Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs. The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander). The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women's studies and cultural geography.

Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs. The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander). The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women's studies and cultural geography.

What agency can landscape architects and garden designers have in conserving or restoring wildlife diversity? This book gathers essays by designers, scientists, and historians to explore how they might better collaborate to promote zoological biodiversity and how scientific ambitions might be expressed in culturally significant and historically informed design.

A fascinating new look at an extraordinary artist whose deafness led to an acute visual awareness and near photographic memory Self-taught artist James Castle (1899-1977) is primarily known for soot and saliva drawings of meticulously rendered domestic interiors and farm scenes, along with fantastical figures, animals, and architectural constructions made of cardboard and stitched paper. Castle was born into a family of homesteaders in Idaho, and his visual world comprised variations of seemingly ordinary subjects: rural landscapes, houses, barns, and outbuildings; interiors with closed and open doors, beds, bureaus, tile floors, and minutely patterned wallpaper; and color copies of illustrated advertisements for food, fuel, and matches. Castle was a deaf artist who by most accounts never learned to read, write, or speak. In this remarkable book, author John Beardsley discusses how these limitations led to the development of an extraordinary memory, an ability that enabled him to create a large number of distinctly intelligent artworks. Beardsley follows Castle's work as if through a series of rooms (a "Memory Palace")-interiors, exteriors, objects, books, and words-reproducing many previously unknown works and referencing other documents made available for the first time from the James Castle Collection and Archive. Published in association with the James Castle Collection and Archive