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Illustration Credits

Peter Walker, Melanie Louise Simo

Description: Invisible Gardens: The Search for Modernism in the American Landscape

Invisible Gardens: The Search for Modernism in the American Landscape

Illustration Credits

Author

Peter Walker, Melanie Louise Simo

PublisherMIT Press

Copyright© 1994 Massachusetts Institute of Technology

https://doi.org/10.37862/aaeportal.00070.018

Stable URL: https://aaeportal.com/?id=-16634

Illustration Credits

Color Plates

Frontispiece: Pepsico Headquarters, Purchase, New York. Edward D. Stone, Jr., Landscape Architect. Russell Page, Landscape Architect and Garden Designer (for areas not shown here).

Photo © Felice Frankel.

Plate 1: Photo © Felice Frankel.

Plate 2: Photo © Felice Frankel.

Plate 3: Photo © Michael Moran.

Plate 4: Photo by Armando Salas Portugal.

Plate 5: Photo © Felice Frankel.

Plate 6: Photo © Felice Frankel.

Plate 7: Photo by Lawrence Halprin.

Plate 8: Photo © Felice Frankel.

Plate 9: Photo © Felice Frankel.

Plate 10: Photo © Felice Frankel.

Plate 11: Photo by Robert Tetlow.

Plate 12: Photo by Peter Walker.

Figure 1: Courtesy National Park Service, Frederick Law Olmsted National Historic Site.

Figure 2: Stourhead, Wiltshire, England. Formerly, seat of Henry Hoare and his descendants; now owned by the National Trust (England). Henry Hoare II, Principal Landscape Designer. Pantheon by Henry Flitcroft, Architect. Photo by Melanie Simo.

Figure 3: Photo by Melanie Simo.

Figure 4: Photo by Melanie Simo.

Figure 5: Asher B. Durand, View Towards Hudson Valley, 1851. Oil on canvas, 33⅛ × 48⅛ inches. Courtesy, Wadsworth Atheneum, Hartford. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund.

Figure 6: Photo by Melanie Simo.

Figure 7: From Official Views of the World’s Columbian Exposition (Chicago, 1893). Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 8: From Official Views of the World’s Columbian Exposition (Chicago, 1893). Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 9: Courtesy National Park Service, Frederick Law Olmsted National Historic Site.

Figure 10: From Pencil Points, March 1941, page 74. Reprinted with permission of Progressive Architecture, Penton Publishing. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 11: From Architectural Record, August 1936, page 83. Copyright 1936, by McGraw-Hill Inc. All rights reserved. Reproduced with the permission of the publisher. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 12: Photo by Cynthia Costin.

Figure 13: From Thomas Adams, Regional Plan of New York and its Environs, vol. II (New York: Committee on Regional Plan of New York and Its Environs, 1931). Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 14: From Eugen Neuhaus, The San Diego Garden Fair (San Francisco: Paul Elder and Company, 1916). Collection of Melanie Simo.

Figure 15: From Clarence S. Stein, Toward New Towns for America. Reproduced by permission of MIT Press. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 16: From Clarence S. Stein, Toward New Towns for America. Reproduced by permission of MIT Press. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 17: From Clarence S. Stein, Toward New Towns for America. Reproduced by permission of MIT Press. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 18: From Clarence Stein, Toward New Towns for America. Reproduced by permission of MIT Press. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 19: Pierre-Auguste Renoir, Monet Painting in His Garden at Argenteuil, 1873. Oil on canvas, 19¾ × 24⅛ inches. Courtesy Wadsworth Atheneum, Hartford. Bequest of Anne Parrish Titzell. Photo by Joseph Szaszfai.

Figure 20: From Clarence S. Stein, Toward New Towns for America. Reproduced by permission of MIT Press. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 21: Photo by W. George Waters, 1986.

Figure 22: Photo by Stuart Wrede.

Figure 23: From The Architectural Review (May 1947). Reproduced by permission of The Architectural Review. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 24: From The Architectural Review (May 1947). Reproduced by permission of The Architectural Review. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 25: Photo by W. George Waters.

Figure 26: Photo by Armando Salas Portugal.

Figure 27: Photo by Armando Salas Portugal.

Figure 28: Giorgio de Chirico, The Soothsayer’s Recompense, 1913. Oil on canvas, 53½ × 71 inches. Courtesy, The Philadelphia Museum of Art. Louise and Walter Arensberg Collection.

Figure 29: Photo by Armando Salas Portugal.

Figure 30: Photo by Armando Salas Portugal.

Figure 31: Photo by Armando Salas Portugal.

Figure 32: Photo by Armando Salas Portugal.

Figure 33: Photo by Armando Salas Portugal.

Figure 34: Photo by Pamela Palmer.

Figure 35: Stage set design for Martha Graham, Errand into the Maze (1947). Isamu Noguchi, designer. Photo by Rudolph Burckhardt. Courtesy of the Isamu Noguchi Foundation, Inc.

Figure 36: Isamu Noguchi, Contoured Playground (model), 1941. Photo by Rudolph Burckhardt. Courtesy of The Isamu Noguchi Foundation, Inc.

Figure 37: Photo by Melanie Simo.

Figure 38: Photo by Melanie Simo.

Figure 39: Photo by Melanie Simo.

Figure 40: Courtesy of The Isamu Noguchi Foundation, Inc.

Figure 41: Courtesy Elizabeth Roberts Church.

Figure 42: Drawing by Thomas Church. Courtesy, Elizabeth Roberts Church.

Figure 43: Joan Miró, Landscape (The Hare) (Paysage [Le Lièvre]). Autumn 1927. Oil on canvas, 51 × 76⅝″ (129.6 × 194.6 cm). The Solomon R. Guggenheim Museum, New York. Photo: Robert E. Mates. Copyright The Solomon R. Guggenheim Foundation, New York.

Figure 44: Photo by Rondal Partridge. Courtesy Elizabeth Roberts Church.

Figure 45: Drawings by Thomas Church. Courtesy Elizabeth Roberts Church.

Figure 46: Photo by Rondal Partridge. Courtesy Elizabeth Roberts Church.

Figure 47: Drawing by Lawrence Halprin. Courtesy Elizabeth Roberts Church.

Figure 48: Drawing by Lawrence Halprin. Courtesy Elizabeth Roberts Church.

Figure 49: Photo by Rondal Partridge. Courtesy, Elizabeth Roberts Church.

Figure 50: Drawing by Thomas Church. Courtesy Elizabeth Roberts Church.

Figure 51: Photo by Rondal Partridge. Courtesy Elilzabeth Roberts Church.

Figure 52: Jean Arp (1887–1966), Vase-Bust, 1930. Relief in carved and painted wood, 12 × 8¼ inches. Courtesy, The Philadelphia Museum of Art: A. E. Gallatin Collection.

Figure 53: Photo by Melanie Simo.

Figure 54: Drawing by Thomas Church. Courtesy Elizabeth Roberts Church.

Figure 55: Photo by Rondal Partridge. Courtesy Elizabeth Roberts Church.

Figure 56: John Funk and Joseph Allen Stein, Architects. Nicholas Cirino, Civil Engineer. Eckbo, Royston, and Williams, Landscape Architects. Courtesy Garrett Eckbo.

Figure 57: Courtesy Robert Royston.

Figure 58: Courtesy Garrett and Arline Eckbo.

Figure 59: Courtesy Garrett Eckbo.

Figure 60: Ludwig Mies van der Rohe, German Pavilion, Barcelona: Floor Plan. Final scheme. Made for publication in 1929. Ink, pencil on paper, 22½ × 38½″ (57.6 × 98.1 cm). The Mies van der Rohe Archive, The Museum of Modern Art, New York. Gift of the architect.

Figure 61: Courtesy Garrett Eckbo.

Figure 62: Courtesy Garrett Eckbo.

Figure 63: Courtesy Robert Royston.

Figure 64: Courtesy Robert Royston.

Figure 65: Courtesy Robert Royston.

Figure 66: Alcoa Garden at the Eckbo Residence, Laurel Canyon, Hollywood Hills, Los Angeles, California, ca. 1960. Home of Garrett and Arline Eckbo, 1950–1965. Alison E. Peper, playing guitar. Garrett Eckbo, Landscape Architect. Courtesy Garrett Eckbo.

Figure 67: Laszlo Moholy-Nagy, Construction. Lithograph. 60.2 × 44.1 cm. Courtesy of The Busch-Reisinger Museum, Harvard University Art Museums.

Figure 68: Courtesy Robert Royston.

Figure 69: Courtesy Robert Royston.

Figure 70: Drawing by Robert Royston. Courtesy Robert Royston.

Figure 71: Courtesy, Department of Landscape Architecture, Graduate School of Design, Harvard University.

Figure 72: Photo by Glenn M. Christiansen. Courtesy Sunset Magazine.

Figure 73: From The Architectural Review (January 1939). Reproduced by permission of The Architectural Review. Courtesy of the Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 74: Photo by Lawrence Halprin. Courtesy Lawrence Halprin.

Figure 75: Courtesy Lawrence Halprin.

Figure 76: Photo by Lawrence Halprin. Courtesy Lawrence Halprin.

Figure 77: Courtesy Lawrence Halprin.

Figure 78: Photo by Lawrence Halprin. Courtesy Lawrence Halprin.

Figure 79: Photo by Brian Laczko. Courtesy Lawrence Halprin.

Figure 80: Drawing by Lawrence Halprin. Courtesy Lawrence Halprin.

Figure 81: Courtesy Lawrence Halprin.

Figure 82: Photo by Lawrence Halprin. Courtesy Lawrence Halprin.

Figure 83: Photo by David Hirsch. Courtesy M. Paul Friedberg.

Figure 84: Photo by David Hirsch. Courtesy M. Paul Friedberg.

Figure 85: Courtesy Robert Zion.

Figure 86: Photo by Clemens Kalischer.

Figure 87: Courtesy Dan Kiley.

Figure 88: Photo by Aaron Kiley. Courtesy Dan Kiley.

Figure 89: Photo by Alan Ward.

Figure 90: Photo by Gerald Campbell.

Figure 91: Courtesy Dan Kiley.

Figure 92: Photo by Alan Ward.

Figure 93: Photo by Alan Ward.

Figure 94: Courtesy Dan Kiley.

Figure 95: Photo by Peter Walker.

Figure 97: Photo by Peter Hornbeck. Courtesy Department of Landscape Architecture, Graduate School of Design, Harvard University.

Figure 98: Courtesy Department of Landscape Architecture, Graduate School of Design, Harvard University.

Figure 99: Drawing by Stanley White. Courtesy Charles W. Harris.

Figure 100: Courtesy Stuart O. Dawson.

Figure 101: Courtesy Stuart O. Dawson.

Figure 102: Photo by Carlisle Becker. Courtesy Stuart O. Dawson.

Figure 103: Courtesy Stuart O. Dawson.

Figure 104: Photo © Mary Randlett. Courtesy Richard Haag.

Figure 105: Courtesy Richard Haag.

Figure 106: Photo by Melanie Simo.

Figure 107: Courtesy Sasaki Associates.

Figure 108: Courtesy Stuart O. Dawson and Sasaki Associates.

Figure 109: Courtesy Sasaki Associates.

Figure 110: Photo by David Smith. Courtesy William J. Johnson.

Figure 111: Courtesy William J. Johnson.

Figure 112: Courtesy William J. Johnson.

Figure 113: Courtesy Sasaki Associates.

Figure 114: Courtesy Deere and Company.

Figure 115: Photo by Ralph Hutchins, Hutchins Photography, Inc.

Figure 116: Photo by Steve Proehl.

Figure 117: Photo by Gerald Campbell. Courtesy The SWA Group.

Figure 118: Photo by Gerald Campbell. Courtesy The SWA Group.

Figure 119: Photo by Gerald Campbell. Courtesy The SWA Group.

Figure 120: Photo by Gerald Campbell. Courtesy The SWA Group.

Figure 121: Photo © Felice Frankel.

Figure 122: Courtesy The SWA Group.

Figure 123: Courtesy Sasaki Associates.

Figure 124: Photo by James H. Roberts. Courtesy Hideo Sasaki.

Figure 125: Photo by Rush J. McCoy. Courtesy Hideo Sasaki.

Figure 126: Photo by Mark Stern.

Figure 127: Courtesy Carl Steinitz.

Figure 128: Courtesy Carl Steinitz.

Figure 129: Courtesy Carl Steinitz.

Figure 130: Photo by H. Raymond Ball. Courtesy Rhode Islander Magazine, Providence Journal Company.

Figure 131: Published in the Rhode Islander Magazine, June 11, 1950. Courtesy Frances Loeb Library, Graduate School of Design, Harvard University.

Figure 132: From Ian McHarg, Design with Nature (1969), page 18. Photo Courtesy Litton Industries.

Figure 133: From Ian McHarg, Design with Nature (1969), page 60. Reproduced by permission of John Wiley and Sons, publishers of the 1992 edition.

Figure 134: From Ian McHarg, Design with Nature (1969), page 39. Reproduced by permission of John Wiley and Sons, publishers of the 1992 edition.

Figure 135: Courtesy EDAW, Inc.

Figure 136: Courtesy POD/Sasaki Associates.

Figure 137: Courtesy The SWA Group.

Figure 139: Photo by Dixi Carrillo. Courtesy The SWA Group.

Figure 140: Courtesy The SWA Group.

Figure 141: Photo by Joshua Freiwald. Courtesy The SWA Group.

Figure 142: Photo by Daisy Palau. Courtesy The SWA Group.

Figure 143: Photo by Dixi Carrillo. Courtesy The SWA Group.

Figure 144: Photo by Gerald Campbell. Courtesy The SWA Group.

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Book details

Description: Invisible Gardens: The Search for Modernism in the American Landscape

BOOKInvisible Gardens: The Search for Modernism in the American Landscape

Peter Walker, Melanie Louise Simo

https://doi.org/10.37862/aaeportal.00070

Stable URL: https://aaeportal.com/?id=-16616

Invisible Gardens is a composite history of the individuals and firms that defined the field of landscape architecture in America from 1925 to 1975, a period that spawned a significant body of work combining social ideas of enduring value with landscapes and gardens that forged a modern aesthetic. The major protagonists include Thomas Church, Roberto Burle Marx, Isamu Noguchi, Luis Barragan, Daniel Urban Kiley, Stanley White, Hideo Sasaki, Ian McHarg, Lawrence Halprin, and Garrett Eckbo. They were the pioneers of a new profession in America, the first to offer alternatives to the historic landscape and the park tradition, as well as to the suburban sprawl and other unplanned developments of twentieth-century cities and institutions. The work is described against the backdrop of the Great Depression, the Second World War, the postwar recovery, American corporate expansion, and the environmental revolution. The authors look at unbuilt schemes as well as actual gardens, ranging from tiny backyards and play spaces to urban plazas and corporate villas. Some of the projects discussed already occupy a canonical position in modern landscape architecture; others deserve a similar place but are less well known. The result is a record of landscape architecture's cultural contribution—as distinctly different in history, intent, and procedure from its sister fields of architecture and planning—during the years when it was acquiring professional status and struggling to define a modernist aesthetic out of the startling changes in postwar America.

Author

Peter Walker, Melanie Louise Simo

PublisherMIT Press

Print publication date October 1994 (in print)

Print ISBN 9780262231770

EISBN 9780300238808

Copyright© 1994 Massachusetts Institute of Technology

Illustrations 156 Illus.

Print Status in print

Publisher (in print)

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