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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.
In spring 2009, Dumbarton Oaks inaugurated an occasional series
of contemporary art installations intended to provide unexpected
experiences and fresh interpretations of its gardens and
collections. The first artist selected was the American sculptor
Charles Simonds, who is well known for clay sculptures that
document the wanderings of a fantastical civilization of Little
People whose landscapes, architectures, and rituals have been
imagined by the artist since the early 1970s. The outcome was a
project that spanned the whole institution. A wide range of his
current sculptures--some architectural, some figural, and some
evocative of landscape, most preexisting but one made especially
for the exhibition--was installed between May and October 2009 in
various spaces at Dumbarton Oaks.
"Landscape Body Dwelling" documents and reflects on the
installation. Essays by Ann Reynolds and Germano Celant situate it
within the broader context of Simond's artistic career, while
essays by John Beardsley and Joanne Pillsbury detail the often
surprising connections between the exhibited works, the garden
elements, and the permanent collections at Dumbarton Oaks. Richly
illustrated with photographs of the installation, this volume
demonstrates how contemporary culture connects us with the past,
reinvigorating historical tropes while enlivening the institutions
that continue to speak them.
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Designing Wildlife Habitats (Paperback)
John Beardsley, B. Deniz Calis, Jane Carruthers, Alexander J Felson, Joshua R. Ginsberg
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R1,278
R1,151
Discovery Miles 11 510
Save R127 (10%)
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Ships in 12 - 17 working days
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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
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Nadine Gordimer
Paperback
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R398
R330
Discovery Miles 3 300
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