Gardens in the Modern Landscape: A Facsimile of the Revised 1948 Edition by Chri

Description: Gardens in the Modern Landscape by Christopher Tunnard, John Dixon Hunt Accompanied by an introduction by John Dixon Hunt, this facsimile fully reproduces the 1948 edition of Gardens in the Modern Landscape, a manifesto for the modern garden that deeply influenced twentieth century landscape design. FORMAT Paperback LANGUAGE English CONDITION Brand New Publisher Description 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."Tunnards 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 Available once more to students, practitioners, and connoisseurs, it stands as a historical document and an invitation to continued innovative thought about landscape architecture. Author Biography Christopher Tunnard (1910-79) was born in Canada and lived and worked in England as a garden designer and landscape architect before emigrating to the United States. He taught in the Department of Architecture at Harvard and, shifting his focus after the Second World War, became head of the Department of City Planning at Yale. John Dixon Hunt is Professor Emeritus of Landscape Architecture at the University of Pennsylvania School of Design and author of many books, most recently A World of Gardens and The Afterlife of Gardens, the latter also available from the University of Pennsylvania Press. Table of Contents Foreword to the Facsimile Edition—John Dixon HuntGardens in the Modern Landscape (1948 edition) Review "A classic and seminal text that inspired a generation of students to change the world of landscape design. For architects and landscape architects alike, this book argued for a new aesthetic related to the art and times." * Laurie Olin * Promotional Accompanied by an introduction by John Dixon Hunt, this facsimile fully reproduces the 1948 edition of Gardens in the Modern Landscape, a manifesto for the modern garden that deeply influenced twentieth century landscape design. Long Description 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." Tunnards 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. Review Quote "A classic and seminal text that inspired a generation of students to change the world of landscape design. For architects and landscape architects alike, this book argued for a new aesthetic related to the art and times."--Laurie Olin Promotional "Headline" Accompanied by an introduction by John Dixon Hunt, this facsimile fully reproduces the 1948 edition of Gardens in the Modern Landscape , a manifesto for the modern garden that deeply influenced twentieth century landscape design. Excerpt from Book Foreword to the Facsimile Edition John Dixon Hunt Gardens in the Modern Landscape, first published as a book in 1938 and again ten years later, is an important moment in discussions and promotions of modern gardens and landscape architecture. A foreword for this reprint requires two things: to situate the text, for those who come to it for the first time and even for those who know it (since Tunnards writing emerges from a whole cluster of interrelated concerns); and, secondly, to assess how it survives today, both as a historical document and as an invitation to continue thinking about landscape architecture. What is reprinted here is the second edition of 1948 (to which page references are given, unless otherwise stated). The changes made to the first are, in fact, modest. The wording of the text itself remains almost the same in both editions, though the typeface is smaller and the images are now located in slightly different places on the page (so anyone citing pagination in these editions needs to specify which is being used). What gets altered textually in the second are mainly the substitution of a new and expanded "Foreword," the addition of a section on "Modern American Gardens" and, to conclude, an essay on "The Modern Garden" by Jospeh Hudnut, Dean of Harvards Graduate School of Design, originally published in the Bulletin of the Garden Club of America. Tunnards original section on "The Oriental Aesthetics" is now merged with the section on "Asymmetrical Garden Planning" (and the subsection heading deleted), he expands the footnote on "Sharawadgi" and inserts a new opening paragraph at the start of "A Solution for Today" (p. 143). The Contents page of the 1948 book itemizes the different subsections of the chapters, not just their titles; "The Case for Community Gardens" in 1938 becomes simply "Community Gardens" in 1948. There is no change in the bibliography (though doubtless the wartime restrictions on paper made new publications less likely). But image clusters are augmented, with some examples appearing in different places (the result, perhaps, of having to devise new signatures for a newly set text). The plan of a garden arrangement by Garrett Eckbo at a Farm Security Administration camp in Texas is added on p. 142 in 1948, but with no commentary on it in the text. Some extra images are brought into the 1948 edition--notably a cluster of examples on "Architects Plants" (pp. 118-25), which replaced the planting plans for Gaulby (1938, pp. 118-22), and others at the end of the section on "Art and Ornament" that illustrate modern interpretations of traditional forms. The biggest change is the dropping of a long final section on garden decoration for Grottoes, the Garden House, Gates & Fences, Garden Seats, Sculpture, and Conservancies (though two pages on "The Grotto" survived, now coming after "Reason and Romanticism" in 1948; a few of the other images from 1938 on garden decoration are used elsewhere in 1948). More interesting, I believe, is less the movement, such as it is, between the two editions and the juggling of image placement than the transference of Tunnards original articles in the Architectural Review ( AR ), printed between October 1937 to September 1938, into a book published in late December 1938 by the Architectural Press, an in-house extension of the Review . While articles can stand alone, having a certain self-sufficiency that does not ask readers to situate them within a larger argument, once those same articles are gathered into a book (even if the texts are unaltered) they acquire and need a more consistent argument that moves between and sustains them. Illustrations, too, function differently in articles from their inclusion in books (even if the images are identical); new images and certainly the different placement of them in a fresh edition respond to a reading of the whole book, because its readers will be able to consult the entirety of images rather than just the ones attached to a single article; this again should make the whole more coherent than the individual parts as well as enlarge its concept and impact (indeed, Tunnard does move clusters of images around in the two editions, perhaps to make a better impact; but he still allows many images in the book to do their own work, accompanied by captions but with no extended commentary in his main text). Thus the transference of articles into a book does not always make for a coherent argument. While the 1948 edition, with Tunnards self-criticisms and retractions, new additions, and the introduction of Hudnuts essay, is clearly something of an uneasy hold-all of rich and not always pursued ideas that Tunnard does not really do much about absorbing into a new structure, this is less true of the 1938 volume. Readers coming to it, especially without any sense that it emanated from a series of discrete articles and approaching it via the minimalist Contents page (which the 1948 edition would complicate with the insertions of many, not clearly adumbrated subheadings) will see the coherence. Even a reader like myself who has, as it were, done his homework can find 1938 a more sustained argument, and it is only our knowledge of Tunnards new career in America after 1938 and the later version of 1948 that clouds our sense of what must have been, in 1938, an eloquent plea for modern gardens. But the overriding issue throughout Gardens in the Modern Landscape (in both 1938 and 1948) and for its subsequent reception is surely Tunnards understanding of modernist garden making and landscape architecture and his theoretical command of that material. This is in its turn allied to the dialogue between his garden practice and his ideas, for the practical work that he did in England largely petered out after he got to America in 1938 and certainly ceased when he moved to Yale as a regional planner in 1945. It is not easy to adjudicate his modernist stance, for a variety of good reasons. From the very beginning, he was exploring, finding his way in European modernism, and meshing what he found there with his involvement in his English practice and his theoretical ideas on English modernism. Then, too, he was trying to find a place for garden making in landscape architecture, in modernist architectural theory, which was what he largely relied on, as well as in other competing concerns, such as his strong historical interest, community planning, and new housing. What also complicates these judgments is that Tunnard wrote the AR articles and published the book in England, while maintaining a freelance role, then promptly left to pursue a career in university teaching in America. Joining Harvards GSD in 1938, he eventually (after a spell in the Canadian armed forces--he was a Canadian by birth) moved to Yale, where he established himself as an important regional designer and writer. These stops and changes dont make for a smooth intellectual trajectory, especially when you are--as was Tunnard--both curious and inquisitive and at the same time learning how to negotiate modernism in Europe and North America during a crucial period of both modernism itself and landscape architecture. People tended to judge Tunnards book then (and still do nowadays) by where they locate him in his career--as a landscape architect or later as a planner--and/or the person who is writing about him--are they writing about him in England or America? The British journal Landscape Design , for example, said he had been "swamped by the American system" (whatever that was supposed to be), and as late as 1989 Jane Browns Art and Architecture of English Gardens wrote about his work from a wholly British perspective, which given his later career in planning might seem plausible as he seemed to have lost touch with garden art. Many American landscape architects today, however, would consider his appeal to English landscape gardening of the late eighteenth century hopelessly irrelevant, and his continuing pleas for the lawn (albeit "in this country," i.e., Britain; see p. 67) offend large parts of the United States where chemicals are often used to keep grass immaculate and water is in short supply. So we need to look at these different moments in his career as well as at its importance today. The main changes for the 1948 edition are crucial, but sit uneasily with the unchanged remainder of the 1938 text. The one and a quarter pages of the Foreword (pp. 5-6) in the first edition were short and straightforward. He argued that tradition and "experiment" are easily reconciled and that, given that the great ages of garden art were in Italy, France, and, by the eighteenth century, England, the "style for our own time . . . will not be very different from the humanized landscape tradition" of the latter. Since the nineteenth century had "debased all these traditions" to a "medley of styles," or maybe "formed the roots of the Modern movement . . . now developing," and since many eighteenth-century garden landscapes were "disappearing," the need was to create a new landscape for the twentieth century. This seemed to imply that a "style for our time" necessitated an emphasis on planning and a focus on "houses, factories, shops and places of amusement . . . the street, the park and the rationally-planned community" (1938, p. 5). He ended with the confidence that a clearer picture of what a garden is, or should be, would emerge to satisfy the "complex needs of modern society." The language is generalized, even for a Foreword: "style," a term he often used in the rest of the work, does not begin to explain how the usage of this term can appeal to "today." The four-page 1948 Foreword is more embattled and also a little defensive. He begins by addressing the "conclusions" that have been reached in the intervening ten yea Details ISBN0812222911 Author John Dixon Hunt Short Title GARDENS IN THE MODERN LANDSCAP Pages 208 Publisher University of Pennsylvania Press Series Penn Studies in Landscape Architecture Language English ISBN-10 0812222911 ISBN-13 9780812222913 Media Book Format Paperback Edition Description Revised Edition A Facsimile of the Revised 1948 Edition Year 2014 Imprint University of Pennsylvania Press Subtitle A Facsimile of the Revised 1948 Edition Place of Publication Pennsylvania Country of Publication United States UK Release Date 2014-07-11 AU Release Date 2014-07-11 NZ Release Date 2014-07-11 US Release Date 2014-07-11 Publication Date 2014-07-11 Alternative 9780812290042 DEWEY 712.6 Illustrations 2 illus. Audience Tertiary & Higher Education We've got this At The Nile, if you're looking for it, we've got it. 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