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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.
Landscape and Society in Contemporary Ireland
This book is both about exceptional Irish landscapes like the Burren and also the everyday landscape experience in Ireland. The aim of the book is to give an account of contemporary Irish landscape and to describe and explain how it has changed over the last forty years and how it continues to change
Vol. 30 (2011) through current issue
The mission of landscape architecture is supported by research and theory in many fields. Landscape Journal offers in-depth exploration of ideas and challenges that are central to contemporary design, planning, and teaching. Besides scholarly features, Landscape Journal also includes editorial columns, creative work, reviews of books, conferences, technology, and exhibitions Landscape Journal digs deeper into the field by providing articles from:
A Landscape Critic in the Gilded Age
Mariana Griswold Van Rensselaer (1851–1934) was one of the premier figures in landscape writing and design at the turn of the twentieth century, a moment when the amateur pursuit of gardening and the increasingly professionalized landscape design field were beginning to diverge. This intellectual biography—the first in-depth study of the versatile critic and author—reveals Van Rensselaer’s vital role in this moment in the history of landscape architecture.
Van Rensselaer was one of the new breed of American art and architecture critics, closely examining the nature of her profession and bringing a disciplined scholarship to the craft. She considered herself a professional, leading the effort among women in the Gilded Age to claim the titles of artist, architect, critic, historian, and journalist. Thanks to the resources of her wealthy mercantile family, she had been given a sophisticated European education almost unheard of for a woman of her time. Her close relationship with Frederick Law Olmsted influenced her ideas on landscape gardening, and her interest in botany and geology shaped the ideas upon which her philosophy and art criticism were based. She also studied the works of Charles Darwin, Alexander von Humboldt, Henry David Thoreau, and many other nineteenth-century scientists and nature writers, which influenced her general belief in the relationship between science and the imagination.
Her cosmopolitan education and elevated social status gave her, much like her contemporary Edith Wharton, access to the homes and gardens of the upper classes. This allowed her to mingle with authors, artists, and affluent patrons of the arts and enabled her to write with familiarity about architecture and landscape design. Identifying over 330 previously unattributed editorials and unsigned articles authored by Van Rensselaer in the influential journal Garden and Forest—for which she was the sole female editorial voice—Judith Major offers insight into her ideas about the importance of botanical nomenclature, the similarities between landscape gardening and idealist painting, design in nature, and many other significant topics. Major’s critical examination of Van Rensselaer’s life and writings—which also includes selections from her correspondence—details not only her influential role in the creation of landscape architecture as a discipline but also her contribution to a broader public understanding of the arts in America.
In this volume Robert E. Grese gathers together writings on nature-based landscape design and conservation by some of the country’s most significant practitioners, horticulturalists, botanists, and conservationists of the late nineteenth and early twentieth centuries. Written with a strong conservation ethic, these essays often originally appeared in obscure, short-lived publications and are difficult to locate today, comprising a rich but hidden literature. Over many years of pioneering research into the work of Jens Jensen, O. C. Simonds, and other early landscape architects who advocated for the use of native plants and conservation, Grese encountered and began collecting these pieces. With this volume, he offers readers his trove. Purposely avoiding literature that is widely available, Grese shares as well his experience of discovery. His introduction provides perspective on the context of these writings and the principles they espouse, and his conclusion illuminates their relevance today with the emerging emphasis on sustainable design. This collection will appeal to general readers interested in the issues of sustainability, horticulture and gardening, and landscape design and preservation, as well as to historians, practitioners, and specialists.
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."
The Imperial Garden Yuanming Yuan
Noted for its magnificent architecture and extraordinary history, the Yuanming Yuan is China's most famous imperial garden. The complex was begun in the early eighteenth century, and construction continued over the next 150 years. While Chinese historians, and many Chinese in general, view the garden as the paramount achievement of Chinese architecture and landscape design, almost nothing is known about the Yuanming Yuan in the West. A Paradise Lost is the first comprehensive study of the palatial garden complex in a Western language. Written in a broad and engaging style, Young-tsu Wong brings "the garden of perfect brightness" to life as he leads readers on a grand tour of its architecture and history. Wong begins by inspecting the garden's physical appearance and its architectural elements. He discusses the origin and evolution of these structures and the aesthetics of their design and arrangement. Throughout he refers to maps and original models of individual buildings and other existing gardens of the Ming-Qing period, including the well-preserved Yihe Yuan and the Chengde Summer Mountain Retreat in Rehe. A special feature of the book is its exploration of the activities and daily life of the royal household.
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.
Constellations of Authority in Early Complex Polities
How do landscapes—defined in the broadest sense to incorporate the physical contours of the built environment, the aesthetics of form, and the imaginative reflections of spatial representations—contribute to the making of politics? Shifting through the archaeological, epigraphic, and artistic remains of early complex societies, this provocative and far-reaching book is the first systematic attempt to explain the links between spatial organization and politics from an anthropological point of view.
The Classic-period Maya, the kingdom of Urartu, and the cities of early southern Mesopotamia provide the focal points for this multidimensional account of human polities. Are the cities and villages in which we live and work, the lands that are woven into our senses of cultural and personal identity, and the national territories we occupy merely stages on which historical processes and political rituals are enacted? Or do the forms of buildings and streets, the evocative sensibilities of architecture and vista, the aesthetics of place conjured in art and media constitute political landscapes—broad sets of spatial practices critical to the formation, operation, and overthrow of polities, regimes, and institutions? Smith brings together contemporary theoretical developments from geography and social theory with anthropological perspectives and archaeological data to pursue these questions.
The Landscapes of Hargreaves Associates
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.