This long-awaited monograph traces the career of Thomas Church, one of the true innovators of American landscape design. This first complete book on Church's forward-thinking designs is drawn from UC Berkeley's Environmental Design archive by historian Marc Treib. In mid-century America, Church's fresh ideas, like the kidney-shaped swimming pool, commanded immediate recognition. Includes essays and extensive historical reproductions.

Twenty-two essays that provide a forum for assessing the tenets, accomplishments and limits of modernism in landscape architecture and for formulating ideas about possible directions for the future of the discipline These twenty-two essays provide a rich forum for assessing the tenets, accomplishments, and limits of modernism in landscape architecture and for formulating ideas about possible directions for the future of the discipline. During the 1930s Garrett Eckbo, Dan Kiley, and JamesRose began to integrate modernist architectural ideas into their work and to design a landscape more in accord with the life and sensibilities of their time. Together with Thomas Church, whose gardens provided the setting for California living, they laid the foundations for a modern American landscape design. This first critical assessment of modem landscape architecture brings together seminal articles from the 1930s and 1940s by Eckbo, Kiley, Rose, Fletcher Steele, and Christopher Tunnard, and includes contributions by contemporary writers and designers such as Peirce Lewis, Catherine Howett, John Dixon Hunt, Peter Walker, and Martha Schwartz who examine the historical and cultural framework within which modern landscape designers have worked. There are also essays by Lance Neckar, Reuben Rainey, Gregg Bleam, Michael Laurie, and Marc Treib that discuss the designs and legacy of the Americans Tunnard, Eckbo, Church, Kiley, and Robert Irwin. Dorothée Imbert takes up Pierre-Emile Legrain and French modernist gardens of the 1920s, and Thorbjörn Andersson reviews experiments with stylized naturalism developed by Erik Glemme and others in the Stockholm park system.

A definitive intellectual history of landscape urbanism It has become conventional to think of urbanism and landscape as opposing one another—or to think of landscape as merely providing temporary relief from urban life as shaped by buildings and infrastructure. But, driven in part by environmental concerns, landscape has recently emerged as a model and medium for the city, with some theorists arguing that landscape architects are the urbanists of our age. In Landscape as Urbanism, one of the field's pioneers presents a powerful case for rethinking the city through landscape. Charles Waldheim traces the roots of landscape as a form of urbanism from its origins in the Renaissance through the twentieth century. Growing out of progressive architectural culture and populist environmentalism, the concept was further informed by the nineteenth-century invention of landscape architecture as a "new art" charged with reconciling the design of the industrial city with its ecological and social conditions. In the late twentieth and early twenty-first centuries, as urban planning shifted from design to social science, and as urban design committed to neotraditional models of town planning, landscape urbanism emerged to fill a void at the heart of the contemporary urban project. Generously illustrated, Landscape as Urbanism examines works from around the world by designers ranging from Ludwig Hilberseimer, Andrea Branzi, and Frank Lloyd Wright to James Corner, Adriaan Geuze, and Michael Van Valkenburgh. The result is the definitive account of an emerging field that is likely to influence the design of cities for decades to come.

Nelson Byrd Woltz's award-winning landscape architecture is widely celebrated for combining sheer beauty with ecologically regenerative design. The firm's innovative and highly collaborative design methods bring depleted ecosystems back to life—restoring meadows, streams, woodlands, and ponds in urban and rural settings and cultivating connections between sites and their complex regional environments. Nelson Byrd Woltz: Garden, Park, Community, Farm presents a selection of twelve built projects representing the firm's contemporary vision for sustainable design. These examples demonstrate the remarkable breadth of their practice and inspire a new understanding of how landscape architecture can shape our world through urbanism, agriculture, and conservation sciences. The projects range from an urban townhouse garden to an animal-friendly habitat for the National Zoo's giant pandas to a large-scale sheep-and-cattle station along the coast of New Zealand. Exceptional photography, hand-drawn plans, and lists of plants and materials document each project, and an appendix of details from numerous additional designs provides an extensive visual reference guide. Nelson Byrd Woltz's transformative landscapes are both an open invitation to learn about nature and a much-needed contribution to the health of our cities, farms, and wildlands.

In a career spanning nearly sixty years, Ruth Shellhorn (1909–2006) helped shape Southern California’s iconic modernist aesthetic. This is the first full-length treatment of Shellhorn, who created close to four hundred landscape designs, collaborated with some of the region’s most celebrated architects, and left her mark on a wide array of places, including college campuses and Disneyland’s Main Street. Kelly Comras tells the story of Shellhorn’s life and career before focusing on twelve projects that explore her approach to design and aesthetic philosophy in greater detail. The book’s project studies include designs for Bullock’s department stores and Fashion Square shopping centers; school campuses, including a multiyear master plan for the University of California at Riverside; a major Los Angeles County coastal planning project; the western headquarters for Prudential Insurance; residential estates and gardens; and her collaboration on the original plan for Disneyland. Shellhorn received formal training at Oregon State and Cornell Universities and was influenced by such contemporaries as Florence Yoch, Beatrix Farrand, Welton Becket, and Ralph Dalton Cornell. As president of the Southern California chapter of ASLA, she became a champion of her profession, working tirelessly to achieve state licensure for landscape architects. In her own practice, she collaborated closely with architects to address landscape concerns at the earliest stages of building design, retained long-term control over the maintenance of completed projects, and considered the importance of the region’s natural environment at a time of intense development throughout Southern California. Shellhorn set a standard of creativity, productivity, and respect for the native landscape that defused gender stereotypes—and earned her the admiration of landscape designers then and now.

Overzicht van het werk van de Amerikaanse architectuurfotograaf (1900-1976).

"Beautiful private American gardens"--Title page verso.