Cornelia Hahn Oberlander: Making the Modern Landscape

acknowledgments

acknowledgments During the course of my research for Cornelia Hahn Oberlander : Making the Modern Landscape, many institutions and organizations gave me assistance. The Social Science and Humanities Research Council of Canada provided the first grant that was essential to realizing the book. I have also been supported by the Canada Council for Arts, which funded much of the visual material. The color plates in this book were made possible by a production grant from the Graham Foundation for Advanced Studies in the Fine Arts. Lastly, a University of British Columbia Killam Faculty Fellowship helped me take precious time off for writing. I am in debt to numerous individuals who made this assistance possible. I am grateful to Mark Francis, Kenneth Helphand, Joan Iverson Nassauer, and Marc Treib, who wrote letters of support for my initial grants regarding this project. Boyd Zenner at the University of Virginia Press was also an early backer. Their enthusiastic support was instrumental to funding much of the research. For their careful reading of draft versions of my manuscript, I thank my friends and colleagues: Sonja Dümpelmann, Sherry McKay, Michelangelo Sabatino, Marc Treib, and Thaïsa Way, as well as the reviewers for the University of Virginia Press. Their comments and suggestions provided vital insights into my thinking and writing about Oberlander and her work. Likewise, the Women and Modernism in Landscape Architecture colloquium at Harvard University ’s Graduate School of Design, a lecture at the University of Washington College of Built Environments, and a presentation that I coauthored with Gemma McLintock at the Council of Educators in Landscape Architecture’s annual Herrington_final.indb xv Herrington_final.indb xv 10/17/13 10:04 AM 10/17/13 10:04 AM xvi | acknowledgments conference provided venues for me to present my ongoing research and receive helpful comments and suggestions. Also, I am grateful to the archivists and librarians at the Architectural Archives of the University of Pennsylvania, the American Heritage Center at the University of Wyoming, the Canadian Architectural Archives at the University of Calgary, the Canadian Centre for Architecture, the Chestnut Hill Historical Society, the Collections Canada, the Frances Loeb Library Special Collections at Harvard University, the Harvard University Archives, the Library and Archives of Canada, the National Park Service Frederick Law Olmsted National Historic Site, the North Carolina Department of Cultural Resources, the University of British Columbia Archives, the Vancouver Historical Society, and the Walter P. Reuther Library and Archives at Wayne State University. In particular , I thank Renata Guttman, the head of Collection Reference at the Canadian Centre for Architecture, who helped me navigate through the vast amount of material at the Cornelia Hahn Oberlander Archive. I also thank Mary Daniels, the Special Collections librarian at Harvard University’s Frances Loeb Library, for helping me wade through the student work, lecture notes, and scrapbooks from the 1940s Graduate School of Design curriculum at Harvard. Numerous individuals gave me their valuable time for interviews and e-mail exchanges : Beryl Allen, Martin Lewis, Nick Milkovich, Gino Pin, Gundula Proksch, Selwyn Pullan, Bing Thom, Hank White, Elisabeth Whitelaw, Ron Williams, Milton and Fei Wong, Jim Wright, Linda Yorke/Forbes, the owners of Residence X and Residence Y, and of course Cornelia Hahn Oberlander. It is with deep regret that I note Milton Wong’s passing during the course of the research for this book. Milton was very passionate about landscape and art, and the work that Oberlander did for his family over the years. His generosity and warmth are missed by many. I also thank the landscape architecture graduate students at the University of British Columbia who worked with me on the interviews, case studies, and literature reviews: Gemma McLintock, Sarah Rankin, and Megan Vogt. Their hard work and love of laughter made research particularly enjoyable. There are also photographers and graphic designers to thank: Bryan Beça, Tom Fox, Stuart McCall, Selwyn Pullan, and Turner Wigginton. Their discerning eyes provided the chief visual complement to the text. Lastly, I am deeply grateful to Dominic McIver Lopes for his patience and thoughtful criticism throughout the making of this book. Herrington_final.indb xvi Herrington_final.indb xvi 10/17/13 10:04 AM 10/17/13 10:04 AM ...