Architecture

One may visit famous gardens in Tokyo, Kyoto, or Osaka—or one may visit Japanese-styled gardens in New York, San Francisco, Philadelphia, Berlin, London, Paris, São Paulo, or Singapore. We often view these gardens as representative of the essence of Japanese culture. Christian Tagsold argues, however, that the idea of the Japanese garden has less do to with Japan's history and traditions, and more to do with its interactions with the West.

The first Japanese gardens in the West appeared at the world's fairs in Vienna in 1873 and Philadelphia in 1876 and others soon appeared in museums, garden expositions, the estates of the wealthy, and public parks. By the end of the nineteenth century, the Japanese garden, described as mystical and attuned to nature, had usurped the popularity of the Chinese garden, so prevalent in the eighteenth century. While Japan sponsored the creation of some gardens in a series of acts of cultural diplomacy, the Japanese style was interpreted and promulgated by Europeans and Americans as well. But the fashion for Japanese gardens would decline in inverse relation to the rise of Japanese militarism in the 1930s, their rehabilitation coming in the years following World War II, with the rise of the Zen meditation garden style that has come to dominate the Japanese garden in the West.

Tagsold has visited over eighty gardens in ten countries with an eye to questioning how these places signify Japan in non-Japanese geographical and cultural contexts. He ponders their history, the reasons for their popularity, and their connections to geopolitical events, explores their shifting aesthetic, and analyzes those elements which convince visitors that these gardens are "authentic." He concludes that a constant process of cultural translation between Japanese and Western experts and commentators marked these spaces as expressions of otherness, creating an idea of the Orient and its distinction from the West.

Chanticleer, a forty-eight-acre garden on Philadelphia's historic Main Line, is many things simultaneously: a lush display of verdant intensity and variety, an irreverent and informal setting for inventive plant combinations, a homage to the native trees and horticultural heritage of the mid-Atlantic, a testament to one man's devotion to his family's estate and legacy, and a good spot for a stroll and picnic amid the blooms. In Chanticleer: A Pleasure Garden, Adrian Higgins and photographer Rob Cardillo chronicle the garden's many charms over the course of two growing cycles.

Built on the grounds of the Rosengarten estate in Wayne, Pennsylvania, Chanticleer retains a domestic scale, resulting in an intimate, welcoming atmosphere. The structure of the estate has been thoughtfully incorporated into the garden's overall design, such that small gardens created in the footprint of the old tennis court and on the foundation of one of the family homes share space with more traditional landscapes woven around streams and an orchard.

Through conversations and rambles with Chanticleer's team of gardeners and artisans, Higgins follows the garden's development and reinvention as it changes from season to season, rejoicing in the hundred thousand daffodils blooming on the Orchard Lawn in spring and marveling at the Serpentine's late summer crop of cotton, planted as a reminder of Pennsylvania's agrarian past. Cardillo's photographs reveal further nuances in Chanticleer's landscape: a rare and venerable black walnut tree near the entrance, pairs of gaily painted chairs along the paths, a backlit arbor draped in mounds of fragrant wisteria. Chanticleer fuses a strenuous devotion to the beauty and health of its plantings with a constant dedication to the mutability and natural energy of a living space. And within the garden, Higgins notes, there is a thread of perfection entwined with whimsy and continuous renewal.

Twenty-eight years ago I went to England for a three-month visit and rest. What I found changed my life."

So begins this memoir by one of America's best-known landscape architects, Laurie Olin. Raised in a frontier town in Alaska, trained in Seattle and New York, Olin found himself dissatisfied with his job as an urban architect and accepted an invitation to England to take a respite from work. What he found, in abundance, was the serendipity of a human environment built over time to respond to the land's own character and to the people who lived and worked there. For Olin, the English countryside was a palimpsest of the most eloquent and moving sort, yet whose manifestation was of ordinary buildings meant to shelter their inhabitants and further their work.

With evocative language and exquisite line drawings, the author takes us back to his introduction to the scenes of English country towns, their ancient universities, meandering waterways, and dramatic cloudscapes racing in from the Atlantic. He limns the geologic histories found within the rock, the near-forgotten histories of place-names, and the recent histories of train lines and auto routes. Comparing the growth of building in the English countryside, Olin draws some sobering conclusions about our modern lifestyle and its increasing separation from the landscape.

As much a plea for saving the modern American landscape as it is a passionate exploration of what makes the English landscape so characteristically English, Across the Open Field is "an affectionate ramble through real places of lasting worth.

The contributors of Policy, Planning, and People argue for the promotion of social equity and quality of life by designing and evaluating urban policies and plans. Edited by Naomi Carmon and Susan S. Fainstein, the volume features original essays by leading authorities in the field of urban planning and policy, mainly from the United States, but also from Canada, Hungary, Italy, and Israel. The contributors discuss goal setting and ethics in planning, illuminate paradigm shifts, make policy recommendations, and arrive at best practices for future planning.

Policy, Planning, and People includes theoretical as well as practice-based essays on a wide range of planning issues: housing and neighborhood, transportation, surveillance and safety, the network society, regional development and community development. Several essays are devoted to disadvantaged and excluded groups such as senior citizens, the poor, and migrant workers. The unifying themes of this volume are the values of equity, diversity, and democratic participation. The contributors discuss and draw conclusions related to the planning process and its outcomes. They demonstrate the need to look beyond efficiency to determine who benefits from urban policies and plans.

Contributors: Alberta Andreotti, Tridib Banerjee, Rachel G. Bratt, Naomi Carmon, Karen Chapple, Norman Fainstein, Susan Fainstein, Eran Feitelson, Amnon Frenkel, George Galster, Penny Gurstein, Deborah Howe, Norman Krumholz, Jonathan Levine, Anastasia Loukaitou-Sideris, Enzo Mingione, Kenneth Reardon, Izhak Schnell, Daniel Shefer, Michael Teitz, Iván Tosics, Lawrence Vale, Martin Wachs.

Published in 1559 and appearing here for the first time in English, La Villa is a rare source of Renaissance landscape theory. Written by Bartolomeo Taegio, a Milanese jurist and man of letters, after his banishment (possibly for murder, Thomas E. Beck speculates), the text takes the form of a dialogue between two gentlemen, one a proponent of the country, the other of the city. While it is not a gardening treatise, La Villa reflects an aesthetic appreciation of the land in the Renaissance, reveals the symbolic and metaphorical significance of sixteenth-century gardens for their owners, and articulates a specific philosophy about the interaction of nature and culture in the garden.

This edition of the original Italian text and Beck's English translation is augmented with notes in which Beck identifies numerous references to literary sources in La Villa and more than 280 people and places mentioned in the dialogue. The introduction illuminates Taegio's life and intellectual activity, his obligations to his sources, the cultural context, and the place of La Villa in Renaissance villa literature. It also demonstrates the enduring relevance of La Villa for architecture and landscape architecture. La Villa makes a valuable contribution to the body of literature about place-making, precisely because it treats the villa as an idea and not as a building type.

Suzhou, near Shanghai, is among the great garden cities of the world. The city's masterpieces of classical Chinese garden design, built from the eleventh through the nineteenth centuries, attract thousands of visitors each year and continue to influence international design. In The Gardens of Suzhou, landscape architect and scholar Ron Henderson guides visitors through seventeen of these gardens. The book explores UNESCO world cultural heritage sites such as the Master of the Nets Garden, Humble Administrator's Garden, Lingering Garden, and Garden of the Peaceful Mind, as well as other lesser-known but equally significant gardens in the Suzhou region.

Unlike the acclaimed religious and imperial gardens found elsewhere in Asia, Suzhou's gardens were designed by scholars and intellectuals to be domestic spaces that drew upon China's rich visual and literary tradition, embedding cultural references within the landscapes. The elements of the gardens confront the visitor: rocks, trees, and walls are pushed into the foreground to compress and compact space, as if great hands had gathered a mountainous territory of rocky cliffs, forests, and streams, then squeezed it tightly until the entire region would fit into a small city garden.

Henderson's commentary opens Suzhou's gardens, with their literary and musical references, to non-Chinese visitors. Drawing on years of intimate experience and study, he combines the history and spatial organization of each garden with personal insights into their rockeries, architecture, plants, and waters. Fully illustrated with newly drawn plans, maps, and original photographs, The Gardens of Suzhou invites visitors, researchers, and designers to pause and observe astonishing works from one of the world's greatest garden design traditions.

C.C.L. Hirschfeld was perhaps the most important writer on gardens and landscape in eighteenth-century Germany. Acclaimed as the "father of landscape garden art," he was influential not just in Germany but also in France, Hungary, Italy, the Netherlands, Scandinavia, and Russia. Popular with both experts and amateurs, Hirschfeld's writings had a significant effect on the development of European garden design, as well as on the establishment of public parks of his era. His celebration of the natural world sprang from his intellectual roots in Enlightened rationalism, but rather than following the systematic scientific strategy of his forerunners, Hirschfeld formulated a more popular approach that appealed to both the emotions and the reason of his audience. His five-volume Theory of Garden Art, published simultaneously in German and French between 1779 and 1785, is by far the most comprehensive of his works, and well-informed gardeners of the time considered it indispensable.

Although Hirschfeld's significance has increasingly been recognized in contemporary landscape scholarship, his works have not yet appeared in English. In this one-volume abridged edition Linda Parshall translates the essential aspects of the Theory of Garden Art, Hirschfeld's seminal work. The translation is accompanied by an introduction by Parshall, which analyzes Hirschfeld's place in the intellectual and cultural history of his time, and in the history of landscape design. This book will be a useful and authoritative contribution to both the history of landscape architecture and German cultural history.

The shopping mall is both the most visible and the most contentious symbol of American prosperity. Despite their convenience, malls are routinely criticized for representing much that is wrong in America—sprawl, conspicuous consumption, the loss of regional character, and the decline of Mom and Pop stores. So ubiquitous are malls that most people would be suprised to learn that they are the brainchild of a single person, architect Victor Gruen.

An immigrant from Austria who fled the Nazis in 1938, Gruen based his idea for the mall on an idealized America: the dream of concentrated shops that would benefit the businessperson as well as the consumer and that would foster a sense of shared community. Modernist Philip Johnson applauded Gruen for creating a true civic art and architecture that enriched Americans' daily lives, and for decades he received praise from luminaries such as Lewis Mumford, Winthrop Rockefeller, and Lady Bird Johnson. Yet, in the end, Gruen returned to Europe, thoroughly disillusioned with his American dream.

In Mall Maker, the first biography of this visionary spirit, M. Jeffrey Hardwick relates Gruen's successes and failures—his work at the 1939 World's Fair, his makeover of New York's Fifth Avenue boutiques, his rejected plans for reworking entire communities, such as Fort Worth, Texas, and his crowning achievement, the enclosed shopping mall. Throughout Hardwick illuminates the dramatic shifts in American culture during the mid-twentieth century, notably the rise of suburbia and automobiles, the death of downtown, and the effect these changes had on American life. Gruen championed the redesign of suburbs and cities through giant shopping malls, earnestly believing that he was promoting an American ideal, the ability to build a community. Yet, as malls began covering the landscape and downtowns became more depressed, Gruen became painfully aware that his dream of overcoming social problems through architecture and commerce was slipping away. By the tumultuous year of 1968, it had disappeared.

Victor Gruen made America depend upon its shopping malls. While they did not provide an invigorated sense of community as he had hoped, they are enduring monuments to the lure of consumer culture.

Western admirers have long seen the Islamic garden as an earthly reflection of the paradise said to await the faithful. However, such simplification, Ruggles contends, denies the sophistication and diversity of the art form. Islamic Gardens and Landscapes immerses the reader in the world of the architects of the great gardens of the Islamic world, from medieval Morocco to contemporary India.

Just as Islamic culture is historically dense, sophisticated, and complex, so too is the history of its built landscapes. Islamic gardens began from the practical need to organize the surrounding space of human civilization, tame nature, enhance the earth's yield, and create a legible map on which to distribute natural resources. Ruggles follows the evolution of these early farming efforts to their aristocratic apex in famous formal gardens of the Alhambra in Spain and the Taj Mahal in Agra.

Whether in a humble city home or a royal courtyard, the garden has several defining characteristics, which Ruggles discusses. Most notable is an enclosed space divided into four equal parts surrounding a central design element. The traditional Islamic garden is inwardly focused, usually surrounded by buildings or in the form of a courtyard. Water provides a counterpoint to the portioned green sections.

Ranging across poetry, court documents, agronomy manuals, and early garden representations, and richly illustrated with pictures and site plans, Islamic Gardens and Landscapes is a book of impressive scope sure to interest scholars and enthusiasts alike.

In the history of planning, the design of an entire community prior to its construction is among the oldest traditions. Iconic Planned Communities and the Challenge of Change explores the twenty-first-century fortunes of planned communities around the world. Drawing on interdisciplinary perspectives, the editors and contributors examine what happened to planned communities after their glory days had passed and they became vulnerable to pressures of growth, change, and even decline.

Beginning with Robert Owen's industrial village in Scotland and concluding with Robert Davis's neotraditional resort haven in Florida, this book documents the effort to translate optimal design into sustaining a common life that works for changing circumstances and new generations of residents. Basing their approach on historical research and practical, on-the-ground considerations, the essayists argue that preservation efforts succeed best when they build upon foundational planning principles, address landscape, architecture, and social engineering together, and respect the spirit of place.

Presenting twenty-three case studies located in six continents, each contributor considers how to preserve the spirit of the community and its key design elements, and the ways in which those elements can be adapted to contemporary circumstances and changing demographics. Iconic Planned Communities and the Challenge of Change espouses strategies to achieve critical resilience and emphasizes the vital connection between heritage preservation, equitable sharing of the benefits of living in these carefully designed places, and sustainable development.

Communities: Bat'ovany-Partizánske, Cité Frugès, Colonel Light Gardens, Den-en Chôfu, Garbatella, Greenbelt, Hampstead Garden Suburb, Jardim América, Letchworth Garden City, Menteng, New Lanark, Pacaembú, Radburn, Riverside, Römerstadt, Sabaudia, Seaside, Soweto, Sunnyside Gardens, Tapiola, The Uplands, Welwyn Garden City, Wythenshawe.

Contributors: Arnold R. Alanen, Carlos Roberto Monteiro de Andrade, Sandra Annunziata, Robert Freestone, Christine Garnaut, Isabelle Gournay, Michael Hebbert, Susan R. Henderson, James Hopkins, Steven W. Hurtt, Alena Kubova-Gauché, Jean-François Lejeune, Maria Cristina a Silva Leme, Larry McCann, Mervyn Miller, John Minnery, Angel David Nieves, John J. Pittari, Jr., Gilles Ragot, David Schuyler, Mary Corbin Sies, Christopher Silver, André Sorensen, R. Bruce Stephenson, Shun-ichi J. Watanabe.

Monsters, grotesque creatures, and giants were frequently depicted in Italian Renaissance landscape design, yet they have rarely been studied. Their ubiquity indicates that gardens of the period conveyed darker, more disturbing themes than has been acknowledged.

In The Monster in the Garden, Luke Morgan argues that the monster is a key figure in Renaissance culture. Monsters were ciphers for contemporary anxieties about normative social life and identity. Drawing on sixteenth-century medical, legal, and scientific texts, as well as recent scholarship on monstrosity, abnormality, and difference in early modern Europe, he considers the garden within a broader framework of inquiry. Developing a new conceptual model of Renaissance landscape design, Morgan argues that the presence of monsters was not incidental but an essential feature of the experience of gardens.

A detailed study of early historical preservation efforts between the 1780s and the 1850s

In Historic Real Estate, Whitney Martinko shows how Americans in the fledgling United States pointed to evidence of the past in the world around them and debated whether, and how, to preserve historic structures as permanent features of the new nation's landscape. From Indigenous mounds in the Ohio Valley to Independence Hall in Philadelphia; from Benjamin Franklin's childhood home in Boston to St. Philip's Episcopal Church in Charleston, South Carolina; from Dutch colonial manors of the Hudson Valley to Henry Clay's Kentucky estate, early advocates of preservation strove not only to place boundaries on competitive real estate markets but also to determine what should not be for sale, how consumers should behave, and how certain types of labor should be valued.

Before historic preservation existed as we know it today, many Americans articulated eclectic and sometimes contradictory definitions of architectural preservation to work out practical strategies for defining the relationship between public good and private profit. In arguing for the preservation of houses of worship and Indigenous earthworks, for example, some invoked the "public interest" of their stewards to strengthen corporate control of these collective spaces. Meanwhile, businessmen and political partisans adopted preservation of commercial sites to create opportunities for, and limits on, individual profit in a growing marketplace of goods. And owners of old houses and ancestral estates developed methods of preservation to reconcile competing demands for the seclusion of, and access to, American homes to shape the ways that capitalism affected family economies. In these ways, individuals harnessed preservation to garner political, economic, and social profit from the performance of public service.

Ultimately, Martinko argues, by portraying the problems of the real estate market as social rather than economic, advocates of preservation affirmed a capitalist system of land development by promising to make it moral.

Celebrated landscape architect Gilles Clément may be best known for his public parks in Paris, including the Parc André Citroën and the garden of the Musée du Quai Branly, but he describes himself as a gardener. To care for and cultivate a plot of land, a capable gardener must observe in order to act and work with, rather than against, the natural ecosystem of the garden. In this sense, he suggests, we should think of the entire planet as a garden, and ourselves as its keepers, responsible for the care of its complexity and diversity of life.

"The Planetary Garden" is an environmental manifesto that outlines Clément's interpretation of the laws that govern the natural world and the principles that should guide our stewardship of the global garden of Earth. These are among the tenets of a humanist ecology, which posits that the natural world and humankind cannot be understood as separate from one another. This philosophy forms a thread that is woven through the accompanying essays of this volume: "Life, Constantly Inventive: Reflections of a Humanist Ecologist" and "The Wisdom of the Gardener." Brought together and translated into English for the first time, these three texts make a powerful statement about the nature of the world and humanity's place within it.

The Singing Crane Garden in northwest Beijing has a history dense with classical artistic vision, educational experimentation, political struggle, and tragic suffering. Built by the Manchu prince Mianyu in the mid-nineteenth century, the garden was intended to serve as a refuge from the clutter of daily life near the Forbidden City. In 1860, during the Anglo-French war in China, the garden was destroyed. One hundred years later, in the 1960s, the garden served as the "ox pens," where dissident university professors were imprisoned during the Cultural Revolution. Peaceful Western involvement began in 1986, when ground was broken for the Arthur Sackler Museum of Art and Archaeology. Completed in 1993, the museum and the Jillian Sackler Sculpture Garden stand on the same grounds today.

In Place and Memory in the Singing Crane Garden, Vera Schwarcz gives voice to this richly layered corner of China's cultural landscape. Drawing upon a range of sources from poetry to painting, Schwarcz retells the garden's complex history in her own poetic and personal voice. In her exploration of cultural survival, trauma, memory, and place, she reveals how the garden becomes a vehicle for reflection about history and language.

Encyclopedic in conception and artistic in execution, Place and Memory in the Singing Crane Garden is a powerful work that shows how memory and ruins can revive the spirit of individuals and cultures alike.

In the mid-twentieth century, as Americans abandoned city centers in droves to pursue picket-fenced visions of suburbia, architect and urban planner Edmund Bacon turned his sights on shaping urban America. As director of the Philadelphia City Planning Commission, Bacon forged new approaches to neighborhood development and elevated Philadelphia's image to the level of great world cities. Urban development came with costs, however, and projects that displaced residents and replaced homes with highways did not go uncriticized, nor was every development that Bacon envisioned brought to fruition. Despite these challenges, Bacon oversaw the planning and implementation of dozens of redesigned urban spaces: the restored colonial neighborhood of Society Hill, the new office development of Penn Center, and the transit-oriented shopping center of Market East.

Ed Bacon is the first biography of this charismatic but controversial figure. Gregory L. Heller traces the trajectory of Bacon's two-decade tenure as city planning director, which coincided with a transformational period in American planning history. Edmund Bacon is remembered as a larger-than-life personality, but in Heller's detailed account, his successes owed as much to his savvy negotiation of city politics and the pragmatic particulars of his vision. In the present day, as American cities continue to struggle with shrinkage and economic restructuring, Heller's insightful biography reveals an inspiring portrait of determination and a career-long effort to transform planning ideas into reality.

Europeans may be said to have first encountered the Chinese garden in Marco Polo's narrative of his travels through the Mongol Empire and his years at the court of Kublai Khan. His account of a man-made lake abundant with fish, a verdant green hill lush with trees, raised walkways, and a plethora of beasts and birds took root in the European imagination as the description of a kind of Eden. Beginning in the sixteenth century, permanent interaction between Europe and China took form, and Jesuit missionaries and travelers recorded in letters and memoirs their admiration of Chinese gardens for their seeming naturalness. In the eighteenth century, European taste for chinoiserie reached its height, and informed observers of the Far East discovered that sophisticated and codified design principles lay behind the apparent simplicity of the Chinese garden. The widespread appreciation of the eighteenth century gave way to rejection in the nineteenth, a result of tensions over practical concerns such as trade imbalances and symbolized by the destruction of the imperial park of Yuanming yuan by a joint Anglo-French military expedition.

In Ideas of Chinese Gardens, Bianca Maria Rinaldi has gathered an unparalleled collection of westerners' accounts, many freshly translated and all expertly annotated, as well as images that would have accompanied the texts as they circulated in Europe. Representing a great diversity of materials and literary genres, Rinaldi's book includes more than thirty-five sources that span centuries, countries, languages, occupational biases, and political aims. By providing unmediated firsthand accounts of the testimony of these travelers and expatriates, Rinaldi illustrates how the Chinese garden was progressively lifted out of the realm of fantasy into something that could be compared with, and have an impact on, European traditions.

Jane Jacobs is universally recognized as one of the key figures in American urbanism. The author of The Death and Life of Great American Cities, she uncovered the complex and intertwined physical and social fabric of the city and excoriated the urban renewal policies of the 1950s. As the legend goes, Jacobs, a housewife, single-handedly stood up to Robert Moses, New York City's powerful master builder, and other city planners who sought first to level her Greenwich Village neighborhood and then to drive a highway through it. Jacobs's most effective weapons in these David-versus-Goliath battles, and in writing her book, were her powers of observation and common sense.

What is missing from such discussions and other myths about Jacobs, according to Peter L. Laurence, is a critical examination of how she arrived at her ideas about city life. Laurence shows that although Jacobs had only a high school diploma, she was nevertheless immersed in an elite intellectual community of architects and urbanists. Becoming Jane Jacobs is an intellectual biography that chronicles Jacobs's development, influences, and writing career, and provides a new foundation for understanding Death and Life and her subsequent books. Laurence explains how Jacobs's ideas developed over many decades and how she was influenced by members of the traditions she was critiquing, including Architectural Forum editor Douglas Haskell, shopping mall designer Victor Gruen, housing advocate Catherine Bauer, architect Louis Kahn, Philadelphia city planner Edmund Bacon, urban historian Lewis Mumford, and the British writers at The Architectural Review. Rather than discount the power of Jacobs's critique or contributions, Laurence asserts that Death and Life was not the spontaneous epiphany of an amateur activist but the product of a professional writer and experienced architectural critic with deep knowledge about the renewal and dynamics of American cities.

Frank Furness (1839-1912) has remained a curiosity to architectural historians and critics, somewhere between an icon and an enigma, whose importance and impact have yet to be properly evaluated or appreciated. To some, his work pushed pattern and proportion to extremes, undermining or forcing together the historic styles he referenced in such eclectic buildings as the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania Library. To others, he was merely a regional mannerist creating an eccentric personal style that had little resonance and modest influence on the future of architecture. By placing Furness in the industrial culture that supported his work, George Thomas finds a cutting-edge revolutionary who launched the beginnings of modern design, played a key part in its evolution, and whose strategies continue to affect the built world.

In his sweeping reassessment of Furness as an architect of the machine age, Thomas grounds him in Philadelphia, a city led by engineers, industrialists, and businessmen who commissioned the buildings that extended modern design to Chicago, Glasgow, and Berlin. Thomas examines the multiple facets of Victorian Philadelphia's modernity, looking to its eager embrace of innovations in engineering, transportation, technology, and building, and argues that Furness, working for a particular cohort of clients, played a central role in shaping this context. His analyses of the innovative planning, formal, and structural qualities of Furness's major buildings identifies their designs as initiators of a narrative that leads to such more obviously modern figures as Louis Sullivan, William Price, Frank Lloyd Wright and eventually, the architects of the Bauhaus.

Misunderstood and reviled in the traditional architectural centers of New York and Boston, Furness's projects, commissioned by the progressive industrialists of the new machine age, intentionally broke with the historical styles of the past to work in a modern way—from utilizing principles based on logistical planning to incorporating the new materials of the industrial age. Lavishly illustrated, the book includes more than eighty black-and-white and thirty color photographs that highlight the richness of his work and the originality of his design spanning more than forty years.

Between 1937 and 1938, garden designer Christopher Tunnard published a series of articles in the British Architectural Review that rejected the prevailing English landscape style. Inspired by the principles of Modernist art and Japanese aesthetics, Tunnard called for a "new technique" in garden design that emphasized an integration of form and purpose. "The functional garden avoids the extremes both of the sentimental expressionism of the wild garden and the intellectual classicism of the 'formal' garden," he wrote; "it embodies rather a spirit of rationalism and through an aesthetic and practical ordering of its units provides a friendly and hospitable milieu for rest and recreation."

Tunnard's magazine pieces were republished in book form as Gardens in the Modern Landscape in 1938, and a revised second edition was issued a decade later. Taken together, these articles constituted a manifesto for the modern garden, its influence evident in the work of such figures as Lawrence Halprin, Philip Johnson, and Edward Larrabee Barnes.

Long out of print, the book is here reissued in a facsimile of the 1948 edition, accompanied by a contextualizing foreword by John Dixon Hunt. Gardens in the Modern Landscape heralded a sea change in the evolution of twentieth-century design, and it also anticipated questions of urban sprawl, historic preservation, and the dynamic between the natural and built environments. Available once more to students, practitioners, and connoisseurs, it stands as a historical document and an invitation to continued innovative thought about landscape architecture.

The phrase "Pennsylvania German architecture" likely conjures images of either the "continental" three-room house with its huge hearth and five-plate stoves, or the huge Pennsylvania bank barn with its projecting overshoot. These and other trademarks of Pennsylvania German architecture have prompted great interest among a wide audience, from tourists and genealogists to architectural historians, antiquarians, and folklorists. Since the nineteenth century, scholars have engaged in field measurement and drawing, photographic documentation, and careful observation, resulting in a scholarly conversation about Pennsylvania German building traditions. What cultural patterns were being expressed in these buildings? How did shifting social, technological, and economic forces shape architectural changes? Since those early forays, our understanding has moved well beyond the three-room house and the forebay barn.

In Architecture and Landscape of the Pennsylvania Germans, 1720-1920, eight essays by leading scholars and preservation professionals not only describe important architectural sites but also offer original interpretive insights that will help advance understanding of Pennsylvania German culture and history. Pennsylvania Germans' lives are traced through their houses, barns, outbuildings, commercial buildings, churches, and landscapes. The essays bring to bear years of field observation as well as engagement with current scholarly perspectives on issues such as the nature of "ethnicity," the social construction of landscape, and recent historiography about the Pennsylvania Germans. Dozens of original measured drawings, appearing here for the first time in print, document important works of Pennsylvania German architecture, including the iconic Bertolet barns in Berks County, the Martin Brandt farm complex in Cumberland County, a nineteenth-century Pennsylvania German housemill, and urban houses in Lancaster.

In the last quarter of the twentieth century, urban colleges and universities found themselves enveloped by the poverty, crime, and physical decline that afflicted American cities. Some institutions turned inward, trying to insulate themselves rather than address the problems in their own backyards. Others attempted to develop better community relations, though changes were hard to sustain.

Spurred by an unprecedented crime wave in 1996, University of Pennsylvania President Judith Rodin knew that the time for urgent action had arrived, and she set a new course of proactive community engagement for her university. Her dedication to the revitalization of West Philadelphia was guided by her role not only as president but also as a woman and a mother with a deep affection for her hometown.

The goal was to build capacity back into a severely distressed inner-city neighborhood—educational capacity, retail capacity, quality-of-life capacity, and especially economic capacity—guided by the belief that "town and gown" could unite as one richly diverse community.

Cities rely on their academic institutions as stable places of employment, cultural centers, civic partners, and concentrated populations of consumers for local business and services. And a competitive university demands a vibrant neighborhood to meet the needs of its faculty, staff, and students. In keeping with their mission, urban universities are uniquely positioned to lead their communities in revitalization efforts, yet this effort requires resolute persistence.

During Rodin's administration (1994-2004), the Chronicle of Higher Education referred to Penn's progress as a "national model of constructive town-gown interaction and partnership." This book narrates the challenges, frustrations, and successes of Penn's campaign, and its prospects for long-term change.

Published in 1774, Essay on Gardens is one of the earliest texts showing the progressive shift in French taste from the classical model of the gardens at Versailles to the picturesque or natural style of garden design in the late eighteenth century. In this formulation of his ideas concerning landscape, Claude-Henri Watelet describes an ideal farm and also his own very real garden, Moulin Joli, near Paris. He advances the theory that the useful and the pleasurable must be combined in the planning, preservation, and decoration of the land by offering a relatively novel design that uses experimental methods to create a comfortable estate. The result is a horticultural and ecological laboratory that includes a residence, a farm, stables, a dairy, an apiary, a mill, walks, vistas, flower beds, an area reserved for medicinal plants, decorative statues, a medical laboratory, and even a small infirmary for ailing members of the community.

Given the wide scholarly interest in the field of garden design and its history, this first English edition of Watelet's small but influential book will interest historians of landscape design as well as students of the history of architecture. Joseph Disponzio's informative introduction to Samuel Danon's masterful translation situates the Essay on Gardens within the framework of other landscape and garden treatises of the late eighteenth century.

Although the original text was not illustrated, this edition includes a selection of charming drawings and etchings of Moulin Joli by Watelet himself, Hubert Robert, and others.

Courts and societies across the early modern Eurasian world were fundamentally transformed by the physical, technological, and conceptual developments of their era. Evolving forms of communication, greatly expanded mobility, the spread of scientific knowledge, and the emergence of an increasingly integrated global economy all affected how states articulated and projected visions of authority into societies that, in turn, perceived and responded to these visions in often contrasting terms. Landscape both reflected and served as a vehicle for these transformations, as the relationship between the land and its imagination and consumption became a fruitful site for the negotiation of imperial identities within and beyond the precincts of the court.

In Landscape and Authority in the Early Modern World, contributors explore the role of landscape in the articulation and expression of imperial identity and the mediation of relationships between the court and its many audiences in the early modern world. Nine studies focused on the geographical areas of East and South Asia, the Islamic world, and Europe illuminate how early modern courts and societies shaped, and were shaped by, the landscape, including both physical sites, such as gardens, palaces, cities, and hunting parks, and conceptual ones, such as those of frontiers, idealized polities, and the cosmos.

The collected essays expand the meaning and potential of landscape as a communicative medium in this period by putting an array of forms and subjects in dialogue with one another, including not only unique expressions, such as gardens, paintings, and manuscripts, but also the products of rapidly developing commercial technologies of reproduction, especially print. The volume invites a deeper and more nuanced understanding of the complexity with which early modern states constructed and deployed different modes of landscape for different audiences and environments.

Contributors: Robert Batchelor, Seyed Mohammad Ali Emrani, John Finlay, Caroline Fowler, Katrina Grant, Finola O’Kane, Anton Schweizer, Larry Silver, Stephen H. Whiteman.

Garden and Grove is a pioneering study of the English fascination with Italian Renaissance gardens. John Dixon Hunt studies reactions of English visitors in their journals and travel books to the exciting world of Italian gardens: its links with classical villas, with Virgil and farming, with Ovid and metamorphosis, its association with theater, its variety, its staged debates between art and nature. Then he looks at what English visitors made of these Italian garden experiences upon their return home and at how they created Italianate gardens on their estates, on their stages, and in their poems.

With a wealth of literary and visual materials previously untapped, Hunt provides a new history of an intriguing and vital phase of English garden history. Not only does he suggest the centrality of the garden as a focus for many social, aesthetic, political, and philosophical ideas but he argues that the so-called English landscape garden before "Capability" Brown, in the late eighteenth century, owed much to a long and continuing emulation of Italian Renaissance models.

Constructing Gardens, Cultivating the City is the first cultural history of major new parks developed in Paris in the late twentieth century, as part of the city’s program of adaptive reuse of industrial spaces. Thanks to laws that gave the city more political autonomy, Paris’s local government launched a campaign of park creation in the late 1970s that continued to the turn of the millennium. The parks in this book represent this campaign and illustrate different facets of their cultural and historical context.

Archival research, interviews, and analyses of the parks reveal how postmodern debates about urban planning, the historic city, public space, and nature’s presence in an urban setting influenced their designs. In sum, the city adopted the garden as a model for public parks, investing in complex, richly symbolic and representational spaces. These parks were intended to represent contemporary twists on traditional designs and serve local residents as much as they would contribute to Paris’s role as a world city.

The parks’ development process often included points of conflict, pointing to differing views on what Parisian space should represent and fundamental contradictions between the characteristics of public space and the garden as it is traditionally defined. These parks demonstrate the ongoing cultivation of the city over time, in which transformed sites not only fulfil new functions but also engage with history and their surroundings to create new meaning. They stand for landscape as a form of signifying cultural production that directly engages with other art forms and ways of knowing. Just as the Luxembourg Gardens, the Tuileries, and the Buttes-Chaumont parks exemplify their eras’ cultural dynamics, such parks as the Jardin Atlantique, Parc André-Citroën, and the Jardin des Halles express contemporary French culture within the archetypal space of their era, the city. Finally, they point the way to current trends in landscape architecture, such as citizen gardening and ecological initiatives.

Summers at the Vauxhall pleasure garden in London brought diverse entertainments to a diverse public. Picturesque walks and arbors offered a pastoral retreat from the city, while at the same time the garden's attractions indulged distinctly urban tastes for fashion, novelty, and sociability. High- and low-born alike were free to walk the paths; the proximity to strangers and the danger of dark walks were as thrilling to visitors as the fountains and fireworks. Vauxhall was the venue that made the careers of composers, inspired novelists, and showcased the work of artists. Scoundrels, sudden downpours, and extortionate ham prices notwithstanding, Vauxhall became a must-see destination for both Londoners and tourists. Before long, there were Vauxhalls across Britain and America, from York to New York, Norwich to New Orleans.

This edited volume provides the first book-length study of the attractions and interactions of the pleasure garden, from the opening of Vauxhall in the seventeenth century to the amusement parks of the early twentieth. Nine essays explore the mutual influences of human behavior and design: landscape, painting, sculpture, and even transient elements such as lighting and music tacitly informed visitors how to move within the space, what to wear, how to behave, and where they might transgress. The Pleasure Garden, from Vauxhall to Coney Island draws together the work of musicologists, art historians, and scholars of urban studies and landscape design to unfold a cultural history of pleasure gardens, from the entertainments they offered to the anxieties of social difference they provoked.

Paula Deitz has delighted readers for more than thirty years with her vivid descriptions of both famous and hidden landscapes. Her writings allow readers to share in the experience of her extensive travels, from the waterways of Britain's Castle Howard to the Japanese gardens of Kyoto, and home again to New York City's Central Park. Collected for the first time, the essays in Of Gardens record her great adventure of continual discovery, not only of the artful beauty of individual gardens but also of the intellectual and historical threads that weave them into patterns of civilization, from the modest garden for family subsistence to major urban developments. Deitz's essays describe how people, over many centuries and in many lands, have expressed their originality by devoting themselves to cultivation and conservation.

During a visit to the Abby Aldrich Rockefeller Garden in Seal Harbor, Maine, Deitz first came to appreciate the notion that landscape architecture can be as intricately conceived as any major structure and is, indeed, the means by which we redeem the natural environment through design. Years later, as she wandered through the gardens of Versailles, she realized that because gardens give structure without confinement, they encourage a liberation of movement and thought. In Of Gardens, we follow Deitz down paths of revelation, viewing "A Bouquet of British Parks: Liverpool, Edinburgh, and London"; the parks and promenades of Jerusalem; the Moonlight Garden of the Taj Mahal; a Tuscan-style villa in southern California; and the rooftop garden at Tokyo's Mori Center, among many other sites.

Deitz covers individual landscape architects and designers, including André Le Nôtre, Frederick Law Olmsted, Beatrix Farrand, Russell Page, and Michael Van Valkenburgh. She then features an array of parks, public places, and gardens before turning her attention to the burgeoning business of flower shows. The volume concludes with a memorable poetic epilogue entitled "A Winter Garden of Yellow."

Just as there is love at first sight between people, Václav Cílek writes, there can be love at first sight between a person and a place. A landscape is more than a location, it is one party in a relationship—even when the spirit of a certain setting is not perceptible to those who visit. But whether we travel to experience rapture or excitement, to discover truth and beauty, or to be dazzled, we search for the essence of faraway landscapes to gain perspective on our own place within the world. To Breathe with Birds delves into the imaginative and emotional bonds we form with landscapes and how human existence—a recent development, geologically speaking—shapes and is shaped by a sense of place.

In subtle and lyrical prose, renowned geologist and author Václav Cílek explores topics from the history of asphalt to the spirits we imagine in trees, from geodiversity to the mathematics of snowflakes. Weaving earth science and environmentalism together with memoir and myth, his chapters visit resonant locations from India to Massachusetts, though most are deeply rooted in the river-laced, war-scarred landscape of Cílek's Czech homeland. These reflections are accompanied by Morna Livingston's evocative photographs, which capture the beauty and strangeness of natural and human-made forms. The first book-length appearance of Cílek's work in English translation, To Breathe with Birds offers insightful perspectives on the symbolism of landscapes as we struggle to conserve and protect the depleted earth.

Landscape architecture and architecture are two fields that exist in close proximity to one another. Some have argued that the two are, in fact, one field. Others maintain that the disciplines are distinct. These designations are a subject of continual debate by theorists and practitioners alike.

Here, David Leatherbarrow offers an entirely new way of thinking of architecture and landscape architecture. Moving beyond partisan arguments, he shows how the two disciplines rely upon one another to form a single framework of cultural meaning. Leatherbarrow redefines landscape architecture and architecture as topographical arts, the shared task of which is to accommodate and express the patterns of our lives. Topography, in his view, incorporates terrain, built and unbuilt, but also traces of practical affairs, by means of which culture preserves and renews its typical situations and institutions.

This rigorous argument is supported by nearly 100 illustrations, as well as examples of topography from the sixteenth, eighteenth, and nineteenth centuries, through the heroic period of early modernism, to more recent offerings. A number of these studies revise existing accounts of decisive moments in the history of these disciplines, particularly the birth of the informal garden, the emergence of continuous space in the landscapes and architecture of the modern period, and the new significance of landform or earthwork in contemporary architecture. For readers not directly involved with either of these professions, this book shows how over the centuries our lives have been shaped and enriched by landscape and architecture.

Topographical Stories provides a new paradigm for theorizing and practicing landscape and architecture.

Like their penchant for clubs, cricket, and hunting, the planting of English gardens by the British in India reflected an understandable need on the part of expatriates to replicate home as much as possible in an alien environment. In Flora's Empire, Eugenia W. Herbert argues that more than simple nostalgia or homesickness lay at the root of this "garden imperialism," however. Drawing on a wealth of period illustrations and personal accounts, many of them little known, she traces the significance of gardens in the long history of British relations with the subcontinent. To British eyes, she demonstrates, India was an untamed land that needed the visible stamp of civilization that gardens in their many guises could convey.

Colonial gardens changed over time, from the "garden houses" of eighteenth-century nabobs modeled on English country estates to the herbaceous borders, gravel walks, and well-trimmed lawns of Victorian civil servants. As the British extended their rule, they found that hill stations like Simla offered an ideal retreat from the unbearable heat of the plains and a place to coax English flowers into bloom. Furthermore, India was part of the global network of botanical exploration and collecting that gathered up the world's plants for transport to great imperial centers such as Kew. And it is through colonial gardens that one may track the evolution of imperial ideas of governance. Every Government House and Residency was carefully landscaped to reflect current ideals of an ordered society. At Independence in 1947 the British left behind a lasting legacy in their gardens, one still reflected in the design of parks and information technology campuses and in the horticultural practices of home gardeners who continue to send away to England for seeds.

The work of landscape architecture firm Hargreaves Associates is globally renowned, from the 21st Century Waterfront in Chattanooga, Tennessee, to London's 2012 Olympic Park. Founded by George Hargreaves in 1983, this team of designers has transformed numerous abandoned sites into topographically and functionally diverse landscapes. Hargreaves Associates' body of work reflects the socioeconomic and legislative changes that have impacted landscape architecture over the past three decades, particularly the availability of former industrial sites and their subsequent redevelopment into parks. The firm's longstanding interest in such projects brings it into frequent contact with the communities and local authorities who use and live in these built environments, which tend to be contested grounds owing to the conflicting claims of the populations and municipalities that use and manage them. As microcosms of contemporary political, social, and economic terrains, these designed spaces signify larger issues in urban redevelopment and landscape design.

The first scholarly examination of the firm's philosophy and body of work, Unearthed uses Hargreaves Associates' portfolio to illustrate the key challenges and opportunities of designing today's public spaces. Illustrated with more than one hundred and fifty color and black-and-white images, this study explores the methods behind canonical Hargreaves Associates sites, such as San Francisco's Crissy Field, Sydney Olympic Park, and the Louisville Waterfront Park. M'Closkey outlines how Hargreaves and his longtime associate Mary Margaret Jones approach the design of public places—conceptually, materially, and formally—on sites that require significant remaking in order to support a greater range of ecological and social needs.

Site, Sight, Insight presents twelve essays by John Dixon Hunt, the leading theorist and historian of landscape architecture. The collection's common theme is a focus on sites, how we see them and what we derive from that looking. Acknowledging that even the most modest landscape encounter has validity, Hunt contends that the more one knows about a site and one's own sight of it (an awareness of how one is seeing), the greater the insight. Employing the concepts, tropes, and rhetorical methods of literary analysis, he addresses the problem of how to discuss, understand, and appreciate places that are experienced through all the senses, over time and through space.

Hunt questions our intellectual and aesthetic understanding of gardens and designed landscapes and asks how these sites affect us emotionally. Do gardens have meaning? When we visit a fine garden or designed landscape, we experience a unique work of great complexity in purpose, which has been executed over a number of years—a work that, occasionally, achieves beauty. While direct experience is fundamental, Hunt demonstrates how the ways in which gardens and landscapes are communicated in word and image can be equally important. He returns frequently to a cluster of key sites and writings on which he has based much of his thinking about garden-making and its role in landscape architecture: the gardens of Rousham in Oxfordshire; Thomas Whately's Observations on Modern Gardening (1770); William Gilpin's dialogues on Stowe (1747); Alexander Pope's meditation on genius loci; the Désert de Retz; Paolo Burgi's Cardada; and the designs by Bernard Lassus and Ian Hamilton Finlay.

The remaining corner of an old farm, unclaimed by developers. The brook squeezed between housing plans. Abandoned railroad lines. The stand of woods along an expanded highway. These are the outposts of what was once a larger pattern of forests and farms, the "last landscape." According to William H. Whyte, the place to work out the problems of our metropolitan areas is within those areas, not outside them. The age of unchecked expansion without consequence is over, but where there is waste and neglect there is opportunity. Our cities and suburbs are not jammed; they just look that way. There are in fact plenty of ways to use this existing space to the benefit of the community, and The Last Landscape provides a practical and timeless framework for making informed decisions about its use.

Called "the best study available on the problems of open space" by the New York Times when it first appeared in 1968, The Last Landscape introduced many cornerstone ideas for land conservation, urging all of us to make better use of the land that has survived amid suburban sprawl. Whyte's pioneering work on easements led to the passage of major open space statutes in many states, and his argument for using and linking green spaces, however small the areas may be, is a recommendation that has more currency today than ever before.