \ -. ‘ ~r h ‘-
mosu 1: portsnt. Inl rmel asuu‘ris Wre such ire er 1n iorn 1nd

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1 v . 4A,” V.‘ r- h" ~‘.~.-° ,- .1 ,1;— D 'Lt’.
snox a pl; blun rel-tionsn1p of 1recs so n1ed, ior tne most

U&”b, ov lonf, jrcceful, ilowinfi eueras (see illustration on
pa“e 74). Balance is present, ‘ut it is sssrmetriesl or oe-

cult. Terminst lOLS

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r“ - '~ " '1‘ .1 - .~ —-1--:- - n' 2 "1‘ '
rerelj uses, 1ne, 11 uses, wre l1uule enynssizes. lne 1n-

: IJ‘~-v - 15+ CF." fl.--“ 7". h‘ I‘- - '
1orial sUJle s neture angfesplflb poxer, dominance end oeaut;

, 9 u. ‘ ‘1 . 4-
relines or; are.

l' ‘ n I 1 J. - ~. ‘ _/_-\
... tie n13;1 er are would se tnst whien so perieetlv
int€-preted nature '3 'narsster tnet the work should
seem to oe s “her"ullv eosnlete and int elli isle
. TI
eXQression of n ture itself. (E 2)
rom tnct

”Every ~teo in eiviliz stion is a step a”sy f
e ‘ eh alone is tr*l; natui.“e; and t1e
get from it the gore imsfinetion
- ‘ we oi use {nil Desuty
1to harmony with those

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wnien n; ur
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\FLllCIl man

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5

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L10 stron er the desire to msk so art i'f 10131 a

smposit1011 1001: as though no ture L‘.i“nt have s sijn-
ed it, the more intimate Lust se the artist syn-
patny wit1 her sins and oroeesses, and the kenner
Eis eye for the soeeisl Opportw1511ties of tne site
she offers; UUU, also, the “reate r must be nis 'r:;—
113 ive power, the firmer his irQSp o: the prinp

, r" O ‘

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idtursl' stxle, wnioll is asset Lssle to

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a varied terrsin ans WllCJ is generally goalies to areas exa-

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1e ssulr o1 sanese1»e Dozifin, f. JO.
' . '1 n .1. .o 'N - -' . _
. ohuyler an henssel: er, “rt-vuu—ol—uoo"s (“CW YOTL'
‘4 - (fin: "'\ 'J 1'
1e) Sn c_ioner 3 none, l;¢;), {p.11—12

54) 1.1 22;..2'2-23.

 

7#

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

P 2
3 l 3 l
W
IN
W

Illustrations and text adapted
from: Ralph.Rodney Root and
Charles Fabens Kelly , W
Wins (New York:
The Century 00., 1914),pp.78-79.

Every division is made on
its own merit and considered
in relation to the surround-
ings. The paths in all
three figures are determined
on the basis of the volume
of traffic coming from each
entryway; thus, as in Fig.
A, entrance #2 is of minor
importance and therefore the
paths simply bend toward the
entrance rather than a Spe-
cial path being directed
right to it. In Fig. B,
points #2 and #3 merit bend-
ing the path even though
they are secondary, but #4
only merits a connecting
link. The same principles
for B hold true for C. After
consideration of the circu-
lation, the plant masses are
arranged. It is here that
balance, rhythm, harmony and
repetition enter as the domi-

nant factors of the design.

.—

b\
I

'1

O
~ps 7*

close prohlnit; the house.

The ” rna " stVle is an orderly scheme which uses obvi-
ous and single geonetric shades — squares, rectangl s and
circles - arran3ed in perfect symmetry :sout a well den’ned
central axis. The axis is the major struc urtl line of the

‘AO.’1 o' L H' T a»; '- - PL. 3 L .F' T *7 0 -.~ ‘»
soul a acouc which and 11 relation b0 WnlCfl UJC parts or de-
". -. .... -'\J" m (" rlr-nv- m » -mv I - r." s r H.
s1 n elements ere arrnt ~d. _ne1 e any we one or here classi-
fiC’TJ‘fi onfl‘ 014 4‘13", d ‘5 nv'. ’2‘ tr" J‘ ’1'. O ‘06 ' "“1 Ti _ \ ° nvr onw‘ t‘.‘
..1 L2- u . DJ J: 81.) OJ. («411:4 v1... U.-l...n u. C-vul ,1... o -10 urli. :21 41.1.»)
0.] (:1 ‘ w _ r-Rn __ ‘1‘ '3 "sq-A fin’z‘ M31 ('5 (D -\ r) r\ 11 1'? l",‘._"".‘ d ’3
...—x) U-LO e 01 Ckflbb U .L.... LI ,‘s-..\./e 0 ---..L SCCOI’IM I)”; QJJLJ.» , OJ-
. . ‘1“ - v-hr‘ ‘* ~ - .- . c"‘- - r~ ~I~ .— 3 1 as~ ‘I r '1- »fi -.
HJlCfl there may we several, 1s arr.n.»u 1n a1 narnonious rela-
.1. _- _ J. J_‘ ~ . m“ _ '0 J_‘ n; . ‘q “ n A. " “ha 0
b 01 to use prin r; axis (see il us rations on pMIe 70). 1113
n ”'3“ n S‘L'.‘ v. 3 r1 . 4..- _‘ .n 3 n. >.— .m .n _ .
f 1hal ujle o1 sode 01 01; nightlon 10 here QUL.Alm€1 sac

definitely implies the ‘”renace oi man over us
One ievelo;: ent th;t arose in sherics in “he

*ecnth centurf that is directly applicable to fax?

" ~tt~wnea bed” or one idea of ceiling out.” It

suit ed to an era of eclectiv sr because if was
best aiapted to tne Italian and French forms 3ar
which were existin, on vario‘s est: es. nan; 01
and eub slic plbees we.6 also found not so oe uitho

‘ .5 .2 . - .... ., . r ' 1.. .2- , ' ,3. - -l
a LL19, or die COL onl; used clocn, ae31Jned 1; s
‘r " . r“'-'L r. w "" .~~’~ q r x- -v J" va-- ,- “-r\ - _ . . -. ““
sr13nu coleus and inn1al ilOter' rnd placed 13 DJ
‘ . ww-A r‘V! ('1 -0 nv yr}

\0-n 41.;JLu—LL-Je O- ‘.‘-l ‘14. .
{711’} UV. 7°: 1‘\ f‘ “‘ I" 17“ '"‘ ‘ 3.01 l" ’* *"u 1‘ ,1 "‘ fin wv q r) ‘ (v «'1‘!
$-18 0......1‘) Dr. -.C-*. uO ... O- 1 it it)“: c “u. out; GAL/x; - 9 U0
'L (y ‘ V ‘1" V v_ 1v- r‘ -, .1 11; . "L ‘. -. , -H ‘, .
CUU was arre extee or one worn ,ne Wilbll‘o 01 "ill
J x
r“ 'es “ cu srl i‘t rest“? in 're wild "ari
\I—L Idvvn) '4 (:1..- Wui l y LUL U Lixl Lib ‘ ... .bv- \-

found

4. ,_
ourdo

to be

1 \r ”I
ens, many OI
_ .- ~-
our“ De pgifl-s
.L _ ‘ 4-
is an elejncnu
.‘J.-z. . , 4.".
CA; UUI‘RJ 0.1.
M L,\ ”P“
oi‘lied”ig1'-
' h “‘1 v) -r ' -' F A‘j
lug.-. 1tO Ulll~/\.' -
. ” 'r
8.10 .*e

 

THE RECTI LINEAR PLAN

 

"'I"

 

 

 

 

 

 

 

 

 

 

 

 

 

LE
EQBMAL__DE§I§N
,_______ r—‘————1
._______ ———+———
L_L_1. :: In Theory
Rectangles

1.1 L_C'_1.

Ralph.Rodney Root and Charles Fab-
ens Kelley. W

—fl£d§nini (New York: The Century
00., 191 ), p. 75

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In Practice

 

 

 

 

 

 

 

h.“ A. "m. .
sued-£311.“ an. LQ.IM’, “a ‘

New or“: one.-

77

expressed a strong belief in the value of the indigeneous
landscape in much the same manner as Olmsted and Jensen did.

Robinson said:
"...unhappily, our gardens for ages have suffered at
the hands of the decorative artist, when applying his
designs to the garden, the designs which might be
quite right on the surface like a carpet or a panel,
have been applied a thousand times to the surface of
a reluctant earth. It is this adapting of absurd
knots and patterns from books to any surface where
a flower garden has been made that leads to bad and
frivolous design.- wrong plan and hOpeless for the
life of plants. Flowers are "degraded" to crude
color and clipped forms, with no regard to the nat-
ural forms and the beauty of plants."(55)

 

 

 

I Old-Fashioned Garden Km
"lunch; Radial Design in Scull Ann

lru&:k-lu¥h.EanLJhmumuhr
New York: Orange-

-Judd Publishing 00.. Inc.. 1927). 178.

The informal style was expressed in the years before the
Columbian Exposition. It was now the voice of the formalist
that was heard.

"We do not yet realize the fact, but when grounds
are small the formal style, in some of its phases,

(55) Henry Stuart Ortioff and Henry B. Raymore, Tng 3993 gt
W. p- 2-

.4
CO

v-r, . ~ -. \‘7‘ h r- r1 '3‘ "‘ ~ ‘ A - "L ‘ l ' 'l‘. - -
is more easily hand ea than uAu natusalisti-. nfl&
.r--.‘.- :, .. J- . . . ‘..- ,- ‘ snubs. ..: _, -,
LiaiJ—S is -10U dine 0111:; .L/IGEVLOL’I ‘I‘Ia-vl I Yul';lS.Ll ‘J..-JI..U 1. LI Gel-fie

-'1~A f U. -' .3 ’.a —" r1 " ’
Inore often ct ts“ ted in -moiican sands. (De)

L" .LW

‘31., ' . , _ i :1 - ,., ..- v‘ . J. . 1.- . ,“ _-_~.\
wiltever tie case, one iormal novenonu enor fiCHCd one

,(‘I

or eclect cism in Ansricsn socie

‘4'

f):
x J
(I)

when new voices began U0 oe heard.

'1 1 ° ""31 "L 1" “ J' K} ‘5‘ "n ‘ r~ '1 .-~- and '1' _')‘. '1“ ‘n ,1 ‘1 n—d ~ 1 '1‘ Wm
‘.e rew_ lm;euho DO he lo h__ glicsn s_oil alouno the
4‘ - -' 7‘ v .—.-- —’-‘- a, x r — t ,. .1. - ,1 _- _ 7 ,~ .
turn 01 the ce1iturr cane iron unarles A. Elatt a; n, in.lc:v,
ne puoli m1 o sis small volume on It: :n 33rdcns. he C“W7CUiJ
4“; ’9 v“ r\ J" I"- " 1"~ I -n . ,- "é" . ~ ”g a" r ~, . ’ 1 a“ .- “L" 3' r‘ ‘. ' .-I
one iormal Ital an garden, particnl.rly on its COnQaCtnoss and

overall unity.

Ila-14

*Je evideh t ha;m 3: of arrsn;euent bettors tne JOLQO
and surrou11£in3 lands ape is what first strikes one
in Italiiu1211ni00'pe cn‘li'tecture - die desi;r1;;3 a
whole, nclu'ir Cardens, terrs o “roves, and '

F
f

"d
F-)
' Li} (D
s

c
iecesssrr surroundints and embel
clssr that no one of those cogno
considered independently, the ar
‘ 9 being also *

(“l
(D

(D <: Ir-" 0"
(D

c
the srchitectu-e
‘ ' f1 _'_ ‘ .0 - H

tie rest 0: use Villa. (57)

D

n

l wiole: as o: the typiczil villa, to
in'ti n of its spacer, and to the first—
9 t3 orderly rel: tionsnips, deter-

i, o svind these spaces togesis‘
feo:et‘ic structu ure, Elstt r sponied
t.-1

Eolecticisu; th srbi‘t‘r’srv acceptance of an historical
stile wi gout r jsrd to differences in climate, vejotation,
and otaor site factors in lieu of a devolOpnent that natur-

q ‘

ally evolved iron the site; ass firmly establis ied Q; the t1rn

‘ ..LJ- .1.

‘0 " -'\ '1" ' -~ (a ‘L r ' ‘ ‘ x" ' r ‘ ‘. 4'? "‘ +u " ',
Oi tne cenoary,. tassors suc; as 'eooer orig por tion, lox

=1

v- : . 1 ,3 .. -1 - '- . 3 .-
( ) £st . :JC--L¢U"lei" V 115'. $0501, {1 i" , o-CL‘LL-O- -L:'.LOO " L . l; l .
( ) t? (171‘: ".‘ :‘r"‘."1"‘3.’\ r“ “ T "tax-I m hr: 0 i-r'fn \fi- . P.”
, in m. ahu. 11, use; 0. .4.,_~LL.,W1_.;L c1-.- low... 1, D . {t .

:1 -- H '-- v _ n " -, ,,-. -_ ,, . 4. .

( ) n r3s1 l. newton, luO ieu;3 oi bandscapo mJCAleCuUfe,
Lat-1",: n~- "wan-'3:- J‘x-x'a" 'w“‘)/‘3 (- W'r ‘ 11"!) 1 (.372
" - ..- - 38 :4. \I-L.L uvb UU. 2, «Jury , J.” 'v“: , L? o 1.“; o

\J

\n ‘
O) -\1 (A

‘ .L

(fiqf INJ“ f" . i ‘ h r‘ ‘L'--| - . J‘ ‘ r— ‘0 "j -. ——
l oor costs, increased we ls, coupled wisn one go :ce 01 »-

—.AL

0

cone tsxes, nnl the desire on the prrt of rsny to hfive the
Higood things in life all are to"etner in the development of
the many great country estates.

around niny of the great urbcr ceztters; such as Eoston,

:Eqbl

Lew :ork, llaeeluqia RLd ilC“j and in tne resort areas

0 ‘L' ‘ 4' .« ~v I‘V ‘1 n "‘ 14"1 : — h r‘ ”I I‘ V“ I r‘ "'1 "l -
ior tne weal» -1;,; sucn as hewp_rs , “node island wno. he. Deceit

Isln.id, Kaine°t11ere develo;: ed man" beautiful Lnd elaborate
a J

~' ’1‘ - v ‘ - 1‘ , i -. q - a J“ ‘ ‘ P‘ ' , v. v - r‘ - 1
COLnufJ homes. Tne ; roens on on se Emu? es were so develOQed

..L f:

' I“ ' ' r'} - ‘ v ’03.- . r‘v l h ‘1‘“: h ‘. 3 .9 r‘ ,—-‘ ~ \
inhab you snu,n11 ass irou121amrencn L-Ixhai, to Lt; n.1isn :;Ik%11,
n - 4- ° . .. ~ - 4‘1\- ,. ,1 1.....1- “4-! y

and on into an Italian garden, innin, sucn codeinations

,4

nothing out of the or: insrr.

b)
F).
[.4
(‘1'
3—1
0
’3
(1
m
c i'
}«
y.)

I J_ r N _ _f\ ‘—. ,1.‘ w 94 O ‘ ~
lUJ ls.orst- iorlal 3wrdens in clOse

a. 1' " J“, a: P!‘ (N v ' ’L‘1 . rw . ~r- R . 'LI'N ‘ H-L-s
prox 3-1 y to ne nelision inx Jlofl lbs own experimental iOPeDUm

the first such experimental forests in the Uni Mu ooFLeS, was

H
H'
i 3
f l
o
H
C
.4
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L
kg
*‘S
(D
(D
3
H
0
r4
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in:

built at stbvil lo, Korth Caro
ted, Sr., wh designed the setting for the estate which
ori ins lly co.pr ris ed asout l"5,0sO acres.

The "Breakers and the nlms are both estates for tne

wealthy at Newport, Rhode Islan .. Today, unfor “Ln telV, there

.2

5

is little evidence of the Hts Hi 1e gardens w-icn origi ally

q

o I a w fl ~ H I. J- J— ' .-.
eXisted on tne :rox Ls 01 tne Bree k rs. Au one side else—

.2'

e floral diSplsys in beds laid out in very i 1331 pctt orns

c i‘

ora
_ . 1‘ . 1 o .5. J. ‘ ."Tl‘- ‘ _‘ ' ~
0 mpri sed an area whicn is presently lawn. Liese beds were
~_ ,M —- . . L.‘ ‘. ' -L‘ _ “ J»- ~« '1"
PrrtI ed on terms ces 3-1cn, in tie end result, rmo a sunner

ro- ru " 1
L) .- I. 0.8 I}. O

O

1”} "‘ wfl'l (... e 1-. 1'1L‘fi1h4‘. ‘ ~ _fif _ ("~ 1. ((1 u‘ «L
LLe u Ls see illLJsLLtios on sw,e cl an not

5“)
LI)

' 4- J" ‘-' .HJ-
1.“ t J. one (but

0

ch néei since its eri in: l incezction.
desi"ned by the F each Landscepe A“chitect Jacques Creber,
is an :rlsoze,tus with the various steciuens errsufied in a
Letv el stic msnner. A portion of the estate, h wevec, is
desifined in a very forms manner, typicel of SJL'lcr lrench

v. - 7‘ . _, .."l __ L re 0 ‘. r~' ~ ‘ a 1 ... r. .3 I V 1". r
JOCLS, Wl d1 terraces, Louncuiis, LLd so; Jed;es UJlCJ e user

N Q 1 q ‘ ~ M ~A '—\ J‘ ('1 '\N h ~ «‘0 . Q . -'. ‘ pa. .v. "‘ .
s WTTOII QG’QiSU thnts or are crrun ed in v rlous UOOLeuPlC

“ q '- I v...\. “F‘- 7‘ a J- .« .-~' — ‘. '.‘ W 1
ht seal lircor, shine, on Lt. beSOfU I lle, tse Loaf

Aldrich Rockefeller Gardens, on the John D. Rockefeller

*0

Jr. estate, illustrate the influ ueice of‘ the Oriental and tne
Frer ich gsr'en schemes. In this ssu'eu desifned b~r destrix

Ferrend - an‘s cope Architect, the GLientel desi n ClCL‘HLS
surround the French style 43 termed flow.r beds which ex‘st

in the center of the garden view. If you were to visit this

hese few exemrles er tysical of the elaborate f'rdeLs
which the wealthy fevelOped in the lste nineteenth and earl

eclectic as use

L')

twentieth centuries. These gardens are e
mansions for which the' were develoy d Lnd serve as excellent

to of this “eriod.

(J)

xsuoles of the lendsC'pe t:

I-ieny of the Lan‘ LLZSCLTZG chhitects of the early tavrentieth
century responded to the arc'Mi ectur: l COH'Ui m with 53rdens of

o a 3 J-~ ‘l‘ ' - ‘ I. _‘ J- .1.“ ' - 1 . v... ..
a siril.CI‘1msture. 4,4. trend.vwm3'tne reaLflAJ(lL two pliLLz‘r

81

 

 

       

0% W35 9
.m m was... ..N k N 35¢.»

My fIIIII‘II. rllllllu. 0336 3303i
0 0 Ch...

.. 0
@o o o (Hefiaam o a

 

 

 

 

   

 

 

 

 

 

 

The
ABBY ALDRICH ROCKEFELLER GARDEN

 

 

 

 

 

 

 

 

 

    
 
  

OWi] v-{J‘k

7") Cent»
Korcom‘ré'mb T3 Ircgr _
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- ‘ :‘K ' '. Quint-059cm-
‘ \ c? flbCaII'ur
Hall coming I'i‘ca are fauna Forhon 0‘ "K 9&ij Cut-l, ”on which had been.

torn dam-k...

 

 

 

. Architect: DUNCAN CANDLII
[adapt Gardener: Bum Putnam

1" .:_
1 EC AOI'S -

e: 11,103.14; 011

J- ‘ . .1 v. .1. f, , ..
er AIevioule

q «
SOC Cal QC;;:-‘»¢:1/:LS .

Harvard was the first svool, in 1930, to eIta"olisl a
formal ciriculum in Landscat Architecture. The teecl‘11irg
3 eff Hes t11en about equall; divi dcd between tAe "naturalists”
ted the "formalists" and the student was therefore exposed to
both ”schools of thougAt." The student's problem of decidilg
which path to follow, however mws alevieted by the current
socie l demancs for iorma_ism. Th weelth< showed their taste:
for the Classical tr atment in architecture and L1hds03pe
Architecture, and the rising AidCle 01:5 3 use not to be denied
these ra’mcnts that the” 1:” long admiWed, but 13” had to do
without.

Thus the twf es 0: gardens for the lar; e este_te an the

r'\ . r -1" « 4" v\-' F "- n '1 ‘ 0
shell lot IliLe Iollowcd the doh1nAnt I CllUCCturwl t,,es,

. r..— - f: r-oh— “1 - ‘ F ‘ - n 11:. o n‘, r“
incluuimg UGOTJlmM, rrenca, It: lien, opehisn 1nd -uior, Aha,
. ‘1‘- :' «r ‘x J‘ . f1 I‘~ f‘ “'1 . ‘. ‘~ 'v f“: r~ («H1 ’9 . . ', 1 ‘ _ J‘
w1th 1ew CACCyulOno AA A 11:; enouvg MrIaj o1 crinCipies o

q Qr 4‘ 4-, . n- D " . J.
oe eAecuted to tAe delight 01 the client.
T N on 4- ~ ~ rm M - .—~ -" r” 4- -'— w v: 'D r! n: ' a F} ~~ "1 1"
Ae~s AUUGHUAOD 1AA peiu to the I1o1eIsierl AevelOQAeAt
" C‘Vfi' .1 l . T? O 1 C.“ 11 flflbh‘j --\ 1m '_ 164' ' pf] ‘3 1‘fl. ‘ .",' t‘fi" Thf‘ ' r: ‘-’\‘V""
01. ..;‘.u__ Cl Ll.“ C';I-CL UhDle. v.4- :— rofiJC... Lil Vb.) LLLLL l 1,_') .' 5-) 1:4 V l 0&4. , AJL~LJ
n .1. 1. r: ~ 6 q‘fipfifi m 1' t "111‘" j "' 127 (“Kid ‘017’
A IOJ Jere I 1e in various 1 IAI Aui e iAu1AIivc U AA , d
N ' ~ . :f ‘ ~‘v-(\ * ‘- v- a. - r- f'! v flflx -‘
moeern stenoaris, more JAIAAEiVely than .r a 11eces Berg. LA Ie
fo rmal des ifrs usuclly consisted 01 on- :rir r" a: s the one
‘ "'r‘r' ti C' ". :1"! '1' r5" f1 n’L ' .. 1““ n‘ (7' T!" t 4‘71, Y~"I. ', 621’le
Of. 1-..: Joe ’0 ueCOflucIr'U. cl... ...) mu Tl v lab (All I...) O Lalo :1. l.--A- J
'1‘" C' Th1.) “’1." ‘35" “'2'" C1 31'“? F) ‘J‘Q Id r"r"\ "’N““ ”1’“ '1 1“ 3J- Ifi 34011;"
CJJ‘nl ..J O .LACI lj-L 11.-.“,th J CLALJ. 1.) 5! 11m.) OVAL Ubre 0.1". ....) b--.b (Akl---—A4.s.l—‘U e
'4‘" ‘w ‘ 1‘ ‘1 ('5 h '1 - '. w'. t v "1": ’\4‘ . 71*.
of one house, sue- As A Aoor or a WiAAOJ. -he eAuire a felOp-
_ ' ‘ , ‘V-1 5“ fi'fi'l‘.‘ J" 11‘s. .1
me ent LES generally AeSigneo to eAcohleII tAe shtire 100 ”Ala;

34

is the reason that these designs were often more expensive
than necessary, particularly from a maintenance standpoint.
The illustration below is typical of the many formal small

lot deveIOpments that were then common.

 

      
  

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Fletcher Steele, W (Boston: noughton
mrrnn- Company, 1964). p. rear book Jacket.

85

Although man=r of these places were imitative of the
historical styles, there began to emerge, among the work of
the more imaginative and successful Landscape Architects,
projects that had a more distinctively American flavor. The
outstandins characteristic of this work was the combination
of a highly developed, geometrically patterned garden with a

much larger naturaiistic ”shrub and tree enclosed lawn” as

0 '
~e

the principal features of the private, as distinruished
Q

‘rom
the public portion of the home grounds. An example of this
type of develOpment may be seen in the garden design by Henry
Stuart Ortloff, a prominent Landscape Architect of the early
twentieth century. With variations, this asic pattern has
been carried on to the present day and constitutes as near an

approach to a national style as has been achieved in America.

 

 

Q. \\\4

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Development for e one-acre lot. The smell formal flower garden serves as a
transition from the architectural mm of the home to the more informal design
thet embrace- the remainder of the property.

Henry Stuart Ortloff and Henry B. Raymore, The 3 or e
LQBQ§££2£_2§§L:n (New York: M. Barrows & Co., Inc., 19595.po73.

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Ihe turn oi IAe twehoieua CenI1r , wII to “3.: in a LL or wre~

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'- ,- . .1 I'- ‘ J. “ ,I. j ,1. ... I I, 1’ - I-—- ,' - ,- .. . .1 - _' .L a"
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IAI'. wiltll JulI'ILJ. a} ..LJ. J. .l. L.) p61. lie. it.) .28.; u31:-_O ..-- .L O- I- 4..) ..' J. .L LLOLIG

fl "" -. 1, -: 'L'-‘ "L - r. "L . r~ "' . -. 4‘ ’1 — r n W n 7.. 1 . P' ’°‘ '\ V'v'.r.
in coAnecIion wIII Inc f‘SbOfldblOJ oi tOlonII l «illiIAIIuip

. - - '3' .71 “r? . ~ .- ~, . . .- :7. ~. .-
(seze il.l thor a t._c>; 0-: 13-~ ea; ._o OI-u. d; ) vaJ_c-:, I IoLI 11 t.o.1e .11.

u ~ P3 f\ q r ‘v r- .0 '1 . J_ J- J. n _l_ - _ "\ ~ 1
n {'1 ‘ ‘ " "'I' ‘ I. ’17 I o— .-4 ‘ A t : 1 ‘ '_‘ " r} A' (1 N v _ ‘ r ,K _ , 1\ f. r
L... lI L413" {Qt-..-IOLL (l;«—[ "...;,’_I) Us]... --lmtmI ufcILMI...‘ UIIC u IO 02. 3--.,“—
f _ t 1 3 ~ u, _ . ‘h u ‘3‘ F . n - _ N ‘|_
’1 “ A n x e v v \ ‘ [‘5 fl Q yr\ 1 r 4 A w _ I”. 1 v v '1 -' C A
O‘L-i 11- .1 ' ..-It,1 .AIIIL e.I 31., II- Io Io AI-. . ___. II-_1I

- y- . , ‘ r . . . _ q A. v -
- j r. .. I-..” '1. ., -q f“ n n ,"‘ ‘ -- ,-. - re - in qV‘F. .-.. ' r‘ , fi-J‘ .q‘ ~« -- 5 ’c:
‘A—L. IL ‘.'I L, 1 ‘5) l '1 31.10 1. l.*.;: |J a)! -' \J .‘l’l‘. 11! U \J U --' J— ‘Q CAL Q’J-(de-»‘ 1.1; V_ O" KIA-v. O ..:. KIA-Vi
.. ’ 9 I.

,- . A... ' I I- ‘-. 1.0 _:I .:.
.IIA; lwaliachti.h_1ife IIIiIA..Ie lfiii ouI.
*"1 x ‘ .o " _o .' J- N _:_1 _ 1} _= _ . ._ e ‘a _ 4. v ,- _">_ >‘ _‘ _1_ o
C“PSUCClO Vitals l3 noted .or his re iicnti l pJOpc3Iies
I - _.,~ __ , 3-. _ "1‘1_ , J: 3‘“ ~‘_:. 1 ._ ,- .11- -.~ ‘ 7
sucn as Ins .lounds ior -1oA s “oI1I1_A1m ct AersitIorx, “er

8%

 

 

 

 

0
‘— ' 'b “in,

a I 0
.H- \

D Q a
gig) A.conmcn\
illustration
in the
eclectic
period of
American
landscape
architecture.

 

 

 

 

 

 

 

 

 

 

l
i

A "non tram emu um, um n’mn

 

 

 

Ralph Rodney Root and Gharlee Febene
Kelly, Design In Landscape Gardening (New
forks-The century 60.. 1914). 2&9.

Jersey. Done in the formal manner, it is typical of Vitale's
rectilinear development of the plan. (See example of this
type of development on page 76.) So it was that htis formal
style of design develOpment was to be a major component in

the public image of the profession itself throughout the first
thirty years of the twentieth century.

DeSpite the lack of originality in the designs of this
period the Classical formalism served an important function.
It was the close attention to detail and the strict adherence
to design principles that formalism demanded that enabled
many Landscape Architects to cope with the new design prob-
lems, such as public housing and park design, when they arose.

in marked contrast to this large estate development was
the rise of the suburbs. It was a "revolt" on the part of the

lower and middle classes which had a devistating effect on the

1 e
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4-.

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0 _’\’:e _I ."‘ __ +3 _
income IAd leiIuIe tine w
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.... A‘ J. -.:. n . 4mg . -.." . . J. “ .. ~ - _ n - , .. _. ..- ,- 1L.

Ironps LA- U iorcsd tuizeigAioge: UO Lxgr.2i_.er says: :421 _rant
short r Kori wsehc. Doom wts everywhere: in ext active in-

‘ ,' -_ J‘ ‘ -- ‘ " e- ‘ J‘ c a C " - J‘ 1‘ ‘-\ " ... ‘- 1
an trio: on t proouc d 'roas SOLE- on tAe l-AIICfi e; in .'Au-
"C‘ ‘l' ~r v. \ ‘ l“ a. 1 J‘ ~ . a. , . q . .- ,- ‘— n" ' . n '4 . . A- 1 A, --
iric.tiriA1g ;fil_11ti, tfllzt. spufacxi a: olAAc-- i l“- C)ror‘ Clloll?e oi.lis.:

A: ~ .1. 4, A c- ”-. ..:-r H ..L _ . 4.3-, . ..- ., _ ~ g .. . .»-. ‘1. -
'Ad 0:0“ A lu:Ii Io areas tA-t snarounceI :oIe .lIAII;

- 1 - -. 1" v. ~ 4- In J“!- 3—11..-- g ---' r1 . 4- .
LAQ 11 c: AorCiIlism w ich alIercd tAe AA line 0. IoIt Cl iII,
. e J.‘ o J. ’h' ‘v- _ - ~ ’_ fr“ e “1" .- .

Ulbl on s 0"Wc--, sojonl all recogAition.
77‘ : . J- - “D J-‘ -- . - ., 7“ -.:: P _ - ,1
i; invention 0; ch auto o‘ile o, ”“33; cord w s Iros-
. _. , . I. .1. -u ._ .2 ~ _-- ..,...- . 4.x -. ., 4. 4.1 -. .' . .
ably tAe 'Iron'est element oriAQiAg on UAe -owe to one I ocInJS
I! - ~ . ’s . 4. _:-- J.",_ , . .l.'..L1‘
I will ouili a .otor oar lor t e frost IultiInd-...
.. A up: J“ ‘1 J‘ h - . u n
so low in price Ufl_u n. xxx ..umil so LAaIle so 0:. '
~. - ~. — a . ‘1“ 1 — . n 'w
on - and enJog witi nis iAil tie olcss' n1 Oi A ours
3 f“ . _ _. ‘3 “ L .- P“ r H .- I.)
Oi pleIsur) Li Jon 3 great ape; spaces. (:5
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s? nenrr ”Q“:
ta U
W‘h .e .e _ ~F ‘A e e ‘ _ A. _e 4. _‘ -\ _ w, :u .e .L - ‘ ,g,
i.-s noApeASive iquAtiOL triasiorAed CoieI su nrrs: Iow

.f‘ I . .4. .. . ° 3‘ -
Oi lar;e stately “asidedc
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(...-'n -‘¢U {_H\.t.’ JJ_-11V§.l

0“] ‘ e 4“ . J— r-v vL . “-9
lots, CICJ with itI Sell

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by broad exf"n e3

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O

89

of just what this new type of dweller should look and act like.

It was because peOple were concerned with.appearances
that the virtues of stability, conformity and reasonableness
became paramount; and education, healthful recreation and com-
munity service were not steps to the full life, but the full
life itself. There was hope generated that with stability,
allowing culture to take root and grow, the level of public
taste would improve.

Jens Jensen was one Landscape Architect who had faith in
the talents of the common man and in his ability to create
pleasing landscapes.

"A true expression of native talent is not found in

the pompous gardens of large estates. For true ex-

pression you must look in the simple gardens of the

common folk. Here is found a true art that has grown
out of the heart of those people. They belong! They

fit! They tell the true story of the loving hands
which created them."(60)

 

   
  

      
   

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The Vegetable Garden Teeated um Simple Feel-slit,
Jena Jeaeea. Landscape Anthea

lrufi:L-Vueh.quaLflmuann-
New York: Orange-

Judd Putnam c°.. Inc.. 1927). 66.

(60) Jens Jensen, giftings, p. 20.

Unfortunately, however, U is new aje oi owl coxgon man
resulted in 3 Ce ohc1: tLon of the icrden into a suburban ex—
travagance of plants without deslgr. The lieals of the nur-
se ya: w1t1 his typical "foundation 3 ant1:: were to se seen

1 o -

crutn,ce. Plants were solo 1n quahtlty and tie is how they

_ . . ‘ _Y_ _ w n M” . ~ ~ J- ‘1 A . r‘ T_ A 1 _ _‘
were plenuei. 1e oe31,h elegehu 01 the 1133 oecane th meme

’- 1- J. o J- . -u (T a I r. ’4. .0 f’ V, A H _“ _'_-l _'
an AOrulCUl tural OCL 11t t1es were exucns vel; useo as s ec1hca

a g -. v .'_‘ Q ~_\“ q VP _v_~’\ J-qA " - ' _ (‘4. I [I _. I- ‘
The houeoxner u;s 1hsuea LiUh the QEMOCfuulC 1oehls
" ‘L ‘-- . "a ‘ r 'L' .1 4" fl ” r1 ‘1' “R w .'"|~ '- .1 I"- ‘4' (“sq H 7h
sold DO hlm 0; she reel estete men. Lhe Open 1ronu lean, cre-
n “”5 ’ fl ”'1 L (\‘7 '1" ‘ -‘ J‘ “Q- -~ "‘ .x‘ 1'" W- - (‘3’ f“
Ie1rel 03 the res ltors U0 mule the orOpertJ some r lur tr, mdu

‘. ,- '~ I

J"’ -- ‘r w .. ‘ “fl‘ *7: ‘ ' w " ’1'— V '1' Its: ~ ‘ I‘ - "'
bile ets’cu.lluf 0.28:1 Peg-“f U451.” Jere U 'q‘LLlJ‘ 116110039421 C 0 i0 ‘6.)

,.

’J - . - r‘ ‘ .1 .—~ N t . .f." l“ w‘ . . - --- a . v' 1‘ r.
Lehc ab or hed Go as a m ens 01 eculeV1nQ Lrlva J 138 tartw-
‘ ' ‘- . . ”’h' ‘4‘ 1" , ‘1 ' ' “- r» . “L v“ r” - .r. (7' “'V
mount to autocracy. Thls bel1e1, Uhou;fl 1t hes lbo'QPOUng 1“
A” ‘0' O 1 ’P' "" t3 I114 or “I?“ H“ -~ cw“ r ’1-) ...m ‘t . "as“ o-
mG- 10L». uLL'. l J..'.- 119 J..L..l (-... 0 t .J. S i. 11.0.1.1 (”1.1 (.3. Cfi‘ “NO 410;) U 0-1/1. c.

J

‘ ..L a $_ ..1 _- _. ..:. .- r‘ M 1, .._‘ . H “t .
oout the house to serve us a 11eld 1 lire, he; ue M Eu ulcect-

‘- t‘flf“ 0r-~- v \- “4" - ~- J‘q .. ’J“. r :fi ‘ ‘ (fl
peusm1t f.fdeLS were Olsen enclosed, CluJOU 1 one reason nus

to deep roaming livestock out, and Ame Mic 1s f€lb the case cir-
cuxs tances could oe p1evented in their own country if th- var—
dens remaire d omen.

It was cogmonly felt at tais tine thht the 1uerican gar-
rieh gust develop naturally and no* be ex; essive of Mn? polit-

.1,

r shut-in pOOple. xrc’e ¢a_deh

C)

should express certain

- . ‘L I. 1-‘.‘ . (s- . 0 as . " .~v-\r- '3 P1 ‘ r‘
tralus of :muflCmfl 111e: ir QiViudallb r ch sell-assuruhce; a

sense of unfuerded securitj; Irienilln 33 or politeness and
unexclusiveness;-anl a dislike of hifih-walled nrivacv. lhis
rislike of hi“h-w:lled privscv is probasly m re express1ve of
th Lidfile class envy of the we: lthv, with their hi A-walled

'4

gardens, ”n of Euponeon fcrden nractices.

'11-'5 - 4" 4" ‘ ‘L ‘N r» . a J‘ . o "\ ’ ‘ . 1 .' ‘ ‘ ‘ r “
Lie fact thou the baraens of tgis jcriod, ll£~ nmericuns,

‘

had an unfailing oesire and purpose to be polite is t:1eir

most outstcnuing characteristic. ieslizi11j the hilitary ss-

pect of priW cy or enclosure was unne c ssar”, they lost sight
- 4.

.7- ~ - fl 1 :Av 3. “- ‘~ ' ' n n ‘~-
01 tn ssirituul values to as ueriveu. ruulicity nus uuvo-

. fl

cated and Drac ticed in oeference to 313 sense of public rights.
The idea of t1e commune garden was often thought to so the

goal of this Openness, but in diviiuelitv generally stood in
the Cat-Oh 01 achievalent. Ll earl-r11 Park, nlziznned or Dom ' 1*1 11:,
and the neifhborhood park subdivisions that it inspired were
the excestion rather thnz the rule. (See illustration on
_ _ mifiduclitv was revered and exnressei
in th lots surrouncins the ccmmuncl par‘iz.

It wss not until nmer1c21s s :rted to actually ”live:l in

J.

«A _o n- - ’? ~ . .’ I . - _ .E. "1 A I ' . _ ‘1 ‘ ’3 1’ _c _
tsel“ ;_Cw‘ .e:1s uiat irivac: returneu U0 th~ _aruet as a 1 13c-

.J. 4.1 J. , 1 .3. ‘ .L,__ 1‘ .L‘. ‘1 ",1. 1,. _ , -_ .1-
tJKU the st 1e thau Wis to oe termc' DJQ mOlJ‘fl see he root—

R

:— rm - ' . 1., ,1,- r14 . .1 .- ‘, ,5.-.‘ 1' «LL ' 1 ~,. m~~~
eu in nmerlcnn ;u ueh lesi n. It he sees lore015t oJ noruci

J

r“ '- 1-111 m'm :n.‘ 1 '1, A ~ .
Jreenou_1 1a a lectei to a 1-1~hd, Halon Julco LlerQOh:

4.

ll» -- —. - ’ . - :r.
flere is my heory ox tructure ol): 3 soientii c

C‘)

(61) Thoush s t
are ecurll; 3311

O

l 0
’I U

arr nbement of Space and f rms nirrsci) to function
and to site; an eupnssis of festures prop rtioncd to
the fratr ted ix.portnnce in function; colour and or-
ncme nt to so decciiod and arrW1jcd and varied o3

strictly or“.nic laws, nevini a distinct rens n for
ezc de is: n; t 1e eztirc and i: ediete banisnnent
of all LSL :e- oelieve.”(32)

-l_ ,- vv .~ A- rtA q o- —' , V r J- -.I' ~-1 -.
Creen01gw1 nor 5 were 1r,elrh01 ottc1 elm , but Lurote rc-

.L

memsered them and develeed forms to fit the ideas that he
.J.-.‘ 1 j 5 ..L 4- 1. .2 n 1 4' .. l 1. r'x)’: r1») 1 (‘1 N") . 5' _ n ‘1 - 1' 3 ,1-
11resseu. u who JOU unti 3 J1- 1nd 1 J1eat coono 1c 1c-

0
I

“ A ‘1‘. ‘ ‘50". '- "I r '4'- 11‘1' ,‘ ' A ‘~- 3‘: 9 "' ‘4"
Iression nwd cussed UAWD these concettc were so

fr;

rightful glece back in Anericnn society.

It was during World N11 I that the Lenlsce e Arcni
found a new outlet for nis design talents. His new w r: in
public housing and solitary site p11 nin ° broadened nis s one

a - 1 4-1 ..4- ‘ ~. ~
01 des1;1 sucn unit 1e w;s 51

It wss ’ust Previous to finerican ir olvcment in the ac-
tual Tar effort that ejencics of the Her Indus rie: Losri and
the U. 5. H01s113 Co1porHtion were formed. It was tne U. S.
dousinf co1ro1ncion, whose organization was lar c j the result
of eSforts on the part of Frcfie; ick Law Olnsted, Jr., the“

.1.
U

. . -9 4. r‘. '1 $.91- r1.- , "" 11-1, '1 -‘ ‘4-
Cl1e rman 01 she La.tionel oon1crence on ul'; rla111np, tnat

1304'? Ff“~’"‘:"‘.+"| : n O :I'Lt.’_‘e 0"“
V“ J L) LL; \‘- VQd .- 01-- CV v bub-«t- L) V J-

\ ~ ' - —-' \‘- p x—l'v J‘r“
o 8101 nrogect or prLg c1 *ochts

 

93

that might come under one general heading. This "Committee"
was composed of an architect, a Landscape Architect, and an
engineer with cooperative assistance from lawyers, realtors
and other professionals who might be able to contribute per-
tinent knowledge. The work of the Landscape Architect, in

Q

his team effort, was directed toward planning the sites for

t
the new temporary military quarters under the Cantonment Di-
vision, and for the War housing projects in connection with
ship yards.and industrial centers under the U. S. Shipping

Board and the U. 8. Housing Corporation.

C.“ "A“

Momma noucr AT

° BRIDGEPO T-CONNECTICUT'
. 'VIO‘I'AC‘Y‘IIII' (r M' .

 

-\ um IMO. aI(-vl¢'-
“II-u. "tot-nu nan-90c!
-Alt-Ia ova-unrvov-Ouaott-

aanaav ecu-cu

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

9".

if \r fir

 

SEASIDE, Bridgeport, Connecticut

Mthur B ° Gal-lion and Simon One of the World War I housing developments

 

Eisner , T U .0 P 13 (New _nndcrtaken by the Felcleral grunment, in include:

° an an an a d ° r ° ° - 0

E3? ° 13355;) $0832 d Comp 3" .3..'LJ$§.°¢J$§IJ?« 23.33 3.733....
. ’ 3 O o

the advantage at largo-oak plaaaial.

- g f, .- fi an .. .~ _, : .— .. ll", ‘ r .- p“
world Jar i also biongit out tie idea 01 leinfldl plan-
"f‘ H ""1 ' -—«“‘ 4“ ~J‘ - —i . *- ~— (*r“! \~~ ‘ 4' ‘fi- 7* . J‘fi
ni1 the concept UJLU no Lunicisciitj enists apart iron its
neighbors. ihis idea was the ass is of much of the municipal
or town plannilg .hich, though it started before the War,

ame into the linelifiht after World War I.

Th our;hout the Jar and in the ye:rs thereafter almost all

m

D 'L ‘ 1v . ‘ *1 . . 4 f1 '1 ‘ 1 ‘5 I" r“ "l‘ ‘ ”a
Cl one worl in municipal planning w s done 0; Laurscupe arch—

itects, architects, or by refgres ent atives of the two profes—

sions in collaboration. This movement in municipal planning
was the outgrow- h of many conditions of the times. is already

\.

noted, there had been a tremendous growth in opulation and

’7‘;

se of the common

'..'o

concentration of wealth in the cities; the r

man was causiné suburban Sprawl to the extent that many of the

‘-)
best agr icul aural 1m; ds near cities were being engulfed; and
industrialization was disrupting develOpn nt pstt rns and

-0

Spreaiing foul odors and filth in every part c. the city. A

final strong impetus to the municipal planning movement was
the sense of competition between cities. This factor broujht
on a rebirth of the ”City Beautiful" idea which rerrisurd into
the ensuing yea 5.

After world War I, qany Ladscap Architects returned to
designing private estrtes while others remained in public plan-
nirlr projects which had seen st ited during the war and con-
tinued afterward. The priVate work, however, became limited
to the very wealthy because of rising labor costs and real

estate values. After the Wall Street Crash in 1925, many of

\o
kn

the Landscape Architectural firms that had done ltrfe estates
e ther went out of business; went into the desifn of pub is
works in housing and parks; or directed their talents toward
othe- fields such as subdivision planning and jolf cours
des'gn which were currently pepular.

fit this s

C)

" '1 4' . v 4‘ v\ r- "a 3 F9 '7 l“ V“ v nfi . ~'~
.ne tine town plannin; Decade a mayor :TBOCCU-

nation for many Landscape Architects. The first significant

‘

project i1 town plan

’25

-in; was the design of dadburn, Sew Jersey,
in 1923 by Henry Wrifiht and Clarence Stein. Conceived as a
town for the motor aée, it was the first to prepose a radial

and functional street nlan witi separate vehicular and pedes-

a

trixn circulation. The idea itself was not novel since it had

(7

been used by Olmsted, Sr. sore sixty years eefore in his Cent—

ral Park desicn, bu its use in residential design was new.

_)

I

In Radburn the houses were set about a central ark space.

Each house had vehicular access b‘r means of a cul-de-sac street

running up the center of each cluster of houses. The pedest-

W

rian was accomodated by an independent system of walks going

throufih the gark-lihe develOpnent. Where hajor streets had to

-l

be crossed, the sidewalks were depressed and tunneled under the
streets to maintain unhaapered tLaffic flow. This is one of

,.,.L. .1. v ,- 0 . - :1 .- ~ .- ‘ ..L- 0 4.
secs towns lesiéned Lor the healti and salet'

another major aroject of this type was creenbel

A

.~ ,1 W - t “.04. .L‘ r. “-1, ,- , .. ”‘4. 1‘ p J... _, N 0 . 4.
land, develoucu nicer UJG leucral povernmenu nan stepped into

A

J" 1 ‘r -- n ‘-\ . r“ -- " J‘ ..m A «‘ ‘L - '-r~ .‘ -‘~ ‘ .
use town pl.nnin5 picture. “reenaelt, n.rvlani, and otzer

- .mma .m 433
..osH $689300 essapmoz S; .Q 330% 333 Gadlpplwvlm
c..m.l€.:. Mme £83m :83 one cofldse .m asses»

.33. x...— asoactcoo o... 2 95:3— nfa 51.312— 5.) 2.3:: :0.— 2: :0 on: 2—83
95»: o... as... 3 v8.8.6.— ufioa 9.52. o... 6?: aid: :2: .22: 3.2 0228 2:32. 8923 1:523.—
Avckuovv 03.3.18 2—. ..:—a n2. ..— ...oua .29: 2: no 58. 2:: ..:: 308.38.? 2:33 an... 52:3: 23.

:2: 52 .5535.

22:3:

.2325 Sufi VS. 58m 8533 W

s1 A

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use.
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o be derived

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The basic progran involved and t
- H J- A ~ vv ' a ‘ ‘-~~ . I“ ‘ - '1‘ 3 ‘ r‘ ' v
are best stated 05 the .esettlement AflmlnloLPUtLOfl s booklet

on Grc enselt Towns published in 1936.

II 4_ ~, 4— _.
...UO Obtain a
tne conplicat 0
ships ; in tnie
tected by an

large tract of land, and thus avoid
ns ordinarily due to diverse OJner-
trac to create a connunity, pro-
ecircliig greenJuelt;”

...to develos a land use plan for the entire trees;
to devise a system of rural economy coordirlated witn
tne land use plan for the rural oortions of the tract
surrouiding he uourban con unity; and to integrate

4‘ o
U L.)

botn the physical plans and the economies oi tie
e t

. . H ,
rural areas .nd ne suburL an colwfmu‘ity. (03)
"'T‘w r,” o a H ’. ’_ ‘ -‘ -1 H J. v ‘_ fl
ine new connunities rill oe 'ree1-Jeit uOJflp, so-

called because eacn of “gen Jill be surr une ed by a
broad firdle of park ani. farm land. A r"reenJelt tov‘
is singly a 001 ..... uni uv 1 il '

J- . . 2 ° .1- 1

u on rat land, in 41101
7 7‘ ~J— ~ '-~ .‘ -'. ‘ -'-‘~
ever; acre is UUt to its Jess use, and in Jiicn cue
4. w-L- n .7 :"\.-1-. , ..-. r‘ n-'- v
traditional ci‘iding lines seuJeen ton tnd counurg

J_ .

are broken down. '-o the city worker it offers home

and healthful surroundings within eesy rercn of his
.- “ w .L - r .a‘ - .4'- .0 n ... .1 _- "\ _
JOD and Ou t e f r er lu Oileru iacilities ior a

J. 1 "fi

4‘ u- s--\ n't r -\ “O ‘ v ‘ - -1 -‘\ r '1' ‘ r1 fl "I. 1 3, 7, ‘
sterdr aarieu "it1in a L”h nunurel Jaris or dis 0Jn
- l N .
fields. (64)
.L

..1 J. J. ,_ n- ., a. .. 1 , ‘i‘
uOJns were QTOUCCUe iron n av;r traiilc DJ se-

‘-

Greenbelt

'! o

in; located a considerable distance fro; all arterial ni“

nvv r 1 - -~‘~.r ' v ‘2 ““341 '1“'\ a. ~ ‘ ”-w
wa;3. Mehicular and 71(west an traii is Jiunii tie Q3V8L04—

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finv‘ _ ‘ w (1” run/g "\ «V r fir} _
10 same 138.1316? he Loss. be (3-1 done
1. ‘ '5 ’3‘

' . - --.,1. q .3. '71, .i ‘ '7, .. ._._.:. m 4-‘
in v-18 nausurn deeve loan-Jens. -_-1e sublei’us'loc.’~ co-1ce_..u, 8.1.; J3. r

Radburn concept, was foll owed wliex ever gossisle creating larse

'1‘ " ~'~-'~-F\J" '-\‘- * J‘ '1‘: ‘ f“ r\ ‘ -. ' m ' “i .’ ". 3 " "J-
) desectlemeit nQLmfliSUrQULOfl, creenoelt LOJLS (JQJQLQ ton,
C‘ _ . -_ J- ‘p‘ ,. .' J.- "5 T" ..- A _ -~ '2' ’-
C.: sugerinUCndeic o: Jocuants, 1929), p. 1.
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“~ It should be noted here that projects such as GreenJe it D,

Maryland, have the style known as modern, to be discussed in

Chapter V, its chance:
"An architecture such as America had never seen in
the environs of its great cities grew up in deserted
lots and near dumps - shacks of discarded packing
boxes and advertising signs, of odd pieces of rusted
corrogated iron and broken fence slats. They were
called Hoovervilles, and they were the dis race of
the nation. But it was disgrace and hardship that
gave the style known as Modern its chance. It was
social architecture, an architecture of reform with
dreams of a better society built into its aesthetic
doctrine. When the planners who were deeperately
trying to c0pe with the famous "third of the nation,"
ill-housed and ill-fed, began to devise ways of re-
lieving the deeperate housing situation, it was nat-
ural that they should turn to this simple new

8.

lOO

archit cture for t sir ins iration. Government pro-
jects liLe Greenoelt, Iar land, were conceived in

the new flat—roofed, 3:16. "1‘1‘.11e;;L--.fil” style, (:13 cit;r
3111‘111181‘3 1.01 --e; wit“. .Czrciziteets i;- an attezgit to
create co: unities thfit soneia, night serve as models

.1. ,,- - -

_r, '_I_ a l'.'_ w l' . :3 _ ’W ‘ _. ‘_ ‘, _.~ 0 ’ ' -
A. .. LII) 93.811 1110‘191 H.273 .L. 030;: .3. Upon. wile iirl‘v‘ Cue 3-4.51. 1C1 - OJ:

.- . .1. _ .;. .- ,1. r“- ,u , -- _- -3 2 ,L - J. - -.
i:§f1L-e,ioe.L eel ta :: co:w3cer3uicxi SLh “d .?d_s ,LLlLu1.nL£L uC) Je 1-ec
'b .C‘ ~n 1 “11,—. ”‘1"? " 7. cw “"} .—-I T ‘0‘ 'Y "..‘ W—‘v lf‘IVg _- 11 F1 -.. \w ' (v N 10f:

€101 ...Oeu-~) Ova—.1 .Je ueCLA. GL1. Alan-..)- uhfi pUJ. ..D ..‘U... e lugLavvt
"1 " "1' ‘3} 1"" J“ '3 ’Lwr-~ N31-\,3, ' 7 - f" .1-“ at r) 1'01 e“. .. . ‘1!” ‘0 P.
desc id-.. , v-1b u JC‘ 01 so...) L fisic u.-L. VOL....L- QC 3.1-LJUL1. CL...

\. d-L

pugs :ti 3: of the F. H. A. 1i? not advocate L
m -L ~ ‘ .1 ~ "‘ ‘ 4 -.— ,. ' q -'- , ..- #11,“.-- - - .: ”.-.: r- , .
supersloeh or hlseit feet 8 (a heuea landscaae critic and town
planier of this era) consistent 100p deti

.-J. , 'L ..L .' -. .-“ hp ,1. 4. - 1.. A -. ..L
centr ted 01 el 11 ngin‘ the LOJD Lla Pale Violations 01 one

'1 .1. '- ‘ 1 _\ .' v“. 1“ ‘fig ’ ’5 . t'm”
sales, and econeLy 0. plan. he Jr emphasis wcs placel on L
0 .1. _ . .2: ‘ ,_ _, '1 o - _ p r‘ J. ' _ ..-‘ J. .l.
interseeu-ons she a curVi— 11:1 ar adagtatio; of use screed

grid. This latter ataetation is attrioutei to Seward Lott, a
Lands e°pe Arc.itect with the Land Pl:.nn: ; Section 02 the F.
d. A., but anyo; e can see the inssiration that was drawn fro:
Olmsted's Riverside rlen of 1569. (Illustration on page 101.)

-1-

L-‘a - \A- J" ‘ {1 V V—‘rs J. [..: : r' J‘ ‘1 i “ .'1H—.v ‘
Other projec US were also L1.-L1e:. when duanQ one » r 1 n
r "" 1 . , ‘ -. '~ . ' ' 1 J- .- p- .— .
years, l;30~l§40, in 31101 the Landscape arc lUGCb plajel a
,V N .l.‘. _ n . U‘ .. _ ,I ‘.. l L _ ,. ' . A ..1 4- ~. :1!-

or role. Less Una. a century had passed Since UlmSUCQ, or.
-n a h l. __ J. ‘ _ *1". e \ a“, J: -. " '
erg, his edncry para in one c1 y. nos
4.‘ . _ - . -- ,L. J. .I.', .fi 1. - .1* - .. . .0
use parhs were re. ZUJHia; b0 the colaer. in detelo, : oi
.4.~- , , -‘ ‘ v .- , .L‘ w ,- ... .L .1.
U- -880 .105] '13:-..8 , U 0081.18 LL10 .Lgur‘_,eQ L)

. ..-- .0 H ,n ... ,‘, 1-... .‘ .‘. 0 ~. - ~ .1. . , .
hlgle emllouer Oi LWH¢QCS_G ureLioects .3 tie lCJlOQ.

-’ , ,"r‘n- ..:. ,. ._ _ _ I)" "
(05) Russell Lynee , -ne TasJemaleri, p. Léo.

1 O].

" ‘ “ _

r. FFNERfisplQ‘f

 

lm. 'm-dt-u-wm of present-(Ln tunilinear suhdhisions: above, a section from Olmsted's plan for Riverside. Illinois. 1869
In I'm, stlggt'slt'tl suhdixisiun design by the firm of Pitkin and Mott. published in 1936 by the Federal Housing Administration

Ill um- ul its e.“ I\ lnmhurt's. "Planning Neighborhoods for Small Houses."

. 0 . ‘5: ' A I ”
.fi.’ . P f‘ 1”“ .' . \ o
.‘- Hiya .

c

at 07
«I

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: '. ‘V‘ «7 ~ rt] «4“ r ‘3 ~fi - ' H -... 1 ‘ .. -7 ‘
Carlo» cognac” 41,1111“. rd «1m borlo i‘LIS;L~Z\“l"e‘f, r-"21—i...r,ae -
'd‘h' H '.“‘,.~ '__,_ j . 3' W _ fl ‘ 'r- . fl . . ‘ v
4 , o O; wuwyol («8:1 1-7.VGL1, (10:111.: isle Uzuvurr

.l r ‘ '-.” \

fl: “3 v- n _. F... .3 h. n a n ,w :t~,~ 4‘ .A_ '33. o
Lae install lent suginj oi cars had yUU shirica on

wheels." This increased nobilit; was causin3 concern for the
Rational Park Service with r gard to possible overuse. To ac-
‘-te the dezzand fo active recreation, and preserve the
KS, the development of the state
parks we s accelerated in the early 1920‘s. In the 1930's the
New Dea oro3ren of the Civilie n Conservation Corjs (CCC)
built up the national parks. Nita new and better faci li ties

the national pe.rks were able to relieve some of the burden OI

This was a period of great irowth and progress in the
parks oweing especially to experimentation in design, facili-
tated by lar3e voluLIes of work. T‘IIese lar3e volumes of work
enabled Landscape Architects to shift from private to puhlic
work when private work was dying. What was one man's gain

4.1- 1 ., . in 0 4.1 - a .L‘...‘ . -r‘ ..
was not anOUder man 0 loss in oils case, I01 the Landsca;e
Architect alread; had a food oack3round for sari: desi3n based

.. . - o l w
on his des i3ns done durin3 tne preVIous 'country place epocn.

I I n - o o o o ‘ O .
Oddly enou3d, it is in relation to tsis involvement
of the profession in public work in State Parks, from

about 1920 onward, that one can appreciate mlat was
erase“ the :wo t rire tifyin3 contrinution of tie Hcoun-
try place epoca,' during which so many vou 3 landscape
architects had e.cquired a viiorous so wee of form and
had learned to believe wholeheartedlv in the iIIortaI
role OI stron3 desi311 For. while the on ality of these
puolic areas undouotedlv introved as professiona com-
netence advanced throu311 setter co Irencusicn of ecol-
033, conservation, and the forces of wild nature, it
is also a fact that the bi3 projects Ior intensive nuo-
lic recreation have bees successful in direct propor-
tion to the incidenc with. t_Ie:;I oi‘t11e stronifin Clear,

unambi3uous structurin3 of Space ueon the land. (66)
The TenIIes see Valley Authority (T.\.A.) was another fed—
eral a3ency that emeloved Landscape Arehit ts in the 1930's,

primarily as town.planners. THAI- the inundation of a town, it

.1.

was necessary to create another town to Iouse the peeple aha

were displaced. In the creation of these new towns it was
possible to incorporate the needs of a Chan 113 economy. Ihus
desi3ners were able to avoid the mis ak s that were often the
result of slow growth over many years which feierall pro-
duced a confused city pattern. The welfare and needs of the
total population were take; - into consideration, as he“ been
done in the greenbelt towns, thus producin3 a unity and har-
mony within the community pattern. The T.V.A. also developed
nd Opera ted, until 191'? wilen the respective states took over,
*any parks and recreation sites. Ies e facilities include d
the design of anything from a boat Loch t
in3 camp to a 3r at resort on the lakes. The ability of the
Landscape Architect to improve an enhance the beauty of the
envirenne nt is everywhere apparent in this great flood control
project. The fiorris Dam Road, for instance, is well desi3ned
to fit the landsca 3e and to show off the scenic beauties alon3

. J“ P! Q 14‘ 5'1“ " 1 . ' J‘ -'\ r.“ 33".” "' V" F“, V
lbo route. Inis road has In fact set a precedent Ior mmflj

scenic T”rinafs across the nation.

‘i ‘ . o . . o J 1 ‘» ' 0 -3
The Landscape ArCAItect was prominent In sIe 1330 s in
ther facets of 3overnment slannin: and pres ervaMi on. The

0
~" 9* “r - 1 n. ~1_-J. ‘4 H
(06) torman T. newton, "100 feers of Lan ape aremisectuie,
L pd

dsc
n I an _ -"an‘-"" "III: 1" 1C: ‘1"), I 2/—w
_¥;L:_=\JQLDC All ‘v.-erCBLLl e ULt—Jr , “"" i). U).

104
Copelo “ Report 11 ly'3 brought sis ‘e313n talents to bear on
State and Rational F0“ests; the L

L " \A Q ‘ r-I Fl 1 ‘1 ‘,
aulonal Elannan uoarcl, 1.3.10-1

'17" V“ (‘L . iv ' " I“ ~'\ f“~"“ . "‘ P. n fl 1* '.
st_mulaued local, c1t; state and re 1011al glana1n; as a oasls

data, prepare desiins, and S‘a1ervise construction; an1 tne
BLIreau 0: Public Roaes founo 11m useful in deter;tin n11? scenic
locations for new hijnwats an; the seaut'fication of ex's tin:

roads. It was 1n lact the case that 90% of those practic1n:
Landscaoe Arch1tecture in 934 were emgloyed by some :overn-
mentcl agency.

A iinal word shoul? be adued on tje prevl oue lg! munt lcnei
revitalizatloa of one 'o or Beaut1ful movement, popular dur-
ing this period. It pas in the 1930's that art was intro-

q

ouced into all phases and walgs of lile. The feae rel 'overn-

\_.

. .. J. - '~ .z.~ ' 13..“ J. '1 .z.‘ 1 . - K- - 1 1 - 1 ’14. :1
meat real1ze1 unat tae ellects 01 .1e oep-eos1on aaa resultea

in the total loss of income for mos artiS'

T‘ 1“ e. . ~ . 4‘ -.(-. ‘ ' ~ -' ~_ -'- a . Tvm 7‘1 _~-~ r‘ A
roo1t1ons were tnerelor luae ulonla uue aorus ITODSGSJ 11211—

(D
*1

istratio: (fi.P.A.) for artists and sculptors waoso job it was

‘ h J‘ v v “‘2‘ h ‘L ’7. ‘ n "~ V‘ '1 . ‘-’ 4' '
to create :orLs OL mrb lor all naer1ca13 U0 enjoy.

:71. . o "" "—‘ A r‘ "‘ 93.: ”‘5 r "‘ ”1' ‘ 'L (‘ 4‘
-nvs lb J33 tn U lee- ch no-u olllce mur*ls a UJG st,o—
" o _ 4‘~_‘ _‘ I"- ‘Y n V l‘ 'l‘ q H ’1 H V '3 *fl‘ ”" _ ’ H n J— . H‘L I I'
ue») ll]- {11-9 1.! “...-(ii... ’ ‘Lhi.erJ—C‘v ‘J\ 5-) OLGuJIJCd "..L L2“). 4L -4-~ “TU-L —’ Ulc
‘r “Tr-fl “.'n'.'1xf 1. “I 4' ‘1 Vr “0's "‘ ~r'r'sv .1 ’1 Hr. 'pfiqL‘tSy‘qr-‘fq ri ,“1 a». 3 “t!
I‘. O- 4-5:) 0 l’-L‘ALLJ Ire-f e UPI-1...!) L .L-;e GJLLJA.-;p—_ e-) 0‘ - L.L QML‘J--~’-‘ .J ’ DL.
. . . ll
‘r‘r-\ - ‘ 4' V - ‘L — \ r‘ v“ - J" Y 4‘ Ir (‘1 v I"
1;,” too were .463 3,111.11. OJ. t-1e Leceos of to 1‘. e 1.10r-:”.,11d
I o u " I '5
g ,' ‘ __‘ R‘ . J- ...]: Jo‘, a- }_ ‘__ - _. —q . A _.
"Cive ever n a; OkPOfUUJ;UJ UO man- a l1vlag. as 13 so 01-
" fi" '1' Q ~- 7 I“ “V I" \~ o J‘ I‘- A‘ . -—‘ “ ’fi y
tea true, tne urea; .Nts, generalld l'fJObq“1 1n soon clues,

were once a"ain rememoered in the depresslon.

The Landscape Architect in the 1930's was not as con—
cerned with the previously discussed movement from the city
to the country of the "country" park 8.3 mi? ht be eXpected.
His interest at this time was to put the city back into the
"park” or landscape rather the n silply putting parks or seg-
ments of the landscape into the city Only by incorporating
the landscape into the very fabric or our cities will these
cities become more liveable Spaces. There is a need for spat-
ial development, a theory which we will see dominates this
era, rather than the simple practice of distributing build-
in3s over blocks and leaving no or3anized and significant
pattern of open spaces.

"La andscape Architecture is in its very nature anti-

gridiron, anti- re3ulw. Our new cities will not be
3ridiron cities; they will be more organic, more
flowin3, le s strwti in their plans. There will be

a place for everything; the rutomobitle will not be
allowed to tyr1nnize out will oe se; ;e,ated; resi-
dential, business and indust1ial zones will be clear-
ly defined and differently desifned accordin3 to
function. Landscrpe design will be the background
aéainst which all these functions operate; it will
permeate every zone with life-31vin3 natural forms
and will make cities liveable a3.in. "(67)

’\

What a pity there are so few exhibits 01 the e fine ideals

(D

in our cities even today. Landscape design, though it is pro-

3ressi13 in its prOper direction toward being "the background
. . .. r. 1- n p --

a3ainst wsicn all these IUHCUlOHS Operate, is all too often

out into the oack3round of our current city plannins pro ;ra:s.

 

(67) San Frri ncisco Huseum of Art and Association of andscape
Architects, Ln dscsre Desicn (5a Fr.' ncis co: Dan Francisco
Museum of Art, lSM/Qj, p. from an article entitled Londsc cspe

. l
De313ne nd City Pl: sining' by Christopher Tun11ard.

Chapter V

heory in mericen Des i n
'1 to Early 1940's

It was in the lat 1920's that the fi st proponents of
the new style of Lan dsc cape Architecture that was to be called
"modern" were heard. The voices were those of Landscape Arch-
itects, many of whom were still practicin3 in the best mcnner

of the eclectic tradition, who saw somethins new and were not

Q

aafraid, at least, to 3ive lip—service to this new style.

Fletcher Steele wrote an article in the late 193 '8 about

II. II . . . 1
New Pioneerin3‘ in Garden Des i3n 1n whicn he said:

We gardeners have always been behind other artists
in adapting new ideas. At heart we are a cons erva—
tive lot, sure that the perfect garden does not de-
pend on new and stran3e things, but on the per: ct-
in3 of what we already kn w. We believe, however, in
fitness... Nothing new save the relation of the parts
and the use of what we formerly c: lled forn:.l elements

ar ange in occult U1syanetric l o lrnce In fact,

tlw host arrestin3 feature is the manner .in which th-
main axis has been shattered. It looks like the begin-

nin3 of an ania ted novie, we expect each part to walk

over to its familiar place, the old order to return

habit to be satisfied and boredom enthroned. The

surest proof of the life in this design is its power

to provoke t”._t‘...-';:i;1.in.nd 95 in t1e question and the an-

swer: J1] and "v‘fiiy not. .Je are made to thin}: and
1 a f N

to feel, whence must come the understanding. (0%)

The new concept of Space cor; osition was based on the
facs that the observer had hink and to feel" Space ra
than merely obser e a Specific focal point carefully placed
alonfi an axis, as had been true in formalism. The concept of

owe, (ed. ), Space .or Livin3, (A1vsterd1r: Dj-n—
ers and Cc;rto rapnars, 19717, p. El.

107

L‘ _ . .5 _. . . ‘ §
the so ce pe ceived depehzeo on low a oerson reacted or felt
o

.0

.-.J

4.: “a .t. 4.1, "‘0 - . - w, , -
in relatioh b that space, apprehended as a volume, he hap-
pened to es in at any one particular time or point in seouen-

Q

4" A w- J' " ~1r° ' ~ “
eial movement. anOuUh fine comoositions 01 Space the Land-

t

‘

scape Architect could make the individual feel attuned to his
surroundings and thereby reveal new visions and dimensions to
him.

New experiments were made in the use of the ay 3 in an
attempt to use architectural and geometrical elements in an

assymetrical accomodation. Minor axis were developed, which

 

 

°Symmetry can have motion. lt’s unimaginative “fennel-
ity" that can become static. The eye prefers to

move around a garden on lines that are provocative. never
lose their interest. never end in dead corners.
occasionally provide excitement or surprise. and always
leave you interested—and contented.

Someone may say "I don't want it formal, laid out mf
an axis."

The truth is your garden is never without at least one
axis and probably has two or three. All eonipmi.

tions, however free. are built around them. The great
designers of natural gardens may seem to have

thrmm away their T squares, but the axis is just as strum:
as in the mirror pool of the 'l'aj ’tiahal. It's just less ob—
vious.

The axis becomes visual rather than mechanical and
needn't be at right angles to the eye. The eye is
tolerant. It may be influenced by a View, nudged by a tree,
encouraged by a meadow, or seduced by a brook.
Don't fret if your garden is newr quite perfect. Absolute
perfection. like complete consistency. can be dull?

fflmmulmmnuuShnumLJmaJhnlhmfin
(New York: Reinhold Publishing 00.. 1955 . 53.

may or mgr not be parallel, 9nd their terminal features which

often appeared U0 be in tne riddle were really well off enter.
(See illustration on pafe 107.)

M1 '
Lne expectation was

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and informal - would an”, with better adaption to the site
and the develOpnent of ass

style would be forms

It ‘94. , . ,~ 0 4. v 0 m- J. J. o n
Alter passing L .#1 its perior" oi lmlbfulcn OI
(..:. ‘- fi - .' ,_- J. 4.- 4.7,A 4. .o .4.‘ 4.. ..

nature end 0. r Mlfllscjfiu treat ants i one Sb'le)
'1 1 I. . Lo 0 v s. ‘- ‘ o

o; otn~r epochs, ufllS art like tne other: has dis—

3 0 “w, . , J. -1 ' 0 . 4.1 ‘ .. - J ha.
covered the l METlfiue celignts in one QlCSelC tre.t-
DZW‘L C‘ .{3 H} m U (f (K‘) at "'\“" ‘ C w'l _. . W

Ewi-LJlJ O). U; k Ge. \DJJ U elJ—.Le:‘l O I e; ‘3‘. ..

"The 18th century brought the landscape into garden
planning; the 20th century must bring the garden into
the landscape. Through such a progress can arise the
humanized landscape, the social conception of the
countryside, and the garden of tomorrow.”(70)

The modern arose, as was discussed in Chapter IV, because

J"

the need for a design method that would lacilitate easy and

.C‘

OJ.
rapid construction of homes for the growing 'nerican pepulation
in the depressiwn years of the 1930's. The modern concept of

a I a o o c ~ '1 "" _
oeSigning in certain bTSlC monular serpes, ones as A As or

ft'
:3
(D
H)
c
L)
O
I

any other repetitive dimension, was well suited to

L.

tional needs of this period.

‘ ."‘ .. J. i . Y .fl 1’ Q r. r , ,6 f...
It was tne in-luence of one huseun or AOQGTH “rt that amp

1

a prime factor in Spreadin: tne yoSpel of modern desifn find in

bringing this new design concept out of the realm of pure func—

4.

tionalism by demonstrating ts artistic merit. Although tne

rancisco Kuseum of Art and Association of Landscape
, Landscaoe Desitn, p. 5.

tOpher Tunnard, Gardens in the Kodern Lgndscnse (new
1 s Scribner's Sons, 1945 , p. loo.

V

109

1'. 5" ‘ ‘ ’N i . 1' V . f‘ 1 C' H r" r f‘ l‘ "- ‘
nuseum s exiioits were of architectural Jorhs, Landscaye Aren-

’ N

itecture, which followed closely in the footsteps oi architec-
ture, benefited from the eventual acceptance or this modern

architecture. The first exhibition of modern aichite cture in

..-

the United States was organised by Alfred jarr, Henry-Russell

TH

Hitchcock and :n ilip Johnson in 1932. It was Brrr who termed

" fl

.4. 1 - w o w. \‘V I - .
this arcnitecture tne Inter1wuioncl otyle' and nitgdcoc; and
Jolinson described t11e characteristics of this "Style” as being:

"The abandonment of weight and mass for thin wei ht-

less wells as boundaries end IbediT t rs Decrees i11ner

e d outer Space; the su3stitution of subtle and var-

ied regularity for the obvious tra ;;itional symueur1>";
the exploitation of :hatever qualities, surfaces, and
colors were to be found in the uste1i: ls neutelvcs. (71)

,1 ‘Y
o.

It was at this show that t1e tern "functionalisn," soon
to be considered an alternate term for modernism, was first
publicized.

The "Internationa Style," which is actually a nisnouer
and will henceforth be referred so as "Rodern,' had been firs t

described in the 1920's.

"I want to rip off at least one of th risleading
labels thrt I (”alter Cro: iuS) and others have been
decorated with. Theye is no such thing as an ”Inter-
national Style,H unless y:u went to Speak of certain
universal technical achievenents in cur period which
belong to the intellectual equipment of every civili-
ze nation, or unless you want to speak of those pale
exsmples of what I call "applied archeoley, ” which
you iind :1 on“ 1t1e 131 uelic buildinis fr 011: ..oscow to

.-c.ci-‘.1.d to 143111111; on. "("2)
Why then was Honern so slow in being adopted?
(71) Cliver w. Larkin, Art a:

w
(72) Walter GrOpius, scenelof
Collier iooks, lSDE ), n. 4.

i Life I11 ineri , Po 5C9.
tel. -c.i.,ec;:.re ( 'ew I

- Oil-{3

}__J
;.J
0

’ l

It may be safely said that th s new SQ"lG hid been lost
in America for about a decede, though it was to be edo;ted
and to grow in Euroge as we will later note, end the ironican
3e031e were the resson for this 103“. Kodern design crrived
with it: puritnn Sixtlicicv at n :crent, :3 previously bservM
when m9}; Americans were moving to the suburos to adopt a new
way of life Simplicity was not what they wanted. inis new
"functionalism,' as it wds lrter called, was i entified with
the factory and office that were all cu3'ness and little hu-

- ‘ J- .' ‘ _ _’1 ' .
manity. In the twentie c none-oi—one s-own meant a house

0)
9

~13 - , I , 9, - _ 1 ,1“
diiferent form one s neiggbois, unlike tne mess producel

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.s o
be the grourds for the ecce t nce o: chern desijn.
ron aoout 1§32 to 1937 Iodtrnistic we: to be the bune of
‘the e} mi tOLCG of those who were seriously trJinj to :1 emote
the Iodern. Modernistic was, in effect the rococo of the
Kodern design move1ent. In back of *he results of many hod—
ernis tic schemes was the desire on the cart of the 36:1 ner
to produce sometning different in a rather dravatic why. The

Kodernistic novemenu in lends ape design was ch rect crizsd Dy

112.. Althou.::1 done sow e yeirs 1cter, hese exnmpl e3 are very
typical of Iodernis tic work.)

Height in plentin; beds was achieved bj iltin: them st

111

 

No: really sedan-jut adv-Jade.

It. 3.. Bottomlo ”Lands”,
Design In A Hodern {warfm ”-

new; 1947 . M.

 

Th1 swing of“: lawn is emphasised by an Midge

 

 

\ " . lines. Lomoutlkcmmflowbdifyuprdmwava'l -
\ _ dispense Win the shaped and shared (rm. because they
\. . up»! not! emphatically the line: of this modern luau.

 

“M. I. Bottomloy, "Landscape Design In
A Modern Manner."

xxxvn (Jmuary. 1947 .

112

Several unusual features in the plan at the left might be filed in the mem-
ory for future use. The first of these is the curved sweep of lawn repeating
the line of the terrace and leading into the tree-lined wista. To place trees
in rates is not new. but to set them of in niched bachground of foliage
is diflerent. . ,. . Pools. when near the house. show their surface to do
wantage. This placement beneath the window permits a constant tie.
into the mater and provides a neat and permanent shape in the foreground
picture. If the pool is sunh lewd with the lawn, it any appear minimum
in sise. When raised about the ground or edged with conspicuous coping.
theeled naturallyislargerandthepoelvillseemtobeincreosedin seole.

 

 

 

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l i .
”,m,nwrs ...... I

‘2‘
g ..
A-«n- .
“.71-...3‘Lfl IE
i. I
‘
”fl ---. 0— . f

 

 

 

Alodflied modern in plan and elewation gives distinction to archi- 4:3 '“““ I 1. .
lecture. Similar distinction can be extended into the outdoors by , if "‘- 1 '
the same codrdination of plan and picture. The plan at the right ' '
iIInstrates what little planting is needed about the base of a house
when the lot lines are well planted to form the true frame of the
building. . . . This house plan can be accommodated upon a 75-
feot frontage if the garage is entered from the front. In the bach-
yard. trees in niches. the hedges. and the unusual shape of loan
on evidences of a modern design in heeping with the house and .
yet not sufficiently difmnt to appear erotic with any style of ‘ . V ‘ 0
architecture. As presented. this would be a green garden in which 1 1‘
trimmed foliage would dominate. (lower. it is not suggested ‘ e .
to shear the large shade trees. because their foliage forms a canopy '
‘abeuthegrenndoiesewhichinflneneesthedesignweryliuk.

/

 

   
 

   

I ' a .
n
"1‘. --

 

l '27:.-- “LL..'_':_I“_L.. 's

n. 1:. Bottonloy, "Landscape Design In A nodes-n Manner.”
XXXVI! (January. 19‘7’e “a

113

odd Hnrles or n1Clmi then

Hirrors were sed to produce

an area or in the exeggerstion of
1one in the 8th century by

were once again the raje.

in many other extrevagch3s.

O thcn

.' o _‘ g;- o A _’ F a
an illusion 01 increased s1

some practitioners

.n‘o r 1 [‘4‘. I ‘
This same material

'wise geometric 11v no nde ed.

N
(D
O
I’— 5

details. Concrete trees,

of neturalisn,

found its place

 

A ce::ent "Prden teble recer -tlv ncde is a thin? of
n . _ - .—
be.cut;r, seid House is: utii ul. 4118 raised work
1001 :3 like the product of n sculptor's ttls. It
has txree lefs with lions heads Pt the tOp 3nd
1 '1 ‘5 H
lion's claws at the IOOu. (73)
And this wss just t1e start
The idea of the landscape active, the cent Cl susJect
n 1, 7 , , . up 1 n , fl
matter 01 the co pos1t1on, became the motif and was ex 13res-
. .. . u _ ,fl u . n .. a 1 1.9 u
S3d in terms 11Ke tne square motii, the Spiderwes notii,
H x u o v\ H 1 o 1 0 .L ' .. .1" .. 4.7
add the sun .Otll. In this latter scheme, redias1n; iron the

,, J. n ,‘4. ,-
CGflbrul festure

pink cement, were four

090 an 1
vxlh.) VV --

tin ued to :Prd tLe

OJ

h

ppe rence of rays . A

cu;:ested the same motif

s 1.15? l 1 s un s

the colors

lines, an odd did get p1
grass areas surrounding

simple lines and forms.(74)
(73) Russell Lvnes, The Test
(74) Description ad_Ppted I'rom

- - . tl .
we would 3e Nodern, mnerIcc:

'1' . rs in
trigawpelsr

COI‘TICI’S

easing picture is create

the central

‘
"1‘: 77,34”
....ao—aO-L 5) ,

which was a Squnre reflection pool bordered by

flower beds. Two of those
of the ”arc giving the
vericOlored slate :slh suri oundin: the
in its pattern - the corner

‘ 4- e“ fiJ' n
escn w1t1 lb3 separcte rsdi -
’1 '54- -)vv n . T.
01 the SldeBo .q; ple01121 use
.. 4.7 1., .I 41.1 ,.. :v
Cllel UO vhe prop~rtf nd Q "den

feature enhanced its

l
p. 194.
r- -L a u '_ '1“ 1"
Ltil ctrLthle D‘; 01-3.14]. 133.011.,
1"! .—
Lendscise te etnt e

H
27.1011:
1.

f
(“as
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ll4

This was typical of what the true Hedern had to counter
Pnd OVe room, before Modern design would be accepted b
American public.

While the Modernistic wcs to 3e found in the United
States, the Hodern was exemlified in the designs developed
by many Europe.ns and one South Anerican of particular note.

The architect Walter GrOpius, a pre-eminent theorist of

the hodern movement, believed that the hUKan element must be

integrated with design.

H ~ 1. 4H ‘, 3 ‘ ' .f.‘ l - .. ° ,. .
The Key Ior a successful reeuIldIng oI our enVIron-

ment - which is the architects great tesh - will be

our determination to let the human element be the

oo:1inant factor."(75)

It was with Gropius and the De Stijl movement in Holland
and filth Le Cerbus ier Pnd the develomjient of the fine arts in
Paris that bis vmnetrice 1 out 1t” gs were conquered and replP ced
by dynamic balance. Formalisn, as previously discussed, was
based on bisymnetrical outlays where the axis was only effec-
tive form one vantage point. The Modern concept of dynamic
bPl.nee incorporated various possible axis or lines of vision
into the overall composition. The observer could therefore
experience different perceptions of a focal element b; varying
his position in that Space. Lech new position would involve

a new P:;is and a different sense of balance, assvnetrical,
with regard to the focal element. The Space was therefore
plastic rather than static. (See illustrations on panes l0?
and 115).

’3

(75) Walter GrOpius, Scone Q1 iotal Architecture, p. 72.

115

 

   
   

 

 

I h ‘ - .
- v . ~ -.~ , 'J '

‘ . “ ’1....', "'N ‘I‘..--_."‘ . .

. ~ >' . r. . ,‘ . \I.. ,-'1. . _ - ‘ k /

I " 3m”. " . 0' k. .‘ '
‘ " "3'“ ‘V' T 0 ' , ' .s‘r .

11'“; . A , . - ~ :5 .
xfiifiw» as. -~ . s E}..

natiotty and privugy 1n the nod-m immunised landscape .
in deference to the Genoa-cue" landlonpo in dun put.

In had-co ”at. of Art on! “antenna of had-capo

What... I- h- . :
‘- 0‘ W ( moi-co. on a In ”not.”

Ornament was bared in the Modern movement in favor of the
inherent beauty of the structure which had nothing to gain
from extraneous decoration. Pure utility, as had been the
reason behind the incorporation of Modern design in low cost
housing, was superceeded by functionalism and perhaps most
important the fourth dimension of time was incorporated as a

design element.

"...movement in Space. We know, as landscape arch?
itects, the inherently baroque qualities of the out-
doors and the kinetics of motion through it. We
sense and believe in the non-rigidities of the world
around us - the everchanging qualities of natural
spaces and the non-static characteristics of natu-
ral phenomena. This tends to influence our think-
ing and our designs - we see space as non-static

and non-fixed but as a medium for motion... We see
the landscape as a design in time as well in.Space
where movement and motion are a significant part of
the design problem, and where spaces are to be cc-
cupied and moved into-and through. And we recognize
the vital influence that the design of Open Space
has upon the movement quality of peeple in it."(76)

There were three sources of inepiration for the Modern

(76) Sylvia Crowe, (ed.), Space for Living, p. 47. From an
article by Lawrence Halprin, The Landscape Architect and

the Planner."

q

designer: functi he ii: the Oriental influence, 0nd modern
art. These three sources may els o be termed "the functional,

rtistic" re soc ctively. (7?)

OIL

the emphatic and the

"J

unet ien 113m or the Punction l 13roe eh:
The esthetic value of the functional approach is found

‘

in the simplicity of the design idea expressed as a solu ion
to a particular problem. Cf prime importance, was that ther
be economy in the means of eXpression and the t cliclies or
"styles” be rejected. It is in the twentieth century that
garden. and landscapes are humanized in accordance with the
neers of the people who use them. The residential property
is made more useable as a Space for f.1mi living with the
insistence that screening for privacy be incorporated as an
element of the design. Parks ave become riore us ea ole for a
greater numoer of oeople o;r de31“nin“ areas, well separated
by suitable buffers, for both active and passive recreiti01
or for those interested in furthering their knowlei ' of the
1st wal world.

In line with this approach, the desi~n ele;t1ents of Land-
scape Architecture must become one or: nization with the free
landscape beginning, where we need it most, at he walls of
the habitation.

"The utilitrria style of buildi1311es exercised a

profound influence on gardens, whi011 it newesrs to
be ridding of conscious synmetrica ' 1laan1n The

arrangement of gardens is freer and Ho e mobile than
formerly. One does not look for axial construction

and the monumental planning of former styles, which

(77) ChristOpher Tunnard, Gardens In the.I odern Landsogge, p. 76.

117

could never be prevented fro lookin; severe, above
:11 where close to the house, the herd lines of
'.flLich eln oe softmeai'by subtle olxXNHJrj nrrenne—

m fits-”(78) _ V

r~

-nis some idea is en11esse1 in the following quotation,

but one n37 note the co tinu MI. nresence of the nineteenth

u.

century romantic conception of nature whici had not been

clearly swept away.

"One strives to create a contrast between the disci—
plined out lines of terrace walls, psved Spaces, pools,
etc., and a free and luxuriant veyetation desifined to
produce a hoary decorative e171ect and to five the 1
ression that it is the work 0: nature or of hence.

"The functional 5 rd ‘1 a oids the extre.es both of

the eitiM1n+°l exsres si nism of the wild serdcn and
t1e intellec usl classicism of tLe ”forrslh gerden;

it emuodies rather a Spirit of rsti n~lism :ni through
an sesthetic en? pr; ticsl r: ring of its units pro-
vides a 1r“eno1J and hospitable milieu Lor rest and

a}

recreation. It is in elfect, the soiinl conception
._ , n
o: tne gs11den. (793

. ~ ~ w 1 1 -w a ”11: 1”
It is e“einst tnis bacnjround Oh the 1unctio:el gnrsen

. ll .1. H_. . Q
1tss;31rit o1 rationslism and the aestnetic and prac-

U)

order'n: of it units

Roberto Burle Karx, can best be seen. Artist, sculptor, Land-

10J_ - 1 J- ‘ "_ o o ‘ __;_
scape Arcnitect - it is said that ne paints w1tn plants.

(See

thst:

illus ratic n on psfe 118.) His mfin contrioution is

... he s seen to be anpl"in“ his richly i1
inefinotion to the rniversel rro le::s o:' 181
architecture in this countrjf - the or" niz;t
adaptstion of land for humrn use, the rekirj and

r4 r-J
,4
.1

L10
'
,1)

3.3 (f‘
P.
A
K‘
0

Ibid, from a :aper submitted by the President of the
h Garden Architects Association at t.r1e lst International
f Gt‘zen Arcnltects, Paris, 1937.

118

 

 

Anthony Welmsley, ”South America: Appraisal of a Mas-
ter Artist." WW (July. 1963). p.265.

working out of Spaces at different scales, and the

search for an order which is ecologically true and

visually lucid."(80)

Burle Marxfs work is reflected in the character of the
"California School" of design. His shapes, however, are de-
rived from nature and thus sometimes appear less contrived
than the more extreme rigid designs of almost pure geometry
which often appear forced when constructed.

T O t E ‘ t A c :

For centuries western art denied the concept of nature
in art and western man has imagined himself as being in Oppo-
sition with nature. In reality, however, this individuality
is an illusion and the truth, which the Orient revealed to
him at this time, is that his identity is not separate from
nature and his fellow beings, but it is one with her and with
them.

An expression.of the conception of nature and natural

forms is.found in the Japanese principle of the unity of the

' (80) Anthony Welmsley, "South America: Appraisal of a Master
Artist." W (July. 1963). p. 270.

119

Q

n aoit tion with its environment. The deSigner or b Nil er of

j

t1e Japanese hous e makes use of native natcrials and n‘““’es
Space and the distr bution of rooms such that the house and
the environment beco e one. In line with the unifies ti on of
the house and envircnnent, entrene simplicity of er
sought so that the man-made elements will not conflict with

"j _"_V

or override the natural elements 01 one si be or environment.
lhus, in this approcch, nature is not reW rdeC as a
refuje iron life, but as a stimulus to body and L1H . Suture

should be understood - not co; 318d. There should be a recog-

. "u' J'" ‘L' '. -; (W q ‘1 '1' . " ’"‘ I. \— ufi‘ “L v" a'\ ‘L‘ r ‘ . 1‘ "1 u.‘ -‘
niuion of the tQCULle ,uwlitic' Oi plant ...... .ueflulc .Au 3

r- f‘ .4" ‘- V 4"“ v'w " r‘ 3 ' A D ‘ ’1 P. ‘r‘ 9 . ,fi
graSp oi rl\uuu and accent. all Oi these Iact is will con-
~ . 1.4- r- o ' mJ-.+- -~'-1 ~-+

trieute to a succlc and ilUld adcacacion oi one site.

 

J- . ‘9-5" ‘ “4 . ‘ I ‘7’ n . 'j I" " I ." .- h I“, p. .N . p‘ l .
natic approacn. In his coon, greative varians, nose lloCUS-

C]
(D
U)
(1'-

Le free form using a residential landscape studv h :id

in 1939 as on exa lple. This landscape, as may est oe seen

H-

the isometric drawing on i.zijje 120, well represents tee

L1

subtle and fluid adaptation of findscnne desifn to one site

.! f: ’- - 4‘ '4“ 4“. -‘ n 1 fit 1 ‘." ‘ fir .- l‘ H r-
to; rn art or the alcistic .iircacn LQJ only as realizcl
‘r ‘. ’ . ‘p‘ Q ~.— -:‘ W .5 4‘ . ‘N r‘ J‘ ' "". "‘o
when toe profitls s s~:trch ier decorative ceautj, a puiely

V

relative quality, is ab ndoned in the creation of a work of

art. Appreciation and aeap‘; atiom of the interrelations.ips

of pure art forms can lend the en.lcssicn needed in t1e

120

.ng.’
o a . t. .....

in“ ET- Ill" .

1

 

James C. Rose, C t G s (New Yerk: Reinhold
Publishing Corporation, 1958 , p. 44.

remaking of the garden scene. Decoration and ornament,
schemes of color and pattern must cease to occupy their pre-
sent narrow niche and become integral factors in the plan.
Old systems of esthetics, formulas of design, will then make
way for the experimental technique which will result in new

forms expressive of the times and of the peOples of the times.

'L . J‘ ‘r ‘lv ‘7'“. I? .7 L j ,- ‘ " 1'- J' . J‘ ‘-~ - .-\ -\ -\
IL; 18 uLlG WOI‘A C-l .LLOJCI‘uO U‘dl'le 1.5.3.»- uflCu ‘-ICI‘-;C}JC3 "US$40

. ' (~J‘ "1“.‘1 u'v '4’. 1"‘1‘! h- \ v— ‘ 1'" ‘L v r - “"
illustrwtes the artistic aggroaeh. he tr‘ly ‘uireeiat s and

f q r'! ' 4. o a ‘u ‘ F ‘ .1 ‘4 _o
a site one inte°relasions1 ps oi pure art Iorus to the site.

11 wis l ndscnne conp031ti013.
F‘u H .. .0 -- "m- ...: .. ‘2'“ --' p ‘ N.
_nese sources oi inspiration - the functisnal, the e;—

phatic and the s-tistic - are the concepts of nodern lend—

Mc pe deSLin which were tr nsolanted from Europe b0 America
in the late 1930's. Ken such as Walter urOpius, who was en ir-
man 0: the Department of Architecture at narv- rd Univezs ity

from 1937 to l952, brought this inopiration to the students

P J- 1 ' (NJ. ’1
See , UPS-.1 .3 l._,. beet

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these ideas into a t._,m ie ally limerican expres sio

n+0
UL)

In America there are three primary conceptual cur er
which run through the twentieth century advan es in the fine
arts. These conceptal currents are: the mat Ml concept,

the social concept and the Space concept.

The rater rials concept ganerally str sees the native quel—

 

.L.

ities and the potential of the 7“stem ls used. Materials are
the CF‘Ou ment of the che acter of the Space but, by the sane

he s ce is primary in deter mining

( I"
9.)

token, the organization of

[.4

1
./

how to use the material.

The social consept recognizes the existence of people in

ation to the creative process. .Indijenous, though not in-

I»:
(D
}_J

dep dent, desi n has persisted throughout the twentieth cen—

tury. Even in the best exarples of cepyisn a cw3r sin anount

‘ es ' 1 + ' 4-: was as . .. -, w,
of sea-t;tion is €V1LGHU in the Materials used or the isnner

122

J

of expression in the desi3n. Independent desifn, bcvond
realm of the fol}: r little garden de' ifn done by the avera 'e
individ_uel, was still being sought by the profes si L>naal LandLs-
scape Architect. During a period from about 1900 to 1935 the
la ndsca :e architectural profession was either in unsympathetic

N. p -L ‘
wills ICU 11f,-

skepticism or sided Openly with the opposition in
gle of independent desi3n . In 192 7 ulbert Pests and Frzni:
We wu h were lonely voices crrirh in the wilderness.

"The landscape style is irremediably toxic to the
food t ste of the countryman. It is nature imi-
tative, iniomc anti-geometric, Opposed to the
display of :cltsncnch1o, which no fenuine f0
art can be. Especially in bui dinr and thef sur-
roundinfis of th .lOIle, folk art hams Lfibxrays ormed
sonple avnretric l arraisererts. Only such rUdi-
L -nte ry principles of desi{_:1as stra'“htne“ , uni-
formity, econonf and equal b1? lance sz n be unde
s

J

stood by the simple minds wh do the 3ree t nm3~
of building and gardeninr. The illiterate It irn
peasont or the art-I'etring Eew Lnjl: nd farmer, left
alone, will make for his house a Charmin? settin3

of stone walls, terraces, walks, hedjes, arbors and
rows of trees, handled with pleasant characteristic

“1
c
L.)

I

touches ineach locality. But 3ive h'n new mater-
isls and new ideas, and he contrivesU a diSplay of
insane ugliness. Ornamental ls ndsca egardening,

standardized an nationally advertised, is wiping

out whatever there is of the beautiful folk types
n ll

01 garden art. (El)

"n“t t :e present moment it seems sore profitable to
inquire what this art of formal 3ardenin3 mea-s to
America - to a land far, far removed frorz1 ancient
Greece, from the glorious fields of the Renaissance,

from the wild dreams of Louis of France and even from
the ac ievenen ts of En _;lishren in Elizabethan Britain.
‘What has the feral garden to offer to men a1‘.d worcn

who ride in automobiles and aerOplanes, end who ta

by telephone and sin3 by radio, who live in the pl ins
of Texas, and on the shores of Lon? Island or in the
A ‘ | _ .‘ . . ll .. .. :1".
(31) Elbert Peets, 'Tne Landscape Priesthood, American Aen-

 

curv (January, 1927), p. 00-

’0’

123

nultitudinous bunfalows of LollVWOOdo'(€2)

It was not until the late 1930's that American Landscape
Architects began to bring their profes.ion in line w1th cur-
rent design concepts in other fields and to search for new
forts evolving directly from their problems and the neterials
used in their solution. James C. Hose, Daniel Urban Kiley and
Ger rett Eckbo lead the revolt in the Dep: rtment of La-dsc cape
Architecture of the Harvard Gradurate School of Design in 1938.

Gm rett Eckbo summarized the characteristics of the true
Kodern desijn in his credo of desisn in 1937, which may be

summarized: First, designs should be three-dimensional, giv-

Q

ing recognition to the fact t‘.1a peOple live in volumes an
that two dimensional pctterning is only ei Iecti e when seen
from above. Second, design should be real, not axial, deSpite
the fact that every area has a. axis or a ”center" line. de-
signs hould oe d3 naLic, not static, with the full measure of
rhythm and gaiety and nothing balanced or fixed. As mi“ht be
expected, he felt that materials silould e: js‘res s their-own char-
else. Finally there are no

acter and not that of somethirls

' . ... o o .. _ .1.
'rules" of d951fin. There are pr1n01ples and doglas bUb tlese

depend on taste. Rules of design are attempts to st ndaroize
and fornulate the untaneable greet worlzs of the ages.(€3)

with the modern, Eckbo felt that here was a fusion of the

n ,

stVles and the deveIOpr1ent of style and design.

U

I!

 

(82) Frank A. u1u"1, Formcl Desiin In Lhnds a“e Architecture

(1‘ ew lork: Oran e—Judd Iubl1sL1in‘: 00., Inc., 19:37), 3:. ll. u
..., _ ”I! J- "134.,

( 3) nuuuted irom G rrett 'ckao, amall Ccrdens In the bib],

il loints (senten'se -r, 1937), p. 73.

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“Thin cohono borrows-lino and simplicity tro-
lronoh formal garden: but in reduced in cis-
to tit. modern living."

§j\~ .. r"

 

 

 

 

 

 

 

 

 

mm. charm The multiotmnkcd trees lend an informal note to g
(In York: Reinhold whiz-run; Co; mum}: . 1955 , 5. Wm“! dengu-

Thom Church. W
m (Now Yorks: Reinhold rum-h-
“ 000. 1955). 1020

   
   

  

'.4' " ”Tho lines of

the garden are A sculptural
roltlooc ana' :fizooogono in
m orn
army" m mum
without
sacrificing
function.

 

 

 

 

 

 

 

___, . ‘ San Francisco Museum of Art and
.... Association of Londoocpo Architootc.

Thom church W Wan hanoioco 0.1.:
(low Yorkszflcinhc ' iilhins ., 1955 . 131. San Frcnoiooo Macon-lot Art. 19‘8). 28.

 

plfns fit the top oi use pfife are sttcm3t3 to use the beaux
Lrts fknrms of the Flwnuel :ni infliskl.xig;slisr in.ékx333hs for
modern livinfi. The rendinin" 3 ans shO' the result of Church
secrch for new ’nd better for*s. vonpcrc the plcn of tie 3sr
den which "borrows line uno simplicitv Irom Preicn lorr: 3.r
dens” with that of the sea-side garden uni the success of his
search will be evident.

The insl concept and tlie most imoortont with re3nrd to
the theoretic 1 evolution of the Lodern is America, is the
snnce convent Lhis concoct acce to the three dimensional
sp: e forn as a basic ele ent of tlastic or esthetic or3.:n-
izstion. It be'en with the use of pcrs 90 we ive in u noissnnce
and Baroque art periods; later it w s adepteu 0' “e cuoists

“mow

who eLJVLimented relctions beta

..-

colors; sculptors then took it and o'opted it to their
dime‘sionsl co;p Hi ion sinvolvin3 all sorts of intores

-,'— --
U l
v

look

ans intricate space relations, theirs being a crestion to
into and walk nroun rather than m.rouyfh, the arcnitcct, on
the other hand, created the full enclosure in which the in-

so

Cividual can 3et in and walk er und chi thus experience the
Space. It was, the‘l e ore, the application of this concept ‘
the tesi3n of the outdoors that was just beginnin3 for Lend-

tile 1

C)
U)

sczpe Architecture in late 93

"The funM eLWo 1 features of contenporary l ndscrpe

Cloiltectur is to cre ate a functions snoce :or liv-

itj, by the use of nostract forms composed of nw. ‘r:

m terie s, whicq still 1w eep their osic cnor cter as

livin3 thinks. (05 by Kuro Kaneko
(35) Svlvia Cro e, (ei.), Epoce for Livin' o. 85.

 

”D"?

HI

This then i: the Z ie“n theory which vac DOTI in the
close of the depressio1 yerrs an. is still growing todty.
The idea of the o aptability of elements to a particular site
in line with conteuporarj scientific thou ht, and the or ation

of varied and interestino sostiil ceipositions, leading to

new concept format i01 by the indiviiurl Ugo e"pc iencos these
Spaces, is the :reetes echievere1-t thrt lghd5c m'pe design has

A

" " r« . in. 'L '1' h ‘ - ‘L ‘ ‘ . r‘*
he LEHQSC¢QG architeCU wao undenstahis tad
H-“ .0 '1 4.1 o .A o o ‘ 'fi .0
attends to the mature appli ca tion 0: the bacic yflRCljleu in

the for:cct ion of new CODCODtS of Space composition is a true

4-. L

a‘

Chapter VI

The Last Qua.ter Century: 1940-1935 And Ihe i“uture

Site planning, old in th e sense 01 its basic design prin-
ciples became a new field in the early 1940's. It was a nro-
duct of the times: its design 09 sis was the funda:mentdl con-
cept of space 0. ”UerblOH formulated in the late 1930's; i
more.l basis was in its attempt to 3r oduce the best possible
physical pattern within which a group of peOple can develop
a good social pattern.

ite planning, previously thought

(.3

It was at this time that

‘1 ' n

of as a oy-product of the overlapping 01 town planning, archi-
tec ure, landscape architecture and engineerinfi, was beginning

N

to be considered a Specific field of esign activity. The idea

was facilitated by the collaboration between professions that

p,

;ner coul do a con mp e5ely

H.

were prevalent, since no single des
good job of site planning by himself.

".11 o J.
bite planning is total Spa ce organizst 10
s1ecific construction project on a snecific

’sed in this context ”site" encompasses a broad panorana.
Di be ma* include anything from the M1 1e lot to the com1'lete
community, or portion thereof done under one control, and on
to the larger aSpects of the region. It mev be found anywhere
that the determination of desireable relationships between

‘_ I _L " Y’fi fiJ" “ ‘ " "‘ : '-"
o‘cn1tecturcl and landscape elcnen Us and Open sg ce is 11de.

 

(S4) Garrett Eckbo, HSite Planning",
(4'4:er , 194‘2 ) ’ p 0 26 3 O

128

"/1

good site plannin: is larsely a matter of real or-
mon sense, aided by a conpletely Open mind, a lace of
esthetic prejudice and an uninhibited sense of form.
Some conception of the relation between theory and
practise is ess ntial. In general we can say that
heory is necessary to the development of a sense of
form, based on ruman an social needs, and the prac—
tise is essential as the means to concrete realiza-
tion of the form within existing lega , econonic and
technical linitt‘ tions. Either is irpractical when
divorced iron the other, and ootl1 oecome in1practical
and irrelevant w 1e1 the planners lose s°j1jht of the
people 101‘ whom the] are tO‘1'111 Iheorv is the why
of doing things; practise is how; only a oroner inte—
gration of the two can pron iuce good results.'(53)

Site planning is the bridge from the pigeonholed planning

of snecific projects done in the past to the cor are1ens1ve 1.1r1-
fied whole of the regional landscape. This larger concept of

site plannin, 1s important for a number of reasons; techni-

cally it is means of organization within the framework of

go

our increasingly complex society; iur ctionelly it helps lessen
:roolems that overlap between fields; aesthetically it recog-
nizes the existence of structures 1nd the fact that they nust

be arranged Spatially with relation to the site and the sur—
rounding srwdsc pe; and finally because the concept of the in-
tegrity of the site is i portant psrcio-oiolo lca ll},r because it

gives us a framework of thou‘1t, a 511los01v 01 approach, and

a technique for svntncsis of complete cillular units wnthin
which we can nore ’isellirently pursue more COL plete solutions

DO the problem of the good environment - the wholesome human

“A”: of-

) IL; , j. C‘JS.
3"“ 1' ’1 '0 a“ ' 7 7:1 Turme- ’jn‘w w'ra'n Ll'fi'l " ( 1,
-..-111-2049 .1POIfl v??? o; “0,3,0 . _r3 1 J 11' L.(éy

. “*4“

,
. H _, . - y y" “X ‘ x
10“}. 2. J. QO e CorrOra ion, lCEJI, 9?. 2I ’43>°

 

1e 19111r" idea carried on into World Jar II, as
t"~r, and became the oao.oo1e 1or most of the
defense housing projects authorized and implemented by such
encies as the Federal Puslic Housing Authority (FHA) and
others concerned with the housing and welfare of the people.
The previously quoted ar icle oy Eczoo, written ahen h was on
the staff of the Far Security Admiaistration, was actually

used by the r.H.A. as a b sic skeleton of princi isles on whica
the actual aroora :s were placed in preper fo rm.

During the WLr, as had been true in World War I, most
private Oiiices ceased to Operat . iaeir efrorts and person-
nel were diverted to winning the War. Kany went into housing
develOpnent agencies as previously mentioned an” a great nunber
used thei: knowled"e of plant materials and landscape composi-
tion to create masterful pieces of cohou1la’e ior our install-
ations, weapons and fighting men.

A few Landscape Architects stayed in city, county and
other government jobs. Many of this group were in good posi-
tions when the War ended to ca rry on the work of city planning
which was once wjein destined to oecone pOpula;.

h ter th War private work was slow to revive due to the
inflated costs of 0‘111113 2ateri als increased as r charges,

and hither income taxe wh1ch were 311 deterents to private
work. ~h more rapid recovery was to be seen in th govern-
ment suosidized projects.

City pla11nin* was considered the foremost creative work

.1.

of the future - a Iorecast that is felt very strongly in work

carried on today..
The problems of uro'n1s1, a stru'gle between concentra —

tion and dispersion, were much more pronoun ed in the y ars

3

1f+er World War II than thet Lad been after World

0

O

J.

ontre diction between ce1 re liz a'ion and dec entralizaLi on must

of necessity be solved before we could have healthy cormuritie

In a rich and flex'ble way we had to deveIOp the concept of

q
(A

cellular municipa structure in—so-far as this structure both

eflects, exgedites and directs the social pattern. The start-

ing place was the residence, with the succeeding increases in

.L

scale - neighborhood, COm.unlUd, metropolis, region and nation—

multiplying the scepe and complexity. The nation, still not

ealized, was the climax - the tot;n l unitf.

After World War II and for about ten years land planning

ideas were not develOped at a Federal or at a priv te level.
as a result, .ost post-war resilchtiel development beca.:e a
scaleleLs nass of uninSpired des ifn e: Werci es in CSplinlt and
concrete. They were perhaps safer and sore e;ficient ’ut no

4-1

less arbitrary and no 11ore interestin': than the plans

141163" 1" e-

placed. Tdis stagnation was often, thourzh not always, not the

fault of the desivner.

The Radburn Plai had in eneral pooled some front and 3
ard 83308 to nah a central pérk area, and there was a mix-

ture of house types for interest and variety. The nev son-

ing laws, howcver, were ICr el;r reaponsiole for the cracker-

J-

sub-divisions with all housing being placed u11i: orrly on lo

:30

US

required and in? 1 01 ting the developers imagination even wne re

v
J\

01
Ly

132

the zoning laws were more liberal..

Fewer "cracker-box subdivisions" are seen today and We
seem to be returning to some rationale of design in our sub-
urban developments. (See illustration below.) Many of the
concepts fostered by Olmsted are once again evident. Adher-
ence to these principles varies, and often it is in direct
-relation to the variances infiwealth and class Of this era.
"Physically, therefore, the suburban areas may be
described as a mosaic of rather large pieces of land,
segregated by income and class, and held together with
the cement of housing prices and zoning. The mosaic:
is broken by parks, shopping centers, occassional in-

dustries, golf courses, and public and private insti-
tutions which follow the major road patterns."(87)

 

 

A-m'wmmu-mwwmuamfim'mumm
WHMMtM.H.||-II 13-“.deth

QmMNmmurIMmumiumilmuslunmunw, -
(low Haven. Connecticut: Isle University Press, 1 3 . p. 1 .

There are other problems;which face the designer today
in.the suburbs; Resistance to "urbanization," cultural

facilities, apartments; and other factors; because of a desire

(87) m, p. 210

133

for the "country life" is pushing the true country further a-
way from the residential areas. Although apartments are cur-
rently pOpular, they have not, except in rare cases, been
worked into the very fabric of the community. This and other
"urbanized" factors like it may find better and more henuine
acceptance when we learn, as previously discussed, how to put
the community into the landscape rather than just incorporat-
in: bits of the landscape into the community.

City planning, urban redevelopment or urban renewal and,
today, urban design are all to often catch phrases or the em-
bodiment of programs with nebulous objectives. These "new"
techniques, develOped to attach the physical decadence and ab-
solescence of urban communities, should produce the human com-
munities which the idealists project. But rather it appears
to have produced communities for the rich and crowded the poor

into tighter quarters.

"If 'conservation' and rehabilitation are combined

with major traffic reorganization, school moderni-
zation, new park acquisition, better and cheaper

.3

rapid traisit :acilities, and Other progressive
ideals, living conditions in the grey areas may
be improved sufficiently to bring back a modicum
of order and beauty into the lives of the people
who need it most in our society.”

H 1 o _‘ _ 0 0 .' . ‘
Otherwise, we may expect tne critical middleground
to deterioriate into a niahtmare aroblem area as
. L ,
n - - -. - u r“\
parts OI it have indeed already become. (ab
The results that come out of renewal or whatever name
chosen, will be determined by one sonple relation - what
(88) Christopher Tunnard and Boris Pushkrrev, Kan-main Ann
P

Chaos r Control? (Kew Haven, Conn.: Eale University ress,
19033.

interests apply the most vressure in the most effective Jav

and at the most ap3r0pri ate times. This is how we do things.

Who is to me ply this pressure in the best interests of the

peOple who are served by the end result? Ri:h tfu lly it sliould

be an active and informed public but how often it is rather

1

the profit see: car, he politician, or the de::1igo:Ls who grac-
. u . .,
ties the planning" 0: today.

"A public indifference toward public beauty is a mos
obvious lac}: in the nation at the present time an 's
ertainly a prime cause Ior concern on th part oi
wh wish to see the countrycide prOperly c: red for
the cities appropriately rebuilt. (09)

l

..J
'l

f‘

5

Pa O
(P)
(D

J c!‘

There is great hepe, however, as may be seen in the many
design projects that have recently been and are currently be-
ing implemented. Design is becoming a greater part of our

lives a may be exhibited in its apoli ation to several de-

...

4.1

sogn fields today. There are six major design fields that are
the primary concern of Landscape ArchiteCts presently and w’ll be
in the future: Urban Design, ShOpping Center Design, Indu at b-
rial Park Des an, Educational Facilities Desi
Facilities Design and Toan Planning or Community Design.

URBAN an: as:

 

Design is becoming s stror 3er force in the planning of
our cities. Downtomi malls are re3lacin3 otherwise inhuman
shepping streets. The ShOpi 3er is once afain encourafied to

come into the city by the rrovision of adequate off—street

.‘

U)

parking; and safe 23ede trian *-rav:-:. 'zv'here the shopper previous-

.- Ll

ly had to dodge vehicular traffic as he went from store to

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ed "itn inter :tin3 cavin, peace-ns, res: 3eaels, trees end
7.. ‘2 . .0 ° . 1 .C- J— v '- - . 4— ~
shrubs, gay lount ains an benches ior the Shoppers, rest and

enjoyment of this new environment waich surrounds him. The
K lamazoo I ll in KC amasoo, Kiehigan, designed by the local
Parks and Forestry Department, was the first facility 01 this

type in the United States. Dince its implementation in 1959

many other cities have had shepping malls desi ned and built.

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In each case the primary objective is the same
pedestrian and vehicular traffic and provide a unified arr-
monious Space sensation in which the shepper can feel relaxed,
and thus in a better buying mood.

I117

ae Fresno Downtown hall in Fresno, California, designed
by Victor Sruen Associates and the firm of E the, Dean, Austin
and Willeans, Landscape arcliitects, incorpor." tes a number of
basic design concepts. -here is new concrete pavin3 with cross-
vise senders in a curvilinear pattern which hel' to reduce the
overall length of the mall and induce leisurely cross Circu-

lssion. The tree pattern is continuous but sonenh t irre3u_ar

L'

1

to avoid monotony. There is a balance between evergreen and
deciduous types with an overall emphasis on Species having a
clear fresh green foliage which would give a

of coolness in tais area where hot summers wre.ail. Confort-

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136

Details such as"

a cooling effect to the surrounding area.

trash recepticles, drinking fountains, lighting and signing

are given'careful attention so that the entire Space will have '.

The pav-

a distinct unity of the parts related to the whole.

and-the form of structures

ins pattern, lines of planting areas,

 

 

 

 

 

 

FRESNO DOWNTOWN MALL
Fresno, Calif. - .

(New

4gp0100

McGrawaHill Book Co. , 1

Garrett Eckbo , U

York :

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of the street is reiuced and the buildinjs, tsou:h oi ; ifor-

ct periois and qualit ies can be visualized as a total fibric
4-: ' " " -' ‘- "w 3-: D ~ '1 r~~ Na '1" h n wr-v
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house-s a smll restaurant Wi‘tfl cs.1-ooie:- ‘cfoles 10‘: out; ~-:> r at-

Tng, eui area for outdoor exhibits and an exhibit hall which is

c~ cru;te*'<af civ’c act’vity - items or iiterost to geogle in th
space 1 or oeople .
Ctfiuer #rojects of a much greater scale are being under-
tsflceni tn: I“enew and redesign Lajor portions of urban centers.
f¥3rflzmgys tJie best knorn project is the Dowgtown Plsn :or Fort

J. :‘1 n
u

;Jo:*t?1, .Leczas (1 onlis bed in 1956) designed by Vic or Jruen :2—

- - _- . \ - ,1 H ..
nortn Plfin (illUstratlon on 3::e 13:; is V aged

‘tc> tdle toexiwstrian with vehiculrr access on the veriunerv 01 tne

138

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Cyril B. Pannier, Jr.
The Central Plaza Renewal
(April, lfifi’): P0 1970

139

area; Vehicles could be directed to one of six.four-story
garages, each with a 10,000 car capacity.. From these garages
on the periphery of the area, as the following diagram illus;

trates, everyone could walk to;the business district or ride

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"With parking in'Just a few areas,
the ground level would become the
realm of the pedestrian."

Martin Meyerson et. )al., Fgge of the Met ropolig (New
York: Random House, 1963).
on small electric shuttle trains.

This.plan added to the commercial space and cultural and
civic buildings, leaving existing structures as a framework.
Space formerly necessary for streets could be decidedly de-
creased and thus used for new buildings.

Although the Fort North.21an has not yet been implemented,
the ideaz'hasrspread: andmany cities. are undertaking design-

140

projects involving shopping, housing and governmental prob-
lems of the urban center. The recently completed Constitution
Plaza (1964) in Hartford, Connectioum;;Sasaki, Walker and As-
sociates, Landscape Architects; is a good example of the in-

fluence of the Downtown Fort Worth Plan.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Perhaps the most ambitious and best integrated project
is the urban re-development program now in progress in Phila-
delphia, Pennsylvania. The foundation for this program is
the 1682 plan (see page 24) which established the principle
of green spaces within and throughout the urban area.

One of the first major projects since the Benjamin.

141

The Philadelphia of the future

 

 

 

 

 

 

 

 

. .H'IZJIJUW

r FTIL'
‘fil-iirJ-JI' u

 

 

 

 

 

N. Carl Barefoot, Jr., "The Philadelphia Story," ALA
.«lonmsl (June. 1961). p. 95

Franklin Parkway, designed in the early 1900's by the Land-
scape Architect Jacques Greber, was‘the Mall to the north and
developments<to the east of Independence Hall. Construction
was started in 1942 on this project which had been designed
sixcyears earlier by Roy F. Larson - architect.

"The plan for the develOpment of the Mall north of
Independence Hall provides for the first block as a
set ing for the Hall, and the second block as a plaza
or large ampitheatre, framed by a.tran5parent archi-
tectural screen which will interrupt the Mall, not
separate it. At the end of the south block there is
a fountain, still incomplete."

"The third block of the Mall will have secondary
squares with small fountains and is conceived of as
a place for recreation :and sitting.'

"The area east, developed by the National Park Sere
vice is taking the'form of a large open park, and
eventually will extend to the south and tie in with
the residential area."

"This plan for the Independence Hall area, first

142

proposed by Roy Larson, became the generic force
for all that has happened to this part of Phila-
delphia since."(90)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Inner-block footpath opening up the Society Hill an.

N. Carl Barefoot, Jr., "The Philadelphia
Story." Mammal (June. 1961). p- 93

The next project of importance was the extension of the
inner-block parks and footpaths into the Society Hill area.
These pathszand green.spaces are designed to link a series of
historic focal points in the pattern of the city and give
them a relationship, one to the other.

The webs and Knapp design submission (1959), with its
residential towers designed by I. M. Pei - architect, gave
the Redevelopment Authority a plan that would increase the
population density in the Society Hill section and would also
reapect the silhouette of the historic buildings nearby. The
previously mentioned greenway system will be "brought into"

(90) N. Carl Barefoot, Jr., "The Philadelphia Story," Ale
Journal (June. 1961). p- 93.

143

this area thus integrating it with other portions of the city.

Riverfronts, the Delaware waterfront in particular,
which were once eyesores are now being re-deveIOped to pro-
vide areas for recreation.and the eventual visual enjoyment
of all who drive along the prOposed riverfront parkway. Ship-
ping interests have not been forgotten, but have rather been
moved to more suitable locations. A boardwalk embarcadero is
proposed in.a curving, crescent shape for almost a mile along
the riverfront. This boardwalk will provide berthing space
for the major steamships.

Already well on itsrway to com-i
pletion is Penn Center, a commercial,
and office development encompassing
fifteen blocks of the city's core
from the Schuykill River to City Hall.

The plans for this area - "called for

 

five buildings of the same height to memento”... PennCenter
be built so as to give an east-west N. Carl Barefoot, Jr.,
"The Philadelphia
esplanade open to the sky and a pe- Story," AIA J
(June, 19615, p. 94.

destrian concourse below the street
level, punctuated with gardens, the concourses tying in with
the underground transportationzsystem."

"In the overall plan for downtown.Philadelphia, the
pedestrian will be king, treating the automobile not
as an enemy, but an an honored guest.. The separation
of auto from pedestrian will be achieved in the more
crowded central areas by developing continuous foot
circulation area 9 above and below street level. On
only one street, Chestnut, will the automobiles be
removed, and these will be replaced by light electric

144

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U“03, ee*e ends on

TVA
\J

environment o, be it the urban core or tile su
the relat~i onships estaolished between three primary o2:"sicel

and/or human elem n

*.

llr- . . .
structure - build ings streets, roads, nifinwars;
Jerkin” areas, utilities above and 0; low ground

.
Olen Space lor pee CSuPiCLS only Iature, represent-
ed by fround fknrms, rocl :s, t:zuflx3, .ater. t is
well knorn that t1e :rocess of urbanization tends

to ne::imize the first, nTnimize the second, and

‘

fill too ofte en, Eckoo feels, we tend to put ooje ts of art
into the landscape, rather than thinking of the l rdscep as
a pOSSiDle complete work of art, the whole being sujr rior so
any one of its parts. Third we learn to thing i:-txnnia Oi the
unity of the entire landscape, rather than just of oojec

1_ O N r
a 7‘ .—‘— -- q n H r\ r“ TY ‘.’ ‘- ‘ - (A: (“V
uarrett schoo, broan Lind c.r e Des; n. (dew ier”: “corps-

Book Company, 1954), p- 3.

Ii): (1, p. 3.

.‘v-C

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VHVV

l
2
l
3

145

will have captured the feelings, wants and de:ires of people

L)

in our desijn-.

I v

"The landscape, as the world around us, is one con—
tinuous experience on tire and space throuéhout our
lives, complete as far as we can see or move at any
fiven time and place. This is the desifin problem of
the future, one which will demand the most sincere,
modest, selfless, and yet strenuous attention from
all of us.”(94)

T o ' a ' 3 _o -.. n
Lawrence halprin 3 Cities also enpnasizes the need Ior a
greater emphasis on the design of cities for people. He ex-
presses this in his statement of the purpose of the ideal city:

H F11

inis purpose is clearly to make p ssible a rich and
biologically satisfying life for all the city's peeple.
What we are really searching for is a creative pro-
cess, a constantly changing sequence where people are
the generators, their creative activities are the aim,
_, , , . n
and tne phys1cal elements are the tools. (95)
Both authors express concern for the future vitality 0L
our cities. The dynamic aSpects of the city — public and pri-

. ,.4.

ate, monumental and intimate, active and placi' Spaces - must
be maintained and enhanced. The city is and should remain a
place of contrasts for it is this quality of variety which
mares peeple desire to live in cities. The city should reflect
the actions, feelings, wants and desires of its inhabitants and
not be a static paper exercise of the theorist.

Landscape Architects and designers in other professions

..fi . P, 4' V,‘ . "l
enenber nit there 1s, as

’3’

associated with urbai design must

Eckbo savs, a physical and a social landscape. The thsiggl
(94) Ibid, p. 5. q_ _

(95) Lawrence Halprin, :itie" (New York: Reinhold Publisaing
Corporation, 1903), p. 7.

 

[Jo

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i 1dscae 1s 1.de up 0: -1e ele en s 0 80 cc OP.g-Hxi b on

f)

 

/ r“ ‘ \ J” ' ‘L - x . ‘1 w.‘ ,M H [a J- .‘
which include and, reads and utilities, suindin s .n the

\—’

landscape elements, such as roczs, water and vefetation. The

U!

oci:l l:ndscane is composed of people and their impressions

of their environrent as they move in Space 1nd time. Thus

neither the pmir ice 1 nor the social lindscape can exist un

it elf Each reeuires interrelationships w th the other be-

01

fore the full Leaning of a Space as a part of the total envir-
onment may be apprehended.

sverrir” carved firsrdv

...4 ...4.. --.-. 1.1..4'--_._«,_.

ilthough urban design includes she desifin of snossing
a eas, the remional saoppin: center has developed as a sepa—
rate and distinct design problem. ,orthlfind depping Center

V

(1054) in Detroit, hichijan, designed by Victor Gruen Associ-
tes, was, as his Downtown Fort Worth Elan had been, a pilot

a
project that has 11 nfluenced the design of sh ppin; centers in
many other cities. Huds"n s Deuaitz Lent Store is the central
and dominant store of this shepping center around wiich the
other stores :re grouped. This stor grouping is th n sur

rounded b7 park1n*

_)

so that one the sholjper enters the store

',_Jn
H
,J

comples he is a purely pedas ricn atmospisre where he need
not be concerned with the conflict of vehicular traific. Eus-
Ses and service trucks :Le tou'

4- - a - .- r V, .. - 1 1. - -
“Ob c-nflict u1th cars or cuescri s. nitl in

Center itself trere are plintin 3, fountains, sculptural

H
\4

147

     

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RESERVE
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RESERVE

     
     
 
   

 
 

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basement

 

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RESERVE

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N
"9W high 0

STERN HIGHWAY (local and .
. decal lane
. . S

--_ _ ...-.-.-

:Northlend: A New Yerdstick In Shepping Center Plan-
ning, Architectural Forum (June, 19:4), p. 105.

The Cherry Hill Snapping Center (1962) in Haddonfield,
New Jersey, designed by Victor Gruen Associates and Lewis
Clarke, Landscape Architect, is like Northland with reapect
to the peripheral parking arrangement, but within the com-

plex;-:the LandscapeArchitect has created a completely artifi-
cial environment. There is a constant temperature and humidity

148

maintained with atomized mist systems used in certain areas

to provide additional humidity for plants of Special eoologies.
This aspect of design within a completely artificial environ-
ment is becoming increasingly important in the large shell

buildings of contemporary architecture.

 

  

KERRY HI LL

SHOPPIHG CENTER

 

 

 

 

 

 

 

 

Garrett Eckbo, EnhandLandsgape_2%sign
(New Yerk: McGraw-Hill Book 00., 1964 , p. 60.
The design of Old Orchard Shopping Center (1960) in Skokie,
Illinois, designed by Loebl, Schlossman and Bennett, architects,
with Lawrence Halprin, Landscape Architect, is perhaps best

described in Eckb0'8 W

"The plan is interesting in its layout aSpects in the
sense that all the principles of shopping center de-

sign hawe been violated. The malls are very wide and
irregular in outline. There was some effort made not

 

 

149

to block all the signs, but there is no compulsion to
see everything at once. Large islands of planting
have been placed throughout the parking areas. In
fact, the spOpping center has a quality of being in
a park, interspersed with plazas, almost in the Eur-
Opean sense. '

"In Spite of all these violations of presumed busi-

ness practicalities, the owners feel that it is the

most successful shOpping center in the United States
and does a huge volume of business. The theory is,

and it seems to work, that if peOple enjoy being in

an area, they'll shOp there as well." )

 

 

 

 

 

 

 

Garrett Eckbo, U a L s D s
(New York: McGraw-Hill Book Co., 19643, p. 62.

The design concept of peripheral parking with a pedes-

,trian mall in the central building complex, unlike the strip

commercial developments along major thoroughfares which are

(95) Garrett EckbO. Was. 13- 52-

Th.“- x i: -" ‘4 (“‘r'fi “’1 1"“ =1 :1 ‘° " —' Y‘I’z‘l‘""' ~r ' 11" r‘ «A rte“-
*aJ-C’ Kai-6.... OL ‘;’.& L11.."-“-_J nO--—.-1-_L'—) {BI-CC «LAA‘v’.At-l UT... 1. AUG Ly r I; -5-
. 1' L l -7 I W 4. ' I _ a“ 1 ,J— . ~.q v
line setting, t1e lLQUSurl.l o .r;, is relatively new. .anr
‘1' o ‘3‘" r.‘ . ‘ ‘ fir . "j "'1- . l l‘ 1’3" "IJ- ‘ . 1‘
indusories are -1nl1ng that inuusuria pwrns, loc ted in Sus-

~ .,. ,‘ .‘ ‘ ‘1‘ _ . _ D A _ ‘ -.‘ ‘_‘ n _I ‘
urban and rxral ureas, of-er s, cc Ior evncrs on and

V

F‘ ° -c . L“ N 4‘ q ~~ *fif‘ V 7 n
.it bus1neis sencin at loser cos 3 than could be nod

in

the

The Jenere Hotors Techni 31 Center (see paje 151) north

.-

of L)etroit, Lichigan, designed by Eero Searinemi nd Associates,

Architects, with Thomw s Church, Landscape Architect,

0

‘4 «.ts COTE:-

jleted in M9 4 and be axe one of the first lrrje-scale CLKpUS

develOpments for industrial research and man: en wit 1

Y_ J— v «L 4- P1: o o ... 4 TMW. o r‘ - f! _ ,
baited Duster. in1s de31 n is a come n blon o: a rec

and a concentric pattern with the possibility of none

+‘
n mile

in
t .-J

the rectilinear plat being counteracted by the careful s

of the structures around a central lake and t“e parki

des not facing the lake.

9

services n the s

The entire site is scaled to the automobile and

4‘ *y [x Q "4““: . v~x'. ‘2 “a“ ‘l ‘ P‘ ' 4y -' r1, - r“ ‘4' j \‘ r1". ‘,
Uri n tra-11c lS ninin 1, even JUEqOCI mllncehu ouilJ,1

U

,
3 the

PJ-

ice

The nenor cete-.1nunt of the scale of the

01

sent 3 Spread of the buildings. Vertical emphasis 1:
only in the 138 foot water tower and the iounta1ns 1n

and the chimney stacks on various DUlldiLCS.

(D
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‘: .. *1 J. -‘ . i _‘ I. w, ‘ w’ _‘ J- ~ I v ‘1‘
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Bloomfield, Connecticut (1953), desifined by Skidnore, OwiL s
and Merrill, nrchitec
peny (1961) offices in Jan Erancisco, California, wit Eckbo,
Jean, Austin and willia 1s, Landscane Architects, are all W911
desi neJ facilities which reflect in part the value slaced on
the lendscape by these 0L1 other companies like thgn.

Both the Upjohn Corporation's Offices and the Conn;ctucut

General Life Insurance Contany Offices are large rectilinear

buildin dgs.which dominate t
has developed to blend with the countrysia, with the additions
of lakes and trees to further enhance the beauty of the si
These two office buildings put their restest euodasis on the

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persci at the desn by creat1n3 an env1ronnent that will at-
t1 act the best personnel and be conducive DC the hi t

m, ‘

ards of nployer broduction. OifiCGS on the exterior and in-
s are orientated to the lands :pe
countryside" effect toward wh’c, the
exterior OfllCG s are orientated or the articulately aidsca*

I 1‘

courts, each one being somewhat d1 :fer ent for the i1

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THE U'PJOHN CORPORATION

 

Kalamazoo , Michigan :

 

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154

Plenty of Space was acquired at the outset to allow for ex-

pansion and to be sure that the park-like setting would be

protected from potential encroachment by develOpments on ad-

Jacent properties.

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Martin Myerson et. al.,‘F~- o‘ tp Mgtzg-
anlfi (New Ybrk: Random House, 1963, .182.

It is the landscape design work of the sculptor
Noguchi that is particularly noteable in the case of
necticut General Life Insurance Offices.

"At some distance from the building, on a knoll
side a curved swan pond, Noguchi' s sculpture of
family (child, father and mother), projects the

ricultural reticence of the landscape itself in
druidlike espression.' '(97)

- Isamu

the Con!-

be-
the
as-
its

The csulpture is a symbol in that ituis of the family

which is particularly apprOpriate for anVLnsurance company.

This grouping is symbolic of the company's intangible pro-

duct - security.

(97) "Insurance Sets A.Pattern" ,Anghiteptural_figzum
bar, 1957), p0 1150

(Septem-

155

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"Insutance Sets a Pattern,"'
(September, 1957). P. 121.

 

The courtyards within the building are carefully composed
by Noguchi in gravel, grass, water and trees, These courts
are of necessity sculptural in character, since they are de-
signed to be viewed rather than walked in and, as such, used.

The Fireman's Fund Insurance Company is on a very small
site, just over 10 acres, compared with the two previously
discussed examples. Out of this acreage only 4% acres are

used for buildings and parking, leaving the major portion of

156

the site for gardens. All of the trees on the site that could
be saved were saved by mounding or by tree wells. The entrance
court and the terrace are the primary areas of interest provid-
ing a suitable approach for the visitor and a pleasant place

for eating or relaxation for the employee reapectively.

       
   
    

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Fireman's Fund Insuran
Garrett Eckbo, W
(New York: McGrawI-‘Hill Book Co., 1964 , p. 49.

Great care was taken in the planting composition to pro-

vide interesting combinations.of foliage, color.and.texture.

The overall objective to create a farden that has interest at
all tines of the year for the e ployee or passerbv is well
sch ieved.

EDUCfiTICKfiL FACILITIES DESIZJ:

 

Collejes heve for yes s been a concern of landscape urch-
itects as we have seen in the work f Olmsted on his Jtanford
University design and similar designs for other colle3es. Foot
Hills Junior College (1952) in California; 53 saki, Walker 3nd

4-1.
one CL-

Associates, Landscape Architects; is a fine example of
daptation of an educational complex to site and surroundin3s.

Spaces are created fOTLinL quadrangles, a concept long used in

t

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college design, and the Spaces themselves are varied by the

manipfl ation of earth forms. The natural mounds of earth echo

the form of the hill on which the college is situated.
Secondary schools in ma.ny cities and towns, sucn as the

&

Riverdale Country Qchool for Girls (1964) in new LOTK, flew

:3
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York, by Charles Colbert - Architect, are adopting t

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class levels are incorporated into individual suildin
buildin,3s are in turn org ganized to form a composition which
suits the function of education generally better than a single
school building with all facilities luxped together, and is Lore
adaptable to the site.

1377/1 WT" :WTM” mACILIml-sz “Trill/3“”.

:k44...’ ._‘.\,-.--._.' ..-;
Parks and playgrounds have long been a part of the Land-

scape Architect's practice. The amount of tine, by many offices,

158

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sn'AwardB." WW (January.

p. 1410

160

devoted to recreation is, however, increasing at a rapid rate.
There are more demands, due to increased income and more lei-
sure time, for playgrounds, city parks, swimming pools, golf
courses, marinas, and metrOpolitan, state and national perks
than ever before. People responsible for these developments
are realizing the valuable design services that the landscape
architect can provide.

The following illustrations are typical of the quality that,

may be attained by proper design of recreation facilities.

MARINA “I" cm mat a m M” W!” m m m
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son‘h san FranClSCO, Calif. 3“:““;.';‘ ”E :0: an.“ M may”
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(New York: McGraw-Hill Book Co., 1964 , p. 120.

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ELEHENTAIY SCHOOL

0 I '0 W

Jose Del Valle Park ‘ ° .9

 

Garrett Eckbo, Uzpan Landgggp D s
(New Yerk: McGraw-Hill Book Co,, 1 , p. 118.

The Marina development.(196l) for South San Francisco,
California, is a regional recreational facility with, as the
plan indicates, a great.diversity of activities provided. The
Landscape Architect has in fact made allowances for all age

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L7“F:F‘ f Li $11,;lb‘:113; c.) 3:;1;t;:n2, -1"; J'r‘; c-}. l Ctlgo ix:u*
may he h-i ”ere My ViCUTL' or agln .

Jose Del Valle I;rk (i?:3) i: erewnoi, CzllQortii, is
de “1”,. to .3111 t the recrez‘ tionizl noel: of lo o :11 re i 37' L .
3113 fvciljfiQ{ soul; to (Q: aziiioi ': "::’_'hn:;nmxri;;'rk —
play rounfi cor;le:. all the 919L911: of Liis glen — bras the
terns, structural dovelognents and érctnd or“” — are feiifpei
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the 11,13 CVUL 1ul Mi.11<13 frcilitieS.

A new idea is also ewe: ing, the internat;onal prrk cash

(9 - -. -. r- , -"- ..-.-. “, ,9 ""9 .- - ,DD 4.- , ,9 - 9‘, -_ .,. , 4.
as one one preposel lo: CwuLOchlO isl.nd oil tie LOfUJCDA co -U

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as involved _L wast promises to be one nor; oi one lubire -

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one lens- ape arcuib-et today. HQ in one cesi n Oi celle_w3,

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Unis is not a new line oi worn I r lrnasosue a: niteecs Dds l

1- “'9 _I._‘ _ ‘ ~_ _.‘_0 ' 9“ “fix «q r“
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o - _:_ o ‘_ ‘ ‘ _ .' r_ 3‘ ‘ . ___ r_ A. A - ‘_. '__“:"s
Dimrjrnore CXXJ‘UllolELB, large>znui smcll-z:re FLJLLJ; £1-13331” vein:
('1‘. , 'V _ . i .3 J. J. ‘ __p __ 4..“ .-.). 1 _ ‘. fun | fir“.
done. ile laniscaoe arcaitecb gas l.roven baht no can Oiler str—

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for the o:t3or:o t of Lo"1 pl'111nj or etter to'n lesi n.

The ~C" Linee Fl ALLCiOJ ”Hi :oroot noro‘ vortorltion develo -
mont (1959) - Jo hti, Jolkor Sud Aoouoisteo, Lénflooare Lrohi-

teoti :nd Plonnlnfi Consulteuts aposks well for the em .1it' of

envir n::nt l Q-sifn that con 3; rohievod bf the 1:11;,3je

‘

Illa-3 future 13 "D“iffh“ for t1e oorti::'1:..t 1o.1 : r11 e::*;.'m ;_o:1 of
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corporau1on 01 people, Lug ooolal lanJCCQe, 1nto Lne :fiJ-1cul
l a “L1 :1 - R - hi . D 4" F' . J“ 4‘1‘ v~vv*-~

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i1!” 41):: "

SEA PINES PLANTATION AND FOREST __ ._
WEEACH CORPORATION 7,71. 11:32 713332: ;
mlton Head, S. C. :75“ M . {.,Jwfiayw 'I'

.a-

- —.-—-—o
‘flfl’

4pm

U'u

Shown here is the complete land planning and ’de-
tailed design projection for the development of a
large island acreage of the coast of the southeastern nun- vuu a! “A nuu vuuunou mo Ion" uacu couounou uvuonuuv
United States. (Complete story in “Progressive Ar- T ' f " " ' ' ‘ ""
chitecture,” july, 1960.) '

 

 

 

 
 
 
  
  
 
  
 
 
  
   
  
     
     

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E3
5.)
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9.)

l manifestations of man's thoughts.

(P

Fe

If this n egration of man to ma.n 0 d1 be achieved, soci-
ety mar be integrated with the landscape rather than the land-

scOc pe being in posed upon society. This integration of man and

the lands cape (nature) must then be physically expressed at
comparaOle scales - from neighborhood to nation. The essent-
ial element is that the human emphasis, the social pattern,
be expressed throughout.

"Conservation is the beginning, not the end, of our
overall world view. We know th at we must defend what
we have. But this is not a permanent contest; the
principles of democracy include procedures for plac-
ix: under control those minorities who persist in
blocking the path of progress. Thereafter the hor-
izons will be Open and constantly expanding to the
brave new world which is surely coming. We will 5
on from there to develOp and redevelop that world at
a scope of which will be more rich, humane and mag-
nificent. That must be our pers pective. It is time
to widen our perspective and take in our world as a
comprehensive unity. (96)

Landscape design in its highest cultural form is the to-

tal physical expression of the relations between man and nature.
”Landscape design...is the organization of Space to
satisfy certain human functions."

Landscape design' is seen as pattern (W1UhOUt Space)
- curves, kidneys, diamonds - all ideas without con-
tent, without a broad base coming from life. We are
still concerned with fopm rather than progess. We
are not searching for £22m; forms are resu ts of the
nature of process.

In projecting a desi 3n, one is stating one' Sposition,
describing one' Sphilosophy, xplaining one' s values;
therefore it must be more than skin deep to be true.

Specifically, in landscape design, one does not cepy
nature but tries to understand underlying processes
or workings of nature - it is all there. han as a
part of nature, not man and nature. Urban man is a

(96) Farrett Eckbo, Wins. p- 28-

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