The Magazine of the Arnold Arboretum LANDSCAPE INSTITUTE INDEPENDENT PROJECTS

THE LANDSCAPE INSTITUTE INDEPENDENT PROJECTS

Volume 64 • Number 4 • 2006 Arnoldia (ISSN 004–2633; USPS 866–100) is published quarterly by the Arnold Arboretum of Harvard University. Periodicals postage paid at Boston, Massachusetts. Subscriptions are $20.00 per calendar year domestic, Page $25.00 foreign, payable in advance. Single copies of most issues are $5.00; exceptions are $10.00. 2 Foreword Remittances may be made in U.S. dollars, by check drawn on a U.S. bank; by international money order; or by Visa or Mastercard. Send orders, 4 Memories of a Bamboo Grove: A Master remittances, change-of-address notices, and other Plan for Wakamatsu Park in Kobe, Japan subscription-related communications to Circulation Ireine Nagai Manager, Arnoldia, Arnold Arboretum, 125 Arborway, Jamaica Plain, Massachusetts 02130–3500. 10 Linking People With Plants: A Master Telephone 617.524.1718; facsimile 617.524.1418; Plan for the Pine Tree State Arboretum e-mail [email protected]. Pamela Griffin Postmaster: Send address changes to Arnoldia Circulation Manager 19 Playground: Planning a Playground for The Arnold Arboretum the Driscoll School in Brookline, MA 125 Arborway Mary Dennis Jamaica Plain, MA 02130–3500

Jane Roy Brown, Guest Editor 28 Private Pleasures Derived From Karen Madsen, Editor Tradition: The Hunnewell Estates Mary Jane Kaplan, Copy Editor Historic District John Furlong, Art Editor Allyson M. Hayward Lois Brown, Editorial Assistant Bill Shea, Designer 39 The Pilgrimage of the Groves: Outside covers Reconstructing the Meaning of a Detail of site analysis of landform views by Sixteenth-Century Hindu Landscape Pamela Griffin, “Linking People With Plants.” Behula Shah

Inside covers Detail of site analysis of Mt. Hood Nature Trails, 42 Of Fantasies and Footpaths: Seven Melrose, MA, from 2003 Independent Project by Landscapes to Enjoy With Children Kathleen Shamberger Maryann Alberts Malarkey

ow approaching forty years old, the assumed administrative oversight of the Radcliffe Landscape Institute’s certificate pro- Seminars in Landscape Design, expanded the Ngrams have clearly influenced the evolu- offerings, and changed the name. Much has tion of the Institute itself in important ways. remained the same, including the administra- First offered in 1968 under the auspices of the tion’s willingness to develop new offerings in Landscape Program of the Radcliffe Seminars, the response to ever-changing demands. The Institute certificate has become an important credential in is now integral to the Arboretum’s education mis- the landscape design profession. Students come sion and will complement its commitment to gen- to the Institute for particular courses that meet erating new knowledge in plant biology with pro- their immediate needs. Others seek a working grams that further our understanding of the role knowledge of the landscape design profession, of plants in the human environment. choosing what they need and leaving after tak- For this special issue we decided that the best ing six or eight courses. Landscape history vehicle for introducing the Landscape Institute to scholars take design studios to deepen their Arnoldia readers and illustrating the scope of its understanding of the design process or they take interests is to present a sample of final projects specific history courses to complement previous from the 347 completed since 1981, when digital studies. But more and more students opt for one records were first kept. (All 347, including the fif- of the three certificate programs—landscape teen presented in 2006, are listed at the back of design, history, and preservation—each with its the magazine.) own complete curriculum. These programs have In choosing the six projects included here we come to set the standard for education in the looked for a representative variety that could field; and the graduates’ professional preparation withstand drastic abridgement without losing is validated by the rigor and comprehensiveness their core meaning. The task of abridgement was of the required courses. (For listings, see ably undertaken by guest editor Jane Roy Brown, http://www.arboretum.harvard.edu/programs/ld/ herself a graduate in landscape design history ld.html.) who writes on both contemporary and historical It’s been five years since the Arnold Arboretum landscapes. Introduction

he independent project is usually the last carry out a real or theoretical project from begin- step a Landscape Institute student ning to end. Ranging widely in scale from resi- Tencounters before earning the certificate dential to regional, most case studies deal with in landscape design, history, or preservation. It public or semipublic landscapes. Typical final represents a major commitment in time and can- products include master plans for institutions; not be undertaken until most of the course environmental policy recommendations for wet- requirements have been fulfilled. After their top- lands or other conservation areas; regulatory ics are approved, students work with a faculty standards for urban developments; playground advisor who meets frequently with them for the designs for schools and neighborhoods; studies of full year or more that is needed to finish the proj- historical designs and designers; and plans for pre- ect. In addition, as the coordinator of the pro- serving historic landscapes. The clients include gram, I schedule regular seminars for all students institutions and agencies such as the Massachusetts working on independent projects; at these meet- Department of Conservation and Recreation, The ings, students present their works-in-progress Trustees of Reservations, the National Park Service, and exchange critiques and suggestions. and local cities and towns throughout New The program requires students to focus on a England. The projects listed below illustrate the specific area of landscape design or history and to breadth of interests at the Landscape Institute. Introduction 3

Most design and preservation projects are live near the areas of their projects, they remain mutually beneficial: the community or institu- available to work with local officials to raise pub- tion gets help in solving its landscape-related lic awareness, to write grants for funding, or to problems while the student gains experience in modify plans in response to the changing needs of dealing directly with a client. “Reclaiming the client, or to get a long-delayed building process Walden”—Joan Popolo’s 2001 project—resulted underway. in recommendations for re-using the Concord, Many recipients of certificates in landscape Massachusetts, landfill. In 2005 Karen Longeteig design history also continue to work on their proj- presented proposals for street tree improvements at ects after graduation, building on them, refining Lexington, Massachusetts, town meetings; and them, and often finding publishers. Alan Emmet’s Phil Bevin’s 1994 “Landscape Rehabilitation Plan expanded project, “Changes in a Cambridge for the Codman Estate for the Town of Lincoln, Landscape,” (1977) was published by Harvard Massachusetts” was implemented to become University Press. “Boston’s South End Squares, Historic Massachusetts’ outdoor museum. Heidi Inventory, Analysis, and Recommendations” by Kost-Gross’ project, the York River Open Space Phoebe Goodman also evolved into a book, as did Study (1995) grew out of a 1994 landscape studio “Money, Manure, and Maintenance: The Life & project. The document was widely used and Work of Marion Cruger Coffin, 1876–1957” by reprinted and helped to preserve open space in Nancy Flemming. the York River watershed. After my many years at the Landscape Many of the projects in landscape design have Institute—beginning when it was the Landscape productive afterlives. They may be used by Design Program of the Radcliffe Seminars—I am clients to get funding, to raise public awareness, still impressed by the professional quality of the to document important landscapes, or to get a projects completed by our students. I believe that long-delayed building process underway. after reading the summaries of those that were Drawings for community improvements, be they chosen for this issue, you will feel the same way. playgrounds or streetscapes, often sit in office file John Furlong drawers for years awaiting funding for implemen- Director of the Landscape Institute tation. Since graduates of the Institute usually of the Arnold Arboretum

A Sampling of the Institute’s Concerns

• Sherborn Open Space Study: a pro- op a proposal for continuing-care field, Massachusetts posal for the use of open space in retirement center communities in • The Paine Estate Development Plan: the rapidly growing community of Hanover, New Hampshire Sherborn, Massachusetts a proposal for Wayland, Mass- • New Hampshire Landscape Inven- achusetts, that includes an assisted • Dome Community Garden Study, tory Study: the first inventory of living facility, 20 single-family New York City: a history of the evo- 350 historic and noteworthy gar- homes, a soccer field, and walking lution of a community garden illus- dens in the state and ski trails—all on 166 acres trating the political decisions that • York River Open Space Study • Salk Institute Study: influence the shape of a communi- : a an examination ty’s open space study that resulted in recommenda- of the lessons to be drawn from archi- tions for conservation and develop- tect/theorist/teacher Louis Kahn’s La • Common Places: a proposal for real- ment around an endangered tidal Jolla, California, landscape izing the full potential of the many river estuary in York, Maine • The Congregational Church of town commons in the Town of • Landscape Plan for Cambridge Topsfield Plan: Brookline a history of the town Friends School: a guide for the school common and the historic church in • Schooner Park Development Plan: a as it expands both in size and enroll- this Massachusetts town design for public open space at the ments, including public open space • Plaza Del Sol, Lechmere Canal Area town dock of Duxbury, Mass- used by neighborhood residents : achusetts, that reflects the town’s An imaginative look at a streetscape • Master Plan for Chauncy Allen shipbuilding traditions in Cambridge, Massachusetts, pro- Park: a plan for revitalizating a pub- posing ways to integrate commer- • Guidelines for Therapeutic Land- lic park and restoring the historic cial activities, social life, trans- scapes: applying guidelines to devel- “Grandmother’s Garden” in West- portation, and open space Memories of a Bamboo Grove A Master Plan for Wakamatsu Park in Kobe, Japan

Ireine Nagai

have a memory from my childhood of a my personal experiences, both emotional and bamboo grove next to my grandparents’ spiritual, and my hope for the future. I house, on the tip of the lzu Peninsula in Japan. The grove was dark and dense, and I remember being afraid of the shadows and the clucking sound the plants made. But when my grandmother told me that a bamboo grove is actually the safest place to be during an earthquake, I believed her, and my fears went away. Now, twenty years later, I have proposed a design for a park filled with bamboo in Kobe, a cosmopolitan city of one and a half million people on the northwest shore of Osaka Bay. The design is my response to Kobe’s urgent need for restoration following the 1995 Hanshin earthquake, which killed more than six thousand people and left hundreds of thousands home- less. It also reflects my childhood memories, Bamboo 5

The Parks of Kobe and acres) that will be surrounded by new high-rise Their Multiple Roles residential buildings, shopping malls, offices, and hotels. The district will also become an During and after the massive earthquake that important transportation hub, with a recon- struck Kobe, parks offered sanctuary and safe- structed train station and a new highway. ty. In some cases, their trees and vines prevent- As the only substantial green space among ed fires and kept walls from collapsing. As part all these buildings, Wakamatsu Park will be a of a large-scale redevelopment plan that takes destination for visitors and play an important future earthquakes into account, Kobe officials role in the lives of community residents. devised a “greenification” plan that identifies sites for various kinds of parks throughout the The Many Valuable Qualities of Bamboo city. In addition to serving the usual purposes of urban parks, these will be places for citizens Although some species grow very tall and to gather in the event of future earthquakes stout, bamboo is not a tree, but a primitive, and will provide access to emergency shelter woody-stemmed grass. The hollow central and water supplies in underground reservoirs. stem with its many joints is called the culm. Situated in the western part of Kobe, Some species are the fastest-growing plants in Wakamatsu Park is near the residential and the world, generating more oxygen than any commercial district of Shinnagata, the area other plants. Instead of roots, bamboo has rhi- that suffered the most damage during the zomes, large underground stems that spread earthquake. The park was used as a shelter out rapidly through the soil. The result is a during the quake and has since been the site of dense, interlocking web of fibers that holds temporary housing. The city is planning to topsoil firmly in place. rebuild the park on a plot of 1.6 hectares (four It is widely recognized that bamboo is especially useful in seismic regions, thanks to an internal structure that gives it unusual strength and resilience. In The Book of Bamboo, David Farrelly writes about the value of bamboo in creating a safe quake zone: “Dense growth of bamboo around a building functions in the soil as windbreaks act in air: rhizomes buffer the blow and diminish the intensity of motion. Widely planted in any quake zone, bamboo absorbs much of the earth’s ripple [and] . . . provides immediate construction material for temporary disaster shelter.” Buckminster Fuller, who introduced the geodesic dome to architecture, experimented with domes made of bamboo. “This [bamboo geodesic dome] will provide more shelter to more people at less cost than any other structure possible,” Fuller concluded. But bamboo has also played an important role in the gardens and art of Japan. The designers of early Japanese gardens sought in their creations to achieve “yugen,” a term that means tranquility but also suggests elegant The Shinnagata district in western Kobe suffered the beauty and a profound depth of kinship with most catastrophic damage in the Hanshin earthquake. nature. These designers were often Zen monks 6 Arnoldia 64/4

and were strongly influenced by Zen and ink design. But bamboo’s growth can be controlled, monochrome painting. Their gardens provide and when species are carefully chosen, it has a ample evidence of bamboo’s ability to create a unique ability to create a sense of repose that variety of effects. Along paths, for example, tall is as valuable in modern gardens as in ancient species on either side form a canopy that lends ones. a sense of intimacy. Densely planted bamboo By using bamboo in Wakamatsu Park, I hope at the corner of a path creates the illusion of to reintroduce the values of bamboo into entering a forest. Or, in a deep forest of bam- everyday life, to explore its potential for inno- boo, a curved path can achieve a subtle light vation, and to reconnect people with the “nat- that accentuates tranquility. ural” aspects of their environment. As Kobe Near water, bamboo is useful because it is strives to become a more modern and interna- moisture tolerant. Planted as a background to tional city through its post-earthquake renew- form a vertical screen, it can evoke a mountain al projects, bamboo can be a symbol of tradi- forest behind the water feature. And beside tional values that must not be forgotten. rocks or near buildings, bamboo provides contrast in color and texture. The Goals, Features, and Themes Today’s designers have avoided using bam- of the Wakamatsu Park Design boo in public landscapes because they regard it as invasive and difficult to maintain, as well as The design I created was directed toward “primitive” and inconsistent with modern achieving several specific goals: to create a tranquil environment that buffers the sounds of urban life; to offer recreational and educational opportunities; to provide easy access, open spaces, and shelter in case of emergency; and, finally, to permit recycling of natural resources. These goals are to be achieved within a park that includes several specific components: open spaces for events and playgrounds, for capturing sunlight to use in solar heating, and for refuge during emergencies; resting areas that are insulated from street noise; a picnic area close to underground food markets and restaurants; a pool for collecting rain water and to serve as part of an emergency water supply system; an underground pavilion for food stor- age and to hold self-sustaining solar heating and water recycling systems in case of emergency; and underground parking with access to the park, to nearby buildings, and to the train and subway stations. I based the park design on three thematic concepts. The primary one, inspired by traditional Japanese garden design, is the cycle of life, a symbol for an ideal environment that includes the entire universe. I began by reduc- A stand of tall bamboo, Phyllostachys aureosulcata. ing the Japanese pictographs for the celestial The fifty-plus species of Phyllostachys are native from the Himalayas to Japan and among them are the elements of sun, sky, and moon to elemental largest and most frequently cultivated hardy bam- forms, which I superimposed on the outline of boos. They spread by rhizomes to form thickets. the site. I then abstracted the characters for Bamboo 7

The cycle-of-life concept begins with simplified pic- Pictographs for tree, water, and light also evolve into tographs of sun, moon, and sky. simple symbolic forms. light, water, and tree and combined them with ment as well. the celestial elements. Through these basic And finally, the third theme of the park will elements of nature, people will symbolically be a symbolic journey from earliest childhood to experience the cycle of life. a dream of the future, using bamboo to create a Within the formations representing the variety of sensual and spiritual experiences. cycle of life are examples of sustainable tech- nologies, the second theme of the park. These Molding Features and Themes include equipment for conserving and recy- into a Master Plan cling rainwater and for generating electricity from sunlight. By using natural resources in a The park will have three spatial components. sustainable way, the park will be not only a In keeping with Japanese tradition, each has a refuge in time of emergency but a demonstra- name that evokes its function: Shadows of the tion of our dependence on the natural environ- Moon, Reflecting Pools, and Rays of the Sun.

The conceptual diagrams project the program onto the site and illustrate the relationships between them. 8 Arnoldia 64/4

The master plan for Bamboo Park. From left to right are the Shadows of the Moon, the Reflecting Pools, and Rays of the Sun.

In all three areas, visitors’ experiences will be how the child, nurtured by the farmer, grew affected by the special qualities of bamboo, into a brave princess. enabling them to escape from a hectic life into In the playground, surrounded by low plant- a tranquil setting and, perhaps, to remember ings of Pleioblastus argenteostriatus, children happier times. can climb on a small bamboo dome inspired by Shadows of the Moon accommodates areas Buckminster Fuller. A grove of Phyllostachys for picnicking, resting, and playing. In the pic- aureosulcata serves as a safety barrier between nic area, a path lined with bamboo of the the park and the road. species Phyllostachys aureosulcata will take The second area of the park is called visitors to a seating area where they can enjoy Reflecting Pools: The Path of Meditation. The lunch in the shade, protected from the noise of water pools here mirror the sky, symbolizing traffic and from the wind that whips around transitions in life. The path along the pools tall buildings. thus invites visitors to reflect on their past, The resting area, structured by bamboo present, and future. planted in the form of a spiral, is intended to The quiet sound of running water becomes transport adults back to a realm of happy child- louder at the end of the path, where water hood memories and to introduce children to rushes over a waterfall. Flowing water, like the plant. At the center of the spiral, visitors life, is constantly evolving, and its sound can discover a surprise planting of Phyllostachys soothe minds churning with pressures and heterocycla. This space recreates a well- uncertainties. known scene from a traditional story that Bamboo is used all along the pools to mimic begins with a childless farmer cutting down a the flow of water. The short Shibataea tall bamboo, only to find a small girl standing kumasasa are pruned into a rounded wave pat- on the spot where the plant had stood. Sitting tern, and the undulating bamboo fence also on a rock bench, enjoying the rustling of bam- imitates the motion of waves. At the end of the boo leaves with a companion, perhaps a child, sloping path, a bamboo bridge leads to the a visitor may be prompted to tell the story of underground bamboo courtyard, where the pat- Bamboo 9

Planting plan. terns of water are repeated in the sand of a traditional “dry water” garden. Sand represents the ocean, and rocks and bamboo stand in for islands and mountains. Here, a few Pseudosasa japonica stand straight up in a sea of gravel raked into water patterns. Throughout this space, bamboo reinforces the sense of flowing water and the feeling of change that frees the mind from negative thinking. Finally, in the below-ground-level pavilion, called Rays of the Sun: Illumination, the visitor follows a path to an open space. Along the path, Shibataea kumasasa are pruned in rounded shapes that reflect the radial pattern of the sun. A bamboo dome rising above the ground’s surface symbolizes the sun and lights Shrubby plantings of Pleioblastus argenteostriatus surround the playground. up a large open space where people can gather for events and to admire the resilient strength of the bamboo structure. The bamboo walls of the pavilion cast a pat- Ireine Nagai’s independent project was part of Kobe’s Restorative Post-Earthquake Urban Redevelopment tern of light and shadow. In the center one can Program. In addition to her formal design studies, enjoy the rays of the sun and the warmth gen- she visited many garden and parks for a sense of the erated by the solar heating system. Here, bam- spatial experiences bamboo can offer. She also boo stands as a symbol of illumination and interned at the New England Bamboo Company to hope, and demonstrates its strength and flexi- learn bamboo culture and propagation. She bility through the use of a new technology. received the certificate in landscape design in 1998. Linking People With Plants A Master Plan for the Pine Tree State Arboretum

Pamela Griffin

he Pine Tree State Arboretum in Arboretum is now a private nonprofit corpora- Augusta, the capital of Maine, occupies tion governed by a board of directors. T 224 acres of open fields, deep forests, In 1996, the staff and the board felt strongly ledges, and wetlands. The state purchased the that it was time to step back, evaluate the land in 1835 and farmed it to meet the needs of progress of the Arboretum, and make plans for the state hospital for the mentally ill until 1972. its future. As part of this effort I collaborated In 1981 the state’s Bureau of Public Lands and with the staff and board to prepare a master the Maine Forest Service founded the Pine Tree plan that would establish a permanent design State Arboretum on the property, with both policy and guide the institution’s physical agencies providing staff and funding. While the development over the next ten years. state agencies continue to provide support, the Specifically, the team’s task was to develop an organizing theme applicable to all existing and future collections in order to give a sense of unity and aesthetic continuity to the Arboretum, and to extend public access to all parts of the grounds.

Site Analysis

The planning team began its work by investigating the natural and cultural processes that had shaped the site so that we could then define its opportunities and limita- tions. Only with an intimate understanding of the land could we iden- tify and enhance its unique qualities and link them to the surrounding region. A series of maps was drawn up to illustrate nine characteristics of the site. Together these maps form a graphic representation of the physical factors that guided our decisions about design. Only six of the nine site characteristics analyzed for this study are included in the discussion that follows; omitted are microcli- Pine Tree State Arboretum is in Augusta, Maine’s capital. mate, visual qualities, and regional Surrounding forests are dominated by oak, white pine, and hemlock. characteristics. Linking People With Plants 11

Above: To preserve native species and teach visi- Below: Geology defines any landscape, including tors about local ecology, knowledge of existing its soil composition and its acidity and alkalinity plant communities must be thorough. Most of the levels. Hydrology determines the life forms the land is in post-agricultural succession. site will support. 12 Arnoldia 64/4

Above: Analysis of soil types provides information Below: This map shows the property’s high and for the placement of buildings and plants. low points and the resulting views. Linking People With Plants 13

Above: The placement of paths and gardens will be Below: It is the plant collections that distinguish guided by the steepness of slopes. The map shows an arboretum from a park or a nature preserve. that gentle, rolling hills are the rule on the proper- This map shows the existing collections at the ty, with only a few steep areas. time that work on the master plan began. 14 Arnoldia 64/4

Synthesis • integrate the existing plant collections into a wider framework; and Several features emerged from our site analysis • improve visitor circulation throughout the as significant, suggesting some initial goals to site. guide our planning: These goals suggested an organizing theme • preserve the existing natural communities; for the Arboretum: the story of Maine’s land- • explain the stages of species succession that scape as shaped by its people, with emphasis on have followed the discontinuance of agricul- its agricultural and forestry traditions. But the ture; site analysis also highlighted the Arboretum’s • emphasize the exposed bedrock at the high potential to provide vitally needed public edu- point of the site; cation about Maine’s future and to illustrate • preserve and explain the watershed system; the value of thinking globally, while acting locally, when confronting issues of ecological • maintain open agrarian views; degradation and species loss. At the same time • manipulate microclimates for human comfort in recognition of funding and staffing restric- and to create zones for more delicate plants; tions, the planning team decided that the • provide explanatory materials about histori- design should make use of existing site condi- cal features; tions and local materials as much as possible.

This drawing and the one that follows represent the two defining features of the Arboretum’s landscape, fields and forest. Linking People With Plants 15

Drawing Up the Master Plan flowing lines of the natural topography. Old stone walls will be uncovered and new ones In this phase of the process the team incorpo- built, and interpretive signs will tie together rated all the goals and opportunities listed such historical features as the cistern, the pig- above into an actual plan, striving to establish gery, and the three embanked ponds. The visi- a coherent design while maintaining enough tor center will be relocated, enlarged and flexibility for future growth. Five drawings enhanced with features such as an entrance were then made to illustrate the thematic garden called the Maine Landscape Garden. It components of the plan. will integrate agrarian elements—an old-fash- ioned perennial garden, a grape arbor, and a sin- The Agrarian Landscape and uous stone wall—into a design based on the the Maine Woods gardens of typical farmhouses. The other design theme focuses on the These two drawings display the two main fea- Maine woods and wetlands. The forest is cen- tures, fields and forest, that define the tral to the state’s identity, and it is imperative Arboretum landscape. The challenge for the that commercial use of the forest be balanced planners was to build design themes around by environmental stewardship. For that rea- these features and create a sense of their value. son, the team emphasized public education in Using the agrarian landscape, for example, considering how to illustrate this theme. The we wanted to demonstrate that as agriculture cistern will be a central gathering place for out- declines in Maine, the Arboretum can be a door education, its walls refitted with a level model for preserving open vistas and other tra- surface for amphitheatre-style seating. Native ditional elements of farmland. The design shrubs will line the outer perimeter, and an accomplishes this by using the linear forms of attractive rustic shelter will provide weather stone walls and hedgerows to complement the protection. A series of outdoor classrooms will 16 Arnoldia 64/4

surround the cistern, with displays on ecology, as with the present Maine economy, for exam- resource utilization, and woodlot manage- ple, the heirloom apple collection should both ment. preserve heirloom varieties and show visitors A woodland walk will take visitors through how to establish an orchard. Accordingly, the the major forest communities. Clearings in Arboretum’s collections were divided into each plant community will provide seating and three major categories, each intended to have interpretive displays about forest succession, distinctive interpretive materials: native species, wildlife habitats, and other top- • the Maine Landscape Garden at the entrance, ics. A wetland boardwalk winding through the which will include specimens from the hor- watershed system will feature interpretive ticultural collections; devices, including maps and text panels. Guided tours will also be offered. • the taxonomic collections and other special gardens, such as the hosta garden, the Viles Plant Collections Pond bird and waterfowl habitat, and the The planners felt that the plant collections rock garden; should not simply be labeled exhibits but • the existing natural habitats, which include should also provide a link to the greater com- the post-agricultural successional communi- munity and its history. To demonstrate a con- ties as well as the forest and wetland com- nection with the site’s agricultural past as well munities.

The design proposal identifies ways to use the plant collections to more meaningfully connect the Arboretum to the greater community. Linking People With Plants 17

A hierarchy of trails allows visitors to feel safe while exploring the landscape and brings order to the Arboretum’s diverse display collections.

Visitor Circulation most important objectives of the master plan and the overriding challenge for the It was decided that the trail system would Arboretum. As outlined in the summary serve not just to get visitors from here to there above, the planning team addressed this chal- but also to reveal the land through sequential lenge in several ways: experiences, each of which affects the percep- • by interweaving two thematic landscapes, tion of the next one. fields and forest; The plan outlined a hierarchical arrange- • by clarifying the educational mission ment of paths and orientation devices that through the selection of collections and would allow visitors to feel safe while enjoying interpretative programs; their experience. A main loop providing access to all major features will be clearly identified • by establishing a circulation system that bal- by width, surface treatment, and a distinctive ances hierarchy and mystery; edge. Narrower secondary paths will bring vis- • by designing guidelines that include the rep- itors directly to major features, and winding etition of certain forms, the use of local tertiary trails will offer exploration and discov- materials, and an emphasis on local culture. ery. The design of intersections and transition We believed that if the staff and the board areas will also help to guide the visitor, with applied these basic design guidelines through- focal points such as the cistern and piggery sit- out the Arboretum, they would create a facili- uated so as to aid in orientation. ty that integrates science, design, local culture, Developing a sense of unity was one of the and social activity for the betterment of the 18 Arnoldia 64/4

The plan weaves a central theme throughout the landscape, achieving unity in orderly circulation, by repeating forms and materials, and establishing a uniform palette of materials for signs, furniture, and paths. surrounding community and the greater world, tion to the visitor center in recognition of the and that leads visitors to an understanding of desire for more educational programs. The staff natural processes in a way that connects them continues to work with limited funds but is nev- to what is happening on a global scale. At the ertheless now updating the plan in response to same time, the Arboretum would help Maine new challenges and opportunities. residents maintain the natural beauty of their native landscape and define the parameters of a sustainable economy. Perhaps most important, it would be a place to experience the renewal and peace that come from visiting a beautiful landscape. Since completing her certificate in landscape design in 1999, Pamela Griffin has worked in Maine for Postscript landscape architectural firms; researched and wrote a cultural landscape report for historic trails In the nine years since the master plan was com- in Camden Hills State Park; conducted a survey of pleted, it has provided a long-range vision for the Maine’s cultural landscapes; and designed several Arboretum’s staff and board members. It has outdoor classrooms. She recently completed a mas- proven flexible enough to allow the staff to ter’s degree in biology with a thesis on plant ecolo- respond to new opportunities—creating a new gy at the University of Southern Maine, Portland, program for home schoolers; installing a native and plans to enter the growing field of ecological plants garden; and completing a large new addi- design and mapping. Playground Planning a Playground for the Driscoll School in Brookline, MA

Mary Dennis

arks and playgrounds are now a part of most cities and towns. In P Brookline, for example, so many are scattered throughout the town that a place to play is within a five-minute walk for almost every resident. These open areas are the town’s complement to neighboring Boston’s Emerald Necklace, and they provide Brookline’s neighborhoods and schools with their own little jewels.

Boston’s Emerald Necklace is a linked system of parks, ponds, and parkways over five miles long. It was designed by Frederick Law Olmsted in 1875. 20 Arnoldia 64/4

One of the most heavily used playgrounds in Brookline is at the Driscoll School. Throughout the day it is filled with children playing. But playgrounds, like sneakers and clothes, get old and worn out after years of use by hundreds of children, day after day after day. This is the story of what happened when Driscoll’s playground needed renovation. Playground 21

First a plan had to be devel- “We need clear views into the oped. So there was a meeting. playground.” WELL . . . actually, quite a few! Lots of people gathered together, neighbors and parents, teachers and students, the town planning department, the police, and even the DPW crew. All these folks had ideas and concerns to discuss and review. (There were so many it created quite a stew.)

“Emergency and service vehicles must be able to get onto the playground.”

“The playground should be attractive for both children and adults.” “Basketball courts need to be placed so neighbors are protected from noise.”

“The playground needs to provide “The playground must be easy to take active and passive recreation for the care of.” whole community.” 22 Arnoldia 64/4

The teachers requested an outdoor classroom and a place for a garden. Playground 23

The children were quite clear about what they wanted: Space for a variety of games, room to run, and special places for make-believe.

The town officials helped the community sort out all their ideas until agreement was reached. They also made sure the new playground would be safe and accessible to all. 24 Arnoldia 64/4

To fit all these pieces together and to resolve conflicts as they arose were the challenges the designer had to meet.

Finding a solution for multiple uses in such tiny places is no easy feat. Playground 25

The plans were drawn up and presented. Then even more meetings took place. Many details still needed to be worked out.

Picnic tables and benches placed in the shade provide quiet places for checkers and relaxation.

A giant map of the U.S.A. painted onto the blacktop puts geography right underfoot. 26 Arnoldia 64/4

When every detail was worked out and approved, including places for a water fountain, sand fort, and ginkgo tree, the drawings were finally finished.

Then a builder was chosen to buy all the materials, hire the workers, schedule demolition, begin new construction, and even roll out the new grass.

During renovation the playground was closed and off lim- its. The children watched with anticipation while construction proceeded, anxious to return to their games. Playground 27

Finally there was reason for celebration. The playground is well planned and rebuilt. This little jewel is now safe and attractive and with care will provide a place for every kind of recreation for this generation . . . and maybe the next.

Mary Dennis received the certificate for landscape design in 1993. She participated throughout the entire planning, design, and construction of the Driscoll School playground. John Furlong was the project landscape architect.

Private Pleasures Derived From Tradition The Hunnewell Estates Historic District

Allyson M. Hayward

hen I set out to select a topic for my cessful. Early in my research, however, it independent project in landscape became clear that many of the historically sig- W design history, the gardens of nificant gardens in Wellesley belonged to a sin- Wellesley, Massachusetts, seemed an obvious gle, very large family. So after putting aside the choice. Having lived in the town for almost preliminary work on other gardens, I focused twenty years and served as president of one of on the properties of Horatio Hollis Hunnewell the local garden clubs, I believed that a histor- and his talented children, who gave so much to ical survey of its gardens would be of use to the town of Wellesley. scholars as well as to the community. I hoped The most familiar image of the famous land- to find examples of landscapes representing a scapes built by the Horatio Hollis Hunnewell variety of styles, and my initial foray was suc- family shows Italianate topiary casting precise shadows across terraces that rise above the Clockwise from top: waters of Lake Waban in Wellesley, Massa- chusetts. This image, however, represents only H. H. Hunnewell’s Italian Garden and boathouse. The terraces were planted on a three-acre bank, using the one of more than a dozen contiguous space in an interesting manner while leaving the view Hunnewell family estates that the Hunnewells of the lake uncluttered. Undated photograph courtesy developed in the latter half of the nineteenth of Wellesley, Hunnewell Family Archives. century. By 1900 these properties comprised When Henry S. Hunnewell was not tending to his own several hundred acres and included not only beautiful estate, The Cedars, he could be found at The the estate called Wellesley, with its terraced Oaks playing golf, a game he loved and often wrote topiary garden, but also The Cottage, The about in his journals. Undated photograph courtesy of Oaks, Hill Hurst, The Cedars, the Welles- The Cedars, Henry S. Hunnewell Family Archives. Richardson Estate, the Welles-Kimball Farm, The Pinetum, a nine-acre collection started in 1866, of the Morrill Estate, the Walter Hunnewell more than four hundred conifers from all over the Estate, The Pines, the Winn House, and the world. Undated photograph from Life, Letters and Diary of Horatio Hollis Hunnewell, courtesy of Souchard House—all of them funded by the Wellesley, Hunnewell Family Archives great wealth amassed by the Hunnewell family in banking, railroads, copper mines, and Horatio Hollis Hunnewell with his secateurs at the end of a workday, enjoying his view of Lake Waban. other industrial enterprises all over the United Undated photograph courtesy of Wellesley, Hunnewell States during the years of America’s westward Family Archives. expansion after the Civil War. 30 Arnoldia 64/4 Graphic by the author, 1997 Graphic by the author,

Today most of these properties make up the nal estate and the centerpiece of the District; Hunnewell Estates Historic District in the The Cottage, a property key to the develop- southwestern corner of the town of Wellesley, ment of the District; The Oaks, with the first twelve miles west of Boston. The town, like documented private golf course in New the principal estate in the Hunnewell District, England; and The Cedars, an extraordinary takes its name from Horatio Hollis landscape with rolling lawns and vistas Hunnewell’s wife, Isabella Pratt Welles designed by Charles Eliot. (1812–1888). Formerly known as West Needham, it was incorporated as Wellesley in Horatio Hollis Hunnewell 1881. Most of the estates lie on a relatively flat river plain between the Charles River and Lake H. H. Hunnewell, the family patriarch, was Waban within the town of Wellesley; those born in Watertown, Massachusetts, in 1810. At that extend into neighboring Natick enjoy the age of fifteen he was sent to Paris to learn more varied topography, with commanding banking in the house of Welles and Company. views of the lake, hills, meadows, and river In 1937, he married Isabella Pratt Welles, the plain. The Hunnewell Estates Historic daughter of John Welles, one of the firm’s part- District, listed on the National Register of ners. Soon afterwards the couple returned to Historic Places in 1988, is still largely owned the United States and purchased a residence on and occupied by members of the Hunnewell Boston’s Beacon Hill. family. Only one of the properties—the Pines, Like John Claudius Loudon and Andrew now owned by Wellesley College and housing Jackson Downing before him, Hunnewell its Women’s Research Center—has passed out believed that “nature was beneficial for every- of family ownership. Four properties are of par- one and making a garden was socially valu- ticular historical interest: Wellesley, the origi- able.” They all agreed, in Hunnewell’s words, Private Pleasures 31

not only the values that H. H. Hunnewell instilled in his family, but also the tastes of the emerging leisure class throughout the United States, especially in New England and New York State. Many of the properties, for example, included greenhouses and plantations for horticultural experimentation. H. H. Hunnewell himself gained national recognition for his experiments with trees—especially conifers— and with other woody plants, notably the rhododendrons that he introduced into New England. Nurserymen traveled from as far as England to see his gardens. Through public exhibits mounted by the Massachusetts Horticultural Society, plants from the family’s estates served as an educational resource, and H. H. Hunnewell enjoyed hosting plant hunters and landscape architects as well as nurserymen, inspiring all who took an interest in coniferous and broad-leaved evergreens. The Courtesy Wellesley Historical Society Courtesy Wellesley properties themselves, with their innovative Horatio Hollis Hunnewell lived a full life. A gener- ous man, he believed in family unity, public duty, facilities for sports and leisure activities, their and horticultural beauty. Undated. sophisticated animal husbandry, and their extensive landscape gardening, were often fea- “[that] human behavior was greatly affected by tured in the influential literature of the day, the environment and that gardening was a civ- including A. J. Downing’s Treatise and the ilized and healthful activity.” An 1843 note in magazine Garden and Forest. Hunnewell’s diary reads simply, “Became Horatio Hollis Hunnewell fostered in his interested in country life.” In that year he and children a sense of community and public spir- his wife purchased a large plot of land next to it, a solid work ethic, and a commitment to a modest cottage owned by his father-in-law in wise stewardship of their land, setting a strong West Needham. In 1844 Hunnewell initiated example by employing his wealth, his knowl- the construction of a Renaissance Revival edge of horticulture, and his down-to-earth per- mansion designed by Arthur Gilman, at the sonal style for the benefit of many organiza- same time clearing the land, building stone tions. He was a supporter of the botanical walls, and laying out the initial plans for his department of Harvard University, a contribu- famous gardens. Like other couples of their tor to the Botanic Garden and Museum in wealth and status at the time, the Hunnewells Cambridge, and one of the largest benefactors of drew inspiration for their splendid home from the Arnold Arboretum, where the Hunnewell the old-world architecture and landscapes seen Building still stands. He endowed a chair in the on their many trips abroad. These properties botanical department at Wellesley College, were designed to reflect their owners’ place in served as a trustee of the Massachusetts society, but unlike most of his peers, Horatio Humane Society for twenty-six years, and was a Hollis Hunnewell also used his estate to con- director of the Massachusetts Horticultural tribute generously to the development of orna- Society for more than thirty-four years. mental gardening in New England. In 1869, on the occasion of the Massachusetts The Hunnewells produced nine children, Horticultural Society’s fortieth annual exhibi- seven of whom built homes on properties con- tion, he established the Hunnewell Award, contiguous to their parents’. The estates reflected sisting of annual prizes of $40 to $160 bestowed 32 Arnoldia 64/4

its own palette of plants: the Pinetum in the easternmost corner, the Italian Garden along the lakeshore, a formal French parterre extending from the back of the house toward the lake, and an extensive rhododendron and azalea garden tucked away on the outermost edge of The Great Lawn. Near the Pinetum, Hunnewell later added more gardens of rhododendron Courtesy Alex MacLean, Landslides, May 1997 and azalea, 1876 and Overview of Wellesley with the Italian Garden and Pavilion in lower left portion of the photograph. The greenhouses and service buildings are located in the 1879, respectively. upper right. The juxtaposition of exotics and native for “grounds laid out with the most taste, trees, and of natural and constructed forms, planted most judiciously, and kept in the best reflected the fashions of the time. Rho- order for three successive years.” The awards dodendrons imported from China, for example, gave prestige and a lasting stimulus to orna- were planted as a large informal garden along mental horticulture in New England. an avenue leading to the Italian Garden, where fancifully clipped conifers were arranged on Wellesley terraces designed to conform to existing topog-

In 1852 Horatio and Isabella Hunnewell moved into their new house, which they named Wellesley. Many large and lavish estates were built throughout the United States at this time, but few in New England could compare with Wellesley in taste, grandeur, and the liberal expenditure of money. Spread over forty acres on the eastern shore of Lake Waban, it remains the central component of the Hunnewell Estates Historic District. Although Hunnewell was his own landscape designer and helped work his own land, he often sought the advice of horticulturally talented friends, including the Arnold Arboretum’s first director, Charles Sprague Sargent, Henry Winthrop Sargent (a cousin of Isabella Hunnewell), and his own principal gardeners, F. L. Harris and T. D. Hatfield. The Wellesley Courtesy Wellesley, Hunnewell Family Archives Courtesy Wellesley, garden, laid out east–west along the southern H. H. Hunnewell offering direction and advice to the shore of Lake Waban, comprised a series of sep- workmen building terraces for the Italian Garden, c. arate areas, each with a distinctive design and 1890. Private Pleasures 33

raphy. In the Pinetum native trees mingled with conifers that Hunnewell imported from all over the world, making it interna- tionally famous as one of the most comprehensive collections in the United States prior to the estab- lishment of the Arnold Arboretum in 1872. Fittingly, a cultivar of one of his introductions, Picea pun- gens, was named ‘Hunne- welliana’. Among the outbuildings Seaver Photo, West Newton, MA, courtesy Hill Hurst, Hollis Hunnewell Seaver Photo, West Family Archives clustered to the west of the Hunnewell’s gondola on Lake Waban with a view of Italian Garden at house are numerous green- Wellesley, undated. houses for propagation and experimentation. The first was built in May of trip to Bellagio, on Lake Como, where he also 1852 as a grapery. By 1895 he was experimenting borrowed ideas from the gardens of Villa under glass with peaches, hollies, rhododen- Serbelloni and Villa Melzi. Disregarding the drons, azaleas, palms, and oranges. A pit house unpretentious style favored in New England, was used to store tender rhododendrons during Hunnewell entertained his friends and family the winter. on Lake Waban, a gondolier skillfully gliding The inspiration for the sumptuous Italian across the waters, guiding the boat to within Garden was a visit to Elvaston Castle in view of the Italian Garden, just as if he were Derbyshire, where he saw an English interpre- plying the waters of Lake Como. tation of the delights and grandeur of the great To the east of the Italian Garden lies the Italian gardens. Its centerpiece was a topiary nine-acre Pinetum with its collection of more collection surrounded by an arboretum of than four hundred conifers from throughout coniferous trees. “It was . . . after a visit to the world, the first planted in 1866. The care Elvaston Castle, that I conceived the idea of that has gone into building this privately making a collection of evergreen trees for topi- owned arboretum over the past one hundred ary work in imitation of what I witnessed on and forty years has resulted in many new plant that celebrated estate,” Hunnewell later wrote. varieties, some widely used throughout the In 1850–1851, he began creating his own northern United States today. The Pinetum Italian garden on seven terraces that descended remains the central feature of the Wellesley from a ridge seventy-five feet above Lake landscape, increasing in area and number of Waban to its shores, covering about three species with each new Hunnewell generation acres. His choice of trees reflected the harsh Any discussion of the Hunnewell horticul- New England climate; the English yews so tural legacy would be incomplete without a magnificently trained at Elvaston would never mention of Theophilus D. Hatfield, the garden- survive the cold Massachusetts winters, so er who served the Hunnewell family for thirty- instead he used white pine, spruce, hemlock, seven years. Hunnewell afforded Hatfield the cedar, and arborvitae. resources to carry out years of hybridizing and To add to the illusion of a classic Italian experimentation, while Hatfield provided a scene, Hunnewell purchased a gondola and broad knowledge of the required nursery prac- constructed a boathouse along the shores of tices. Born in England in 1856, Hatfield gradu- the lake. This idea may have been sparked by a ated from Kew College and went on to practice 34 Arnoldia 64/4

on private estates. In 1883 he sailed to the The Cottage United States, where he first worked in a New Jersey nursery. In 1884 he was hired as estate Across the street from Wellesley lies The manager by Horatio Hollis Hunnewell’s eldest Cottage, the second estate built by the son, Walter, and in 1890 he took charge of Hunnewell family. Hunnewell chose the site Wellesley. for its proximity to Wellesley, revealing his Hatfield and Hunnewell experimented with desire to keep the family together. On July 25, hybridizing chrysanthemums, begonias, and, 1870, he noted in his diary, “Commenced dig- especially, azaleas and rhododendrons. Hatfield ging cellar. This is for the use of any of the attributed his introduction to rhododendron to a members of the family who, it is hoped, may gift of a Rhododendron japonicum from Jackson be tempted to occupy it.” The Cottage served Thornton Dawson, the Arnold Arboretum’s first as a convenience, a temporary lodging for the propagator and a Hunnewell family friend. Hunnewell children while they were building Hatfield later crossed that plant with Rho- their own homes nearby. As such, it was key to dodendron molle, producing the first authentic the development of the District: without this crosses between the Japanese and Chinese “spare” house located so close to their own species. (He named a dark orange variety “Miss new construction, one or more of the children Louisa Hunnewell” for H. H. Hunnewell’s might have chosen to build elsewhere. From daughter.) its construction in 1870 until Hunnewell’s Hatfield is best known today for a hardy yew death in 1902, many relatives took up resi- cultivar he developed while working for the dence on an interim basis. Hunnewells. Crossing the English yew, Taxus The original estate consisted of about six baccata, with the Japanese yew, T. cuspidata, acres. Hunnewell employed a friend, the archi- for the latter’s hardiness, he produced Taxus x tect John Hubbard Sturgis, to build a Queen media, meaning “in between.” An excellent Anne-style home of stone, wood, and stucco. In cultivar, T. x media ‘Hatfieldii’, a dense, pyram- 1923 when Hunnewell’s unmarried daughter, idal form with dark green leaves, is used exten- Louisa, took up permanent residence, she hired sively for hedging, screening, and other mass Henry V. Hubbard and Percival Gallagher of the plantings. Hatfield lived on the Hunnewell Olmsted Brothers firm to redesign the entrance estate until his death in 1929. driveway and plantings and to add a naturalistic pool, new stone, brick, and stucco boundary walls along Washington Street, and various terraces and garden beds around the house and grounds.

The Oaks

In the westernmost section of the Hunnewell Estates Historic District is The Oaks, built for Arthur, the sixth child of H. H. Hunnewell, and his wife, Jane Hubbard Boit. Begun in 1871, the estate originally consisted of forty-one acres of level, river-plain pasture abutted by the Charles River, Washington Street, and the property today known as Elm Bank. Arthur Hunnewell, an active

Courtesy National Park Service, Frederick Law Olmsted National Historic Site. member of the Massachusetts Horti- The Cottage, showing the new entry driveway, c. 1934. cultural Society, had a passion for Private Pleasures 35

The Oaks, assisted by Arthur’s estate superin- tendent, Frederick Coles, and supervised by Florence Boit. The course crisscrossed the property and encircled the one-room schoolhouse built for and used by generations of Hunnewells. Construction was relatively easy: the turf was already there, ready for scything or mowing; the flat terrain accommodated ditches and a brook; and a variety of plants added obstacles and interest. The Hunnewell course stimulated the development of golf in New England, making this property one of exceptional historical importance. Within six months friends and fel- low club members were so quickly and com- pletely won over by the new sport that they recommended that golf be given a trial at The Country Club in Brookline. The proposal was approved in November of 1892, with Arthur Hunnewell and his friends Laurence Curtis and Robert Bacon named to supervise the project. The following year, in March of 1893, a six-hole Courtesy Wellesley, Hunnewell Family Archives Courtesy Wellesley, course was constructed and soon expanded to Arthur Hunnewell, the sixth child of Horatio Hollis Hunnewell, undated photograph from Life, Letters nine holes. By 1900 twenty-nine clubs had been and Diary of Horatio Hollis Hunnewell. built within a twelve-mile radius of Boston, and in the ensuing years the sport blossomed hybridizing and exhibiting chrysanthemums; throughout New England on courses that still he produced around twenty-five new varieties exist today. Private courses, while not com- in his greenhouses. An avid sports enthusiast as mon, became one of the pleasures of industrial well, he combined landscape gardening with his love of athletics by building the first documented private golf course in New England on his property. In 1892 Florence Boit, Jane Hunnewell’s niece, spent the summer at the Oaks. Enthusiastic about golf and armed with a set of clubs acquired while on vaca- tion in France, she introduced her uncle Arthur and his friends to the sport. He and his broth- Courtesy Wellesley, Hunnewell Family Archives. Courtesy Wellesley, ers soon set out to con- The Oaks golf course, second hole. From left to right, Gertrude Hunnewell bend- struct a six-hole golf ing over her putt, with Robert Gould Shaw, Arthur Hunnewell, Jane Boit course on the grounds of Hunnewell, and Francis Williams Sargent looking on, 1901. 36 Arnoldia 64/4

Charles Eliot, best known for conceiving The Trustees of Reservations and planning the Boston Metropolitan Park System, was the landscape architect for the estate. He died in 1897, before the estate was complete, but had a major influence on the siting of the house and stable and on the location and layout of the main avenue, the vistas, and the garden beds. Until the time of his death, Eliot visited the estate often to provide consultation to Hunnewell. Olmsted himself offered advice on the siting of the main avenue; Charles Sprague Sargent visited the estate often and gave horticultural and design suggestions; and Jackson Dawson sup- plied many woody plants. In fact, numerous Courtesy The Cedars, Henry S. Hunnewell Family Archives Henry Sargent Hunnewell sporting his distinctive journal entries in the Hunnewell archives docu- and ever-present mustache, 1902. ment the hundreds of trees that were sent from the Arnold Arboretum to The Cedars and other giants of the Country Place era such as Hunnewell properties for trial. Vanderbilt, Rockefeller, and DuPont. The main organizing element in The Cedars’ landscape is a series of vistas radiating The Cedars from the house in four directions. Typical of the large estates of the Country Place era, To the north and west of the District, along the these vistas form dramatic visual links to the Natick town line, lies The Cedars, the summer lakes and woods beyond. The primary view is home of the ninth and youngest child of Horatio to the south, down the main front lawn. Hollis Hunnewell, Henry Sargent Hunnewell. Like his father, Henry was intensely interested in the aesthetic aspects of landscape gardening and estate development and sought to preserve the natural beauty of the rolling hills and woodlands of his property. The original 1888 pur- chase consisted of about 248 acres along Pond Road and East Central Street in Wellesley and Natick. Within ten years, however, Henry had increased his hold- ings to more than five hundred acres by sys-

tematically acquiring Courtesy The Cedars, Hunnewell Family Archives adjacent farms and Aerial view of The Cedars, undated. A fine example of the visual links from the woodlots. main house to the lakes and woodlands of the surrounding landscape. Private Pleasures 37

Hunnewell, working with Charles Eliot, rein- extending the District and wrapping it around forced the vistas using the textural contrast of the lake. cedars to define the edges of the maple and Horatio Hollis Hunnewell set out in 1843 to swamp oak woods. The “cedars” that formed create a beautiful estate, but in involving him- picturesque-styled belts, important focal self in horticulture it became a setting where points, and triangles that demarcated the vis- he shared his knowledge—and his passion for tas included Cedrus atlantica (Atlas cedar), C. his favorite plants—with the public. When he libani (cedar of Lebanon), and C. deodara (deo- started the collection of broad-leaved ever- dar cedar), but also others not of the genre greens, it was generally thought that few, if Cedrus: for instance, Chamaecyparis thyoides any, choice rhododendrons and azaleas would (Atlantic white cedar), Thuja occidentalis thrive so far north, but by persisting over many (American arborvitae or white cedar), and years he demonstrated that hundreds of vari- Juniperus virginiana (eastern red cedar). eties could grow outdoors in New England. His Harriett Risley Foote, a nationally known Pinetum, too, the first comprehensive collec- rosarian during the golden age of American gar- tion of its kind, became an educational force dens (1890–1940), designed and laid out the and an inspiration to all in America with an estate’s rose garden, which won a Massachusetts interest in conifers. Horticultural Society Gold Medal in 1923. The Today, the properties still encircle Lake rose garden, like the perennial garden, was not Waban, presenting a pristine landscape in the situated near the house but off in the woods, to midst of metropolitan Boston’s bustle and be enjoyed by visitors while strolling the revealing intriguing layers of New England’s estate. Expanses of immaculate lawn were out- garden history. With their statements about lined by trees or shrubs, with statuary posi- the power that culture and wealth can wield tioned as focal points in the center of the rose when used for education and social good, the garden and at the entrances to the gardens. The Hunnewell gardens record late-nineteenth and liberal use of evergreens, both broad-leaved and early-twentieth-century New England society coniferous, provided year-round interest. at its best. A quote from an 1857 historical Henry also introduced utilitarian agriculture sketch of the Massachusetts Society for the to the estate—vegetable gardens, an orchard, a Promotion of Agriculture (of which H. H. few dairy cows, chickens, pigs, and—to sup- Hunnewell’s youngest son, Henry, was an port his favorite pastimes of riding and rac- active supporter) also aptly describes the ing—horses. Hunnewells: “[T]hey were gentlemen of the highest standing in the country, distinguished Postscript for their wealth, their learning, and their public and private virtues . . . wealth as well as While other wealthy families in the United knowledge is power.” States were also building domestic empires at Facing the long-term care of their properties, this time, none amassed so many large, con- the Hunnewells, who have a strong sense of tiguous estates. The Hunnewell Estates family heritage, are in the process of preserving Historic District is a rare example of several them for future generations. Hundreds of acres contiguous landscapes passing from one gener- have been placed under conservation restric- ation to the next with each successive owner tions with The Trustees of Reservations and building on the work of his predecessor. This the Commonwealth of Massachusetts. H. H. arrangement is even more unusual in that the Hunnewell’s Pinetum, the Italian Garden, and land was not originally owned by one family the shoreline along Lake Waban have been pro- member and then deeded to the sons and tected from development. The Italian Garden daughters. Instead, through a carefully planned will remain as open land, not reverting to for- sequence of acquisitions, each son or daughter est, and the seven-tiered terraces are to be added to his or her own property, thereby maintained. 38 Arnoldia 64/4

References 1873–75, at different periods, the Cottage was occupied by Mr. and Mrs. Arthur Hunnewell, Mr. and Mrs. Hollis Horatio Hollis Hunnewell, Life, Letters and Diary of Hunnewell and Mr. and Mrs. Francis W. Hunnewell. In Horatio Hollis Hunnewell: With A Short History of the 1875 it became the property of Mr. and Mrs. R. G. Shaw . . Hunnewell and Welles Families and An Account of the . In 1882, Mr. and Mrs. F. W. Sargent occupied the house . Wellesley and Natick Estates, vols. 1, II, III (Boston: . . In 1891 Mr. and Mrs. Arthur Hunnewell spent the sum- Privately printed, 1906). mer there . . .” The children of Horatio Hollis Hunnewell (1810–1902) and Olmsted Job No. 7215, Francis W. Hunnewell, Wellesley, Isabella Pratt Welles Hunnewell (1812–1888) were: Hollis MA, June 1923–April 1939. National Park Service, Horatio Hunnewell (1836–1884), Francis Welles Hunnewell Frederick Law Olmsted National Historic Site, Brookline, (1838–1917), John Welles Hunnewell (1840–1909), Susan MA. Hunnewell (1842–1842), Walter Hunnewell (1844–1921), For a more complete history of The Cedars, see Allyson M. Arthur Hunnewell (1845–1904), Isabella Pratt Hunnewell Hayward, “A Rather Wild and Picturesque Place: Henry Shaw (1849–1934), Jane Welles Hunnewell Sargent Sargent Hunnewell at The Cedars,” Journal of the New (1851–1936), Henry Sargent Hunnewell (1854–1931). Susan England History Society 6 (1998): 1–13. died in infancy. John, who spent most of his life in Paris, was the only other offspring of H. H. Hunnewell not to The Henry S. Hunnewell Horticultural Journals and Plant build in the District. Lists, 1881–1900 (Hunnewell Family Archives, The Cedars, Natick, MA). Albert Emerson Benson, History of the Massachusetts Horticultural Society (Boston: Massachusetts Horticultural Society, 1929), 158. Hunnewell’s youngest son wrote, “I was named for Henry Upon earning a certificate in landscape design histo- Sargent, cousin of my mother and a very intimate horticul- ry in 1997, Allyson received the Outstanding Student tural friend of my father.” Henry S. Hunnewell, Faculty Award in her class. Since then, she has been Recollections of Henry Sargent Hunnewell (Boston: awarded a Gold Medal from the Massachusetts Privately Printed, 1938), 3. Horticultural Society for promoting New England’s H. H. Hunnewell, Life, Letters and Diary, 101. garden history, served as chair of the New England Garden History Society, and is currently a member From Donald Wyman, “The Hunnewell Arboretum, of the landscape advisory committee for Historic 1852–1952,” Arnoldia 12(9–12): 61–84, which includes Hatfield’s 1928 list of hardy rhododendrons. Wyman also New England (formerly SPNEA) and president of the includes “a few” of the Hunnewell Arboretum’s woody New England Farm and Garden Association, Inc. plants, 1852–1952. She lectures extensively and her book on the life and gardens of British garden designer Norah Lindsay Undated, unsigned document, Hunnewell Family (1873–1948) will be published in 2007. She will soon Archives, 1850–1997, Wellesley, MA. revisit her initial research on the Hunnewell estates H. H. Hunnewell, Life, Letters and Diary, 199–200: “From with a book in mind. The Pilgrimage of the Groves Reconstructing the Meaning of a Sixteenth-Century Hindu Landscape

Behula Shah

This article summarizes the results of an effort to discover the relationship between the landscape in a region called Vraj, in north central India, and the religious and political climate that existed at the time the landscape became enclosed by an extended pilgrimage route. At that point the area enclosed by the longer route became known as Braj. Located along the Yamuna (Jumna) River between Delhi and Agra, Braj encompasses the ancient city of Mathura and its surrounding countryside, an area of 35 square miles.

The Cultural Landscape of Mathura means earth.”) This is the mythical landscape where Krishna was born and spent his early o history of northern India can exclude childhood and amorous adolescence. a discussion of the contribution of this In the sixteenth century, when Vraj was Nregion to the molding of Indian con- renamed Braj, the area became an even more sciousness. By the first few centuries of the important locus for the cult of Krishna. The current era, Mathura had already acquired the purpose of my study was to uncover the rea- status of an important economic, cultural, and sons for this development and the role that political center; it is no exaggeration to say this sacred landscape played in asserting polit- that every significant political and religious ical as well as religious authority in the area. influence on the development of Indian civi- lization was in some way related to Mathura Mathura in the Sixteenth Century and its environs. In particular, the city has been an important destination for Hindu pil- Because of its geographic and cultural impor- grimage for at least the last ten centuries, and tance, Mathura was the focus of attack when the physical landscape of the region has been the first Muslim invasions of northern India closely associated with the myth of Krishna, took place in the eleventh century. By the one of the most popular Hindu deities and twelfth century Mathura and its environs had mythological figures, ever since the emergence been absorbed into the territory controlled by of the myth two thousand years ago. the Muslim dynasties of India, collectively Krishna (meaning “dark-colored lord”) is known as the Delhi Sultanate. one of ten avatars (incarnations) of Vishnu, the At the beginning of the sixteenth century, sustainer of all life and nature. All Vishnu’s one of the sultanate’s last powerful rulers, avatars personified aspects of the idea of sus- Sikandar Lodi (1488–1517), consolidated his taining life on Earth, which might be framed hold on the region when he moved his capital today as stewardship or environmentalism. from Delhi to Agra, much closer to Mathura. A Krishna grew up among the herdsmen of Vraj road that he built to connect Agra to Delhi ran (one meaning of which is “cattle shed”), and he through the heart of Mathura, severely disrupt- was himself a cowherd. (As in Greek and ing the traditional Hindu pilgrimages. Persian, the Sanskrit word for cow [Go] also Furthermore, his forces desecrated and 40 Arnoldia 64/4

destroyed its important temples, an affront to Thus was established the Pilgrimage of the Hindu freedom of worship in a city that sym- Groves. bolized Hindu religion and culture. I would argue that the Braj landscape served The Hindus, however, were not willing to as the medium through which the Hindus con- surrender their attachment to Mathura; tested the Muslim presence in the land that indeed, one result of this new incursion was to had traditionally been an important religious shift even more devotional activities to the and cultural center for them. By restructuring region. Hindu poet-seers (a “seer”—drashta in the landscape metaphorically and infusing it Sanskrit—has free access to the past, the pres- with new meaning, the Hindus were able to ent, and the future, and his poetry has the assert their claim on the land without directly divine power of universal appeal) began to set- confronting the ruling Muslim elite. In effect, tle in the area, where they elevated Krishna’s the poet-seers used the spiritual power of status as the predominant deity in this Krishna to repossess the region under the name Muslim-controlled territory. The mechanism they had given it, Braj. Krishna’s mythical they used to achieve this was a new pilgrim- authority in the landscape, reinstated as “his- age, the Pilgrimage of the Groves. torical fact” through place-based narratives, legitimized the Hindu presence. This newly Transforming the Landscape into a Sacred mythologized landscape embodied the histori- Pilgrimage Route cal, cultural, and religious perceptions of Mathura that had accumulated in the Hindu The ritual of the Pilgrimage of the Groves was imagination over time. Instead of rebuilding codified in 1552 in a Sanskrit text, Vraj Bhakti the city’s demolished temples, the poet-seers Vilasa, written by Narayan Bhatt, one of the compensated for their loss by “building” the poet-seers. This text became the major instru- Krishna doctrines, and rituals into the land- ment for expanding and elaborating the tradi- scape, creating an iconic landscape with all the tional mythology of Krishna. It was my pri- meanings and associations of the temple. mary source for interpreting the meaning of the landscape of Braj and—in the absence of The Pilgrimage of the Groves contemporary descriptions—for constructing a model of its sixteenth-century form. The pilgrims at Braj were required to visit the The Vraj Bhakti Vilasa metaphorically groves in a prescribed order, performing the inscribed the Krishna myth on the landscape of proper rituals at each grove. Detailed informa- the region, to which the poet-seers now gave tion about some of the groves has not yet come the name Braj. Every feature—hills, woodland, to light, but the map includes the most signif- groves, ponds and pools, the Yamuna River— icant stations, including overnight stops, along became associated with episodes from the the twenty-three-day route. The rituals pre- Krishna myth. This new symbolic significance scribed in the Vraj Bhakti Vilasa introduced was reinforced by a new pilgrimage path. specific meanings at each grove. The pilgrim Mathura itself was no longer the central pil- incorporated the myth into his own life—and grimage destination that it had traditionally charged the landscape with sacred meaning— been; instead, a new and circuitous route by engaging in the traditional actions of Hindu extended the pilgrimage beyond the city into worship: chanting mantras according to a pre- the surrounding natural landscape. Important scribed rhythmic structure and circumambu- sites along this pilgrimage path were marked lating the object of worship in a clockwise by groves, each one representing a deity or direction, all the while concentrating on the deities that played a role in the Krishna narra- Krishna narrative. tive. The poet-seers prescribed rituals for wor- Spatially, the pilgrimage path meandered as shipping the deities at each site, all of them it linked the groves, tracing a closed circuit clearly elaborated in Narayan Bhatt’s text. that insulated Braj from the outside. The cen- Pilgrimage 41

tral area enclosed by the path remained rela- beyond the sixteenth-century circumstances tively undifferentiated, implying that it had no that led to its development. For the Hindu pil- ritual function but, rather, was intended to grim, acts of devotion became connected to the protect worshippers from outsiders, just as natural landscape, with nature replacing the temple walls separate the place of worship ostentatious icons that had traditionally from the space around it. Likewise, Hindu wor- served as objects of worship. While Braj never shippers at a temple followed a prescribed ritu- acquired a political role, the part it played in al circumambulation of the temple walls. redefining and reenergizing the Hindu culture The geometric shapes of the landscape envi- was critical in sustaining the religion in that sioned by Narayan Bhatt were also a feature place and time. shared by Hindu temples, as was the nature symbolism underpinning both. Conceptually, Postscript the Braj landscape replicated the temple envi- sioned by Hindu architecture: a place where My Radcliffe Seminars independent project unordered, undifferentiated nature was ordered provided answers to some of the questions I and given meaning. Unlike the temples leveled broached regarding the relationship of one spe- by the Shah’s troops, however, this new place cific landscape to its surrounding Hindu cul- could not be destroyed. This buttresses the ture and to political events at the time of its argument that the underlying reason for creat- development. At the same time, it raised many ing Braj was subversive: it allowed Hindu tra- new questions. The Hindu landscape tradition ditions to continue undetected by the ruling in India has not been well studied or even Muslims. acknowledged in landscape design history. The None of these changes required substantial much longer paper from which this article was alterations to the natural landscape. Instead, excerpted therefore met with much interest the pilgrimage path largely overlaid new mean- when it was delivered at the Dumbarton Oaks ings on existing landscape. Each grove consist- Landscape Architecture Symposium in ed of a tree or group of trees and a water tank Washington, D.C., in 2002. That paper, “Braj: (cistern), both of which carried many long- The Creation of Krishna’s Landscape of Power standing, symbolic meanings in the Hindu cul- and Pleasure and Its Sixteenth-Century ture. Construction through the Pilgrimage of the Trees represented the operational forces of Groves,” will appear as a chapter in Sacred nature, or the creative process, and also sym- Ritual Practices in Gardens and Landscapes: bolized the axis mundi, or cosmological center Ritual and Agency, forthcoming from of the world. Certain trees and groves were Dumbarton Oaks in early spring 2007. thought to be inhabited and guarded by Yakshas, or tree spirits, who personified the genius of the place and bestowed fecundity and wealth on devotees. As for water, in Hindu Behula Shah received her certificate in land- thought it is a potent purifier. Because all ritu- scape design history in 1997 and became al acts begin with water, its presence was a founding director of landscape studies at functional necessity in a sanctified place. Chatham College, in Pittsburgh, PA, estab- Up to the end of the sixteenth century, lishing a master of arts in landscape studies when political circumstances changed, the and teaching courses in all aspects of land- poet-seers marked the landscape only with scape design. A founding member of the board small shrines and other unobtrusive structures of directors of The Cultural Landscape containing natural or found objects that had no Foundation, she has also been instrumental in value or meaning for the Muslims. establishing the Landscape Records of South The Pilgrimage of the Groves had ramifica- Western Pennsylvania Archives. She is now a tions that went beyond the region of Braj and landscape painter. Of Fantasies and Footpaths Seven Landscapes to Enjoy With Children

Maryann Alberts Malarkey

second visits accompanied by children to test my preliminary decisions as well as additional visits with different age groups to experience seasonal changes and special events. f Fantasies and Footpaths is a guide to For children, an appealing landscape is one seven public gardens and parks in east- where they can touch, climb, hide, run, rest, O ern Massachusetts that hold special explore, and daydream. In judging a garden’s appeal for children. It gives brief histories of appeal for children, I looked for elements such the sites, identifies the elements that engage as visual beauty, fragrance, and sounds; varia- children’s energies and imaginations, and sug- tions in texture, temperature, and scale; and gests ways for adults to share their magic with enclosures and promontories for a sense of children. Sites as urban as Boston’s Post Office intrigue and opportunities for playing hide- Square Park and as rural as the Crane Estate in and-seek. Because children need order and pre- Ipswich are among those included. My selec- dictability to feel comfortable, I also looked for tion was based on a review of published mate- repetition of forms and clearly delineated rials about public and semipublic parks and paths. And finally, I made sure that each site gardens in eastern Massachusetts, visits to offered places for rest between periods of play candidate sites, and many interviews. I made and exploration.

Let’s go explore! Fantasies and Footpaths 43

overhangs. Explore the spaces and find the rooms that occasionally open up along the paths between the rocks. A chickadee sounds like . . . The Rockery is an example of opposites working together in harmony: the fluidity of pond water contained by the solidity of stone; The Rockery at the Ipswich River the darkness of interior spaces opening to sun- lit paths; massive boulders sheltering the tini- Wildlife Sanctuary of the est of blueberries; and the loftiness of a terrace Massachusetts Audubon Society overhanging the depths of the pond. Children sense the harmony and ask for return trips. Perkins Row, Topsfield Located in the northern part of the sanctuary, a quarter mile from the central buildings and parking area, the Rockery Trail begins at the north side of a cluster of buildings, crosses an open field, and descends through wooded slopes across bubbling streams and around ponds. Remember to bring bird- seed: chickadees will eat from out- stretched hands. The Rockery was commissioned at the turn of the twentieth century by Thomas Proctor, a major landowner in Topsfield. In collaboration with the Arnold Arboretum’s Charles Sprague Sargent and John George Jack, Proctor worked out a plan for a sizable garden in which to grow hardy North American trees. The designer, a Japanese landscape architect named Shintare Anamete, began work on the Rockery in 1902 and stayed on the site during the entire nine-year construction period, over- seeing every detail. The result was a naturalistic landscape of ponds, plants, and ledges, featuring a cottage- sized structure made of boulders arranged to form tunnels, paths, and 44 Arnoldia 64/4

Mytoi Gardens

Chappaquiddick Island, Martha’s Vineyard Adults who arrive at Mytoi Gardens expecting to see large plants are sometimes disappointed: the three-acre, Japanese-style garden was rav- aged by Hurricane Bob and an accompanying tornado in 1991, leaving only the smallest specimens. But children, because they arrive without preconceived notions, respond with

delight to the tiny plants surrounded by open spaces. The garden was designed in 1958 by Hugh Jones for an individual islander and later left to the care of The Trustees of Reservations. The terrain is hilly—another appealing feature—and everything is miniature in scale: pond, island, slopes, trees, bridges, and even flowers. Children are charmed: as small as they are, they are giants next to tiny Iris crista- ta, dwarf Japanese maple, and pillow-soft moss. Older kids will be drawn to the tiny island and the red bridge leading to it; they can Moss is soft. The tree is strong. Ocean breezes pretend the bridge is a ship carrying pirates to blow all day long. a distant land in search of long-buried riches. Fantasies and Footpaths 45

Let’s pretend this is our magical kingdom.

Castle Hill at the Crane Estate sense of security in pleasant contrast to the unrestrained nature outside it. To find the Grand Allée, walk from the Bowling Green to the Argilla Road, Ipswich northwest side of the house, where a terrace The Crane Estate is a multifaceted property that faces the sea across a giant ribbon of lawn that commands magnificent views of Gloucester, unfurls from the house to the ocean. The statues Plum Island, New Hampshire, Crane’s Beach, that peer out from the trees bordering its crisp and the Ipswich River. From the Great House on edges might be storybook characters for children top of Castle Hill—usually called “the romping down the long expanse of green. Castle”—you can see the ocean, forests, and The Italian garden, on the west side of the estuarine marshes. It was built in 1925 by estate, is a sunken outdoor theater, a rectangle Richard T. Crane to replace the original 1910 defined on three sides by walkways and mansion, which his wife never liked. But it is cement walls. The fourth side is an elegant the grounds that beguile children. stone arbor over a path leading to the stage. Landscape construction began in 1910 when The walk to the beach from the Castle takes Crane commissioned the Olmsted Brothers to you down the hill on wooded trails to a board- plan a grand allée, a swimming pool, and an walk ending at a four-mile beach of white Italian garden. Additional work was completed sand. The predominantly sandy ocean bottom after 1925 when the Great House was built and makes for superb swimming. A beach picnic as Crane hired his neighbor, landscape architect the sun sets over the Castle is an excellent way Arthur Shurcliff, to design the drive, vegetable to end the day. gardens, a bowling green, a maze, a rose garden, and an extension of the Grand Allée. Today the Bowling Green, the Grand Allée, and the Italian garden are the highlights of the built landscape. The Bowling Green, on the east side of the Great House, is a rectangle of lawn surrounded by a low stone wall that creates a 46 Arnoldia 64/4

Endicott Park

57 Forest Street, Danvers If you know children who would enjoy an out- ing with an agricultural theme, take them to Endicott Park. Here you will find farm animals in their barn and pens; a large carriage house used for workshops, lectures, and other gather- ings; and a pond with a dock. Enter from Forest Street and begin your visit by greeting the animals. Wander the complex of farm buildings, arranged to create an informal courtyard with benches and bird feeders. The novelty of the farmlike atmosphere, coupled with the pond and the meandering paths, is enhanced by the surprise of finding the children’s playground— ramps, swings, towers, clubhouses, ropes, slides, hiding corners, and balconies. But there is more: on a low hill at the end of Imagine how it feels to fly and the dirt road leading to the pond lies Glen float, like a milkweed seed. Magna Farms, an enchanting property that offers a very different experience. Fantasies and Footpaths 47

What’s inside? What’s outside? It’s time for a snack!

Glen Magna Farms

Ingersoll Street, Danvers In 1814 a sea captain named Joseph Peabody ered by an ancient, knobby wisteria. Watch for purchased this land as a place to hide valuable the intriguing carvings at the top of the pergola cargo from the British during the War of 1812. pillars. Continuing down toward the western Today his mansion is surrounded by elaborate corner of the formal area, the path brings you to gardens. Walk around the house to the terrace the McIntire Tea House, also called the Derby overlooking the geometric flowerbeds. The Summer House; it was built in 1793 at a farm half-circle of the first garden will guide you to in the neighboring town of Peabody and moved the central stonedust path, which in turn leads here in 1901. Just behind the teahouse, the big to a gazebo where birds can be heard singing in house garden encloses a smaller garden, one of the spruce behind. the many subtle surprises that children are West of the formal garden is a pergola cov- amused to discover within the formal layout. 48 Arnoldia 64/4

Many gravestones, many different pictures.

Mount Auburn Cemetery

580 Mount Auburn Street, Cambridge As America’s first landscaped burial ground, well-placed plantings and more than ten miles created in 1831, Mount Auburn Cemetery of roads and paths that wind over its hilly influenced the development of public parks topography. The landscape’s complexity and throughout the country. Its fascinating tapes- its sense of enclosure bring out the curiosity in try of natural features, eccentric monuments, children. Rather than embarking on a pre- and magnificent trees, together with its gener- scribed walk, choose a destination and encour- ous size and easy access, makes it a wonderful age diversions along the way; you may quietly place to share with children. discover some of the best secrets of Mount Mount Auburn encompasses 174 acres of Auburn. Fantasies and Footpaths 49

Post Office Square Park

Financial District, Boston Cars zip by, people bustle, sounds reverberate, buildings loom, and the pace of it all may be overwhelming. This is Boston’s intensely ener- getic financial district. In its center, bounded by four streets (Congress, Franklin, Milk, and Pearl), there’s a place of relative tranquility, a refuge called Post Office Square Park. The park comprises 1.7 acres of curving paths, a pedestrian arbor, pavilions, fountains, and 125 species of trees, shrubs, and perennials, all arranged on a level, open lawn under a canopy of tall trees. Two plazas are linked by a long pedestrian arcade, which serves as a backdrop to the central How many steps does it take to walk lawn as well as a performance area. On one of this whole path? the plazas, glass pavilions house a cafe and an entrance to an underground parking garage. A sense of relative security abides here, perhaps because of the clear sightlines. Surprises are minimal and seating is cozy. Tuck your small ones and yourself into one of the intimate seating areas between planting beds and watch the people going by or wander the paths, enjoying the flowers as you stroll. 50 Arnoldia 64/4

Isabella Stewart Gardner Museum Courtyard

280 Fenway, Boston Hailed as one of Boston’s finest and most beloved cultural treasures, the Isabella Stewart Gardner Museum offers a unique blend of art and architecture. The art is the personal collection of Mrs. Gardner, who also conceptualized the building and created an atmosphere to “delight the senses and spark the imagination.” Begin your visit in the courtyard garden. Three stories of balconies rise above it, topped by a glass roof. The space is tall and grand— children are swept away by the view. Their eyes skip from column to statue, from fountain to arched window. They’re mesmerized by the fragrance of the flowers, the sound of the gentle fountains, the soft air, and the colors of flowers cascading from arched windows. While enjoying the courtyard, you can decide which gallery to see first. Stairs on the side will take you to the art displays on the second and third floors. Children may need a lot of storytelling about the paintings to hold their interest, but the statues and reliefs of mythological characters will catch their fancy.

Sshhh . . . listen to the whispering water.

Maryann Malarkey, of Ipswich, Massachusetts, received the certificate in landscape design in 1995. For the past twelve years she has designed award- winning landscapes ranging from planting plans for small urban gardens to master plans for historic estates. Over that period, her firm, Alberts Malarkey Designs, has grown into a full-service design–build company known especially for environmentally sensi- tive landscapes. Upon completion of revisions, Maryann plans to publish Of Fantasies and Footpaths. 51

Landscape Institute Independent Projects 1981–2006

1981 Ogunquit Green Proposal, ME, Susan Dean, Nancy Jarnis Ellen Matheson & Susan Littleton Murphy Elm Bank Estate, Dover, MA: Adaptive Lenox, MA, Open Space Plan, Rebecca De Roots: A Creative Intervention in an Urban Reuse of a Historic Landscape Plan, Jane Neri-Zagal Space, Boston, MA, Betty King Kittredge & Mary Pillsbury Evergreens in the New England Landscape, South Park, Buffalo, NY: An Olmsted Park Front Street Riverfront Park, New Haven, Vincent DiColo Inventory & Rehabilitation Study, Joanne CT, Marian La Follette J. Turnbull & Arleyn Levee Two Eighteenth-Century Gardens: William “Plantlist,” A Computerized Plant Selection Paca’s, Annapolis, MD, and Elias Hasket Moses Brown Campus, Providence, RI, Program, Susan Saarinen Derby’s, Salem, MA, Louesa M. Mace Development Plan, Mary Worrell Greenough Boulevard Park on the Charles Master Plan for Radcliffe Yard, Patricia River, Watertown, MA, Carol Schein Strand 1983-1984 1987 1982 A Town Landscape Planning Proposal for Harrisville, NH, Ann Carlsmith & The Bay Circuit: A Proposal for Billerica Caterina Fitzgerald Fairsted Garden Plans: The Olmsted Office and Tewksbury, MA, Morag Hollway & Landscape, Joanne Emerson Castle Hill Study & Restoration Proposal, Jeanine Smith Ipswich, MA, Jane Crandell-Glass & Concord River Greenway Plan, Concord to Plan for Marine Park in South Boston, Ann Virginia Hibbard Cambridge, MA, Anne Hale & Minako Gilardi Johnson Henderson Watertown, MA, Square Revitalization A Proposal for an Educational Center at the Proposal, Merrette Ische-de Gruiter & A Program for the Renewal of Rock Abbott Campus, Andover, MA, Phyllis R. Patricia Larkin Meadow Conservation Land, Belmont, Marx & Judith F. Wright MA, B. June Hutchinson Showcase Gardens for the Arnold Gardens of America’s Golden Age: Fletcher Arboretum’s Case Estates, Weston, MA, Study for Revitalization of Cleveland Steele, Landscape Architect, Priscilla Elise Laurenzi & Angela Silsby Circle, Boston, MA, Barbara Keller Urquiola South Shore, MA, Science Center Landscape Design and Implementation for Lincoln Park, Lexington, MA, Development Development Proposal, Monica A. Luft the Cambridge School in Weston, MA, Plan for a Disturbed Site, Nell McDill Nina Lavin Andrew Jackson Downing, Cultivator of an Walker Massachusetts Avenue, Cambridge, MA, American School of Landscape Susan Raslavicus Space Analysis and Commentary, Architecture, 1988 Margaret Megowan Wollaston Beach Revitalization Plan, A Program of Renewal for Rock Meadow Quincy, MA, Pamela Schooley & Mystic Valley Parkway: A Master Plan for a Conservation Land, Belmont, MA, Ann Elizabeth Cion Historic Landscape, MA, Grenelle Bauer- Steinberg Master Plan for Moore State Park in Paxton, Scott MA, Janet Taber & Catherine Hodgson Winslow Park Master Plan, Freeport, ME, 1983 Carol Burrall 1985-1986 Exeter Waterfront Park, Exeter, NH, McKinley Square Design, Boston, MA, Elizabeth Dawson Anita Berrizbeitia Waynflete School: Campus Master Plan, Money, Manure, and Maintenance: The Life Portland, ME, Eleanor Ames Audubon North River Sanctuary, Norwell, & Work of Marion Cruger Coffin, MA, Rose Broderick & Barbara Cain Beverly Farms, MA, Townscape, Laura 1876–1957, Nancy Flemming Benefield Gibson Rowes Wharf Development Plan, Boston, The Burbank & Winn Brook Schools of MA, Lee Cooke-Childs Frank Lloyd Wright: Landscape Architect, Belmont, MA: School Grounds Planning 52 Arnoldia 64/4

with Community Input, Nancy Forbes The Gardens of the Aztec Kings, as The Commonwealth Avenue Mall, A Master Documented by the Spanish Plan for the Future, Margaret Pokorny Revitalization Proposals for Oak Square, Conquistadors, Sandra Lopez-Loucel Brighton, MA, Jody Emerson Howard & Palimpsest: A Design Study for a Family Dee Ramee Public Access to the Water: Gloucester’s Farm in Rhode Island, Virginia P. Purviance Inner Harbor, Mary Lou Nye & Sally Villa by the Sea: A Master Plan, Cornelia Kaleidoscapes, A Children’s Park and Dibble Hanna McMurtrie Garden Book, Lynn S. Schad Master Plan for Linking Open Spaces in Lynn, MA, Waterfront: Access and Memories of an Industrial Landscape: A Hingham, MA, Katharine W. Reardon Circulation, John Moberger Design for Mill Brook, Waterford, ME, Crosby Estate at Nickerson State Park, Robert W. Spencer, Jr. The Case Estates of the Arnold Arboretum: Brewster, MA, George Reilly A Land-Use and Development Proposal, Connecting River & Town: Designing a John C. Quinn & Janis S. Wedmore Future for the DPW Site in Concord, MA, Ann Venable Symbol and Spirituality in the Landscape, 1991 Jenny Wall “Seeing Is Forgetting the Name of the Open Space Plan for Mother Brook, Thing One Sees”—An Exploration of Dedham, MA, Mary Bush Brown Margaret 1989 Transformation in Landscapes, Long Range Plan for Walnut Hills P. Watson Cemetery, Brookline, MA, Janet R. East Arlington, MA, Greenspace Linkage Design for a Main Street in Transition, Falls Childs Plan, Kenneth Bastion City, NE, Linda Watzke Fort Point Channel Design Proposal, Boston, Horn Pond Park Plan, Woburn, MA, MA, Linda Dillon & Barbara Hulsizer Catherine Bate 1993 Master Plan for The Rocks Park, Raphael: Art to Landscape Architecture, Bethlehem, NH, Ellen Fisher Martha’s Vineyard Bicycle Trail System, Barbara Carpenter Stephanie Sewell Bacon & Lynne Miller Master Plan for Berwick Academy, South The Garden in Winter, Pamela Fleming Berwick, ME, Rebecca L. Linney A Painter’s View of Garden Landscapes and Gardens for the Elderly, Joan Kutcher Their Design Inspirations, Alice The Farm: A Transitional Landscape, Boardman Acton, MA, Arboretum Master Plan, Wendy Pomeroy Beverly LaFoley & Sandy Bayne Designing Gardens for Seniors, Hannah Construction Detail Manual, Thomas Delfiner Jens Jensen: The Natural Impulse & the Schroeder Prairie as Motif, Eve F. W. Linn Playground: Planning a Playground for the The Charles River at Cow Island Pond, MA: Driscoll School in Brookline, MA, Mary Borderland State Park Master Plan, A Threatened and Underused Natural Dennis Easton/Sharon, MA, Betsy Mayer, Susan Resource, Andrea Taaffe Stockman & Ann Shubert Squantum Point Meadow Reserve Plan, Master Plan for South Mill Pond, Quincy, MA, Karen Derman Long Hill Feasibility Study and the Portsmith, NH, Jackie Vaccaro Sedgwick Garden Long Range and A Landscape Plan for the Gardens on the Management Plan, Beverly, MA, Hill, Whitinsville, MA, Barbara Gaudette Elizabeth Stone & Elizabeth Collier 1992 A Proposal for Maintaining the Ecology Cape Herb Farm, Cape Cod, MA, Sandra The Church of the Messiah Landscape with Increased Use at Storrs Pond, Thibault Master Plan, Woods Hole, MA, Dorothy Hanover, NH, Barbara Gibbs Bedford, MA, Riverfront Design Study, D. Aspinwall Imagining Medieval Gardens in Words and Lynn Willscher Master Plan for a New England Landscape Drawings, Sue Ellen Holbrook Mill Pond & Pipe Stave Hill, Newbury, MA, by Warren Manning, Gertrude S. Bancroft A Master Plan for the Grounds at the House Master Plan, Polly Zevin & Jane Rupley Sudbury Village: Back to the Future, of Seven Gables, Salem, MA: Past, Marylyn M. Benson & Kathleen Sargent- Present, & Future, Robyn Kanter 1990 O’Neill A Design for a Cranberry Reservation in A Charles River Corridor Study from Chelmsford and Carlisle, MA, Cynthia A Pastoral Vision Reclaimed: A Preliminary Watertown to Newton, MA, James H. Kaplan Master Plan for Brook Farm, Jean Broderick The Lincoln-Sudbury, MA, Regional High Cavanaugh, Mary Dewart & Judy Rail-to-Trail Recreation and Interpretive School Landscape Revitatilization Plan, Stoessel Greenway, Dorchester, MA, Regina C. Deborah Kruskal A Design for Veterans Brickyard Park, Clarke Trees 2000: A Master Plan for the Boston Barrington, RI, Mary G. Glenn The Artwork of Christo and Landscape Tree Party, Deborah McCarthy Cultural Landscape Assessment of Design: An Overview of Christo’s Urban Spaces: Strategies for Traffic Island Governor Thomas Hutchinson’s Estate Artwork From 1958–1992 Comparing His Planting, Boston, MA, Sally Muspratt (1742–1774), Milton, MA, Nina Graves Methodology and Philosophy to Those of Landscape Designers, Liz Goodfellow The Habitat Trail Design, New York Virginia Wood, Middlesex Fells Botanical Garden, Carol Taber & Reservation, MA: An Interpretive Plan, A Memorial and Life-Cycle Garden Design Elizabeth Vestner Susan Halpern & Patricia Starfield for Temple Beth Shalom, Needham, MA, JoAnn Green Abandoned Rail to Commuter Trail: Visions of the Landscape: A Survey of Wellesley to Newton, MA, Joanne Weiss Twentieth-Century Gardens of Rhode Packet Landing Master Plan, North River, Island, Martha D. Halyburton Marshfield, MA, Cynthia H. Mulcahy 1994 Middlesex Fells Reservation MA, Master Great Falls Park and Newichawannock Plan, Sandra Jonas & Joan Schofield Trail Plan, Berwick, ME, Kim E. Myers Oxbow Reserve Plan: A Link in the Nashua Independent Projects 53

River Greenway, Kathy Anestis The Pilgrim Monument and Provincetown, Designed Before 1950, Jill Nooney MA, Museum Design Study, Laurie A Room of One’s Own: American Garden Commonwealth Avenue Urban Design Carney Writers, 1900-1940, Virginia Begg Proposal, Boston, Victoria Schwab Design Principles and Concepts Video for a Landscape Rehabilitation Plan for the The Dome Community Garden Design, General Audience, Lucia Droby Codman Estate, Lincoln, MA, Philip E. NYC, Elizabeth Tegen Bevins A Play-for-All Park at Poor Farm, A Landscape Plan for the Congregational Handicapped Accessible Multi-Use A Study of Charles River Access and Church of Topsfield, MA, Edith Recreational Park in New Bedford, MA, Experience, Waltham, MA, Susan Brown Ventimiglia Eleanor Sue Fairfax Japanese Theory/American Sensibility: A A Master Plan and Design for The Art of Landscape Design for Television Video, Lynne Butler Grandmother’s Garden, Chauncey Allen Audiences, Natasha Hopkinson Park, Westfield, MA, Anne C. Wellington A Landscape Plan for the DeCordova and Boxford Woods, Boxford, MA, Master Plan, Dana Museum and Sculpture Park, Marcia Imbrescia Abigail Congdon 1997 York River, ME, Open Space Plan, Heidi Designing Nature Trails Between the Kost-Gross Osgood and Deer Hill Schools, Cohasset, Life Space in the Private Landscape: MA, Margaret Cotter New Seabury, MA, Country Club: A Master Designing Experience and Memory in the Plan, Mary LeBlanc Quiet Garden, Monique M. Papazian Creating a Landscape Design Heritage: Allan Conversations with Designers and Middleton, MA, Open Space Plan, Sally Preservationists, Claudia Everest Macdonald A Plan for Rogers Fort Hill Park, Lowell, MA, Ellen Coppinger Through the Mind’s Eye, a Touch of Of Fantasies and Footpaths: Seven Sensibilia: Garden Designs for the Landscapes to Enjoy With Children, A Preservation Plan for the Ropes Mansion Visually Impaired, Laura Gallant Maryann Alberts Malarkey Garden, Peabody Essex Museum, Salem, MA, Frances Doyle Use of Geometry as a Landscape Design A Redesign for the Boston City Hall Plaza, Methodology, Diane Gilbert-Lints David McCoy The Martha’s Vineyard, MA, Arboretum: The Legacy of Polly Hill, Margaret H. Boston’s South End Squares, Inventory, A Look at Small Urban Neighborhood Parks Early Analysis, and Recommendations, Phebe in Somerville, MA, and How They Work, S. Goodman Lynn McWhood Private Pleasures Derived From Tradition: The Hunnewell Estates District, An Inventory and History of Baroque Cashman Park on the Newburyport, MA, Wellesley, MA, Allyson M. Hayward Gardens in the Czech Republic, Jan Waterfront, Lillian Newbert Hendrych The Dynamics of George E. Kessler: Park A Design Plan for the Wellesley, MA, Landscape Architect and City Planner, Campus Master Plan for Gettysburg Rhododendron Botanical Park, Kristen Nancy Hubert College, PA, Patricia W. Henry Vlass Adaptive Re-use Landscape Guidelines for A Better Acre: A Master Plan for the Transitional Spaces in Italian Renaissance the Crane Estate, Ipswich, MA, Denise Fletcher Street Corridor Through the Gardens, Kathleen Warren King Acre Neighborhood of Lowell, MA, Papillon Park Design, Westford, MA, Rosalie Johnson The Green Prince: Hermann Von Pueckler- Lorraine Wright Muskau and His Legacy, Heidi Kost- Winchester, MA, Public Library Master Jetties Beach: A Park on Nantucket, MA, Gross Plan, Julie Khuen Anneliese Zion-Hrones Designing a Celebration of History: Fort A Plan for Great Brook State Park, Carlisle, Revere, Hull, MA, Kristin McCarthy MA, Eunice Knight 1996 The Conservation, Restoration, and A Room of One’s Own: American Garden Enhancement of the Germany Brook Writers, 1900-1940, Virginia Nemerever The Paine Estate: A Development Plan, Headwaters, Westwood, MA, John J. A Design for the Highland Park Greenway, Wayland, MA, Mary Beard O’Toole III Boston, MA, Molly Paul Schooner Park Development Plan, 73 Dascomb Road Site Plan: A Nineteenth- Codman Estate Maintenance Program Duxbury, MA, Jill Blackburn Century Residential Landscape in Its Ecological Profile, Andover, MA, Diane Analysis, George Riley Revision of the Bay Circuit Open Space and M. Pitochelli A Plan for the Ipswich Riverwalk Recreation Plan for Sherborn, MA, E. Extension, Ipswich, MA, Mary Shattuck Louise Forrest Den Rock Park Study, Lawrence, MA, Lori A. Poel-Piazza Luis Barragan: Philosophy and Selected Plaza Del Sol Streetscape for Lechmere Work, Colleen Thornton Canal Area, Cambridge, MA, Carolina Ashumet Holly and Wildlife Sanctuary: Fungairin Unifying an Accessible Landscape, Sudbury Commons: A Master Plan for the Falmouth, MA, Marie Potter Historic Town Center, Maria von A Landscape Master Plan for Cambridge, Brincken MA, Friends School, Alice Evans The Design for the Russian-American Business Center, Bridgton, ME, Anne H. Design for Common Places in the Town of Radway 1995 Brookline, MA, Alan Friedman Garden Photography in the Country Place Linking People with Plants: A Master Plan Era: The Work of Mattie Edwards Hewitt, Special Holding Places, Room for Recovery: for the Pine Tree State Arboretum, Terri Ann Rochon A Master Plan for the Community Augusta, ME, Pamela Griffin Therapeutic Day School, Patricia A. Bras Site Improvement Plan for Martin Luther A Study of Louis Kahn’s Salk Institute King Elementary School, Cambridge, MA, Wildlife Habitat Enhancement in Landscape, La Jolla, CA, Sarah Jolliffe Sophie Salerno Somerville’s Open Space, MA, Leslie A Study of New Hampshire Gardens Brayton The Search for a Sixteenth-Century Hindu 54 Arnoldia 64/4

Landscape, Braj, India, Behula Shah The Ruin and the Garden: The Interstices Proposal, MA, Virginia Rogers of Stone and Leaf, Ann Uppington Proposed Site Plan for the Rogers High An Environmental Sourcebook for School Campus, Newport, RI, Julia Rush The Doyle Reservation, Leominster, MA: Concord, MA, Tracy Greene Sharakan Toland From Private Estate to Public Trust, The Lake in Our Hearts: A Park on the Linda Willoughby The Windsor Dam Promenade, Quabbin Shore of Lake Massapoag, Sharon, MA, Reservoir, MA, Ann Townsend On Common Ground: A Master Plan for Amanda Sloan Faulkner Farm, Brookline, MA, Dale Landscape Plan for the Observatory LIGO, Nan Fairbrother: Life, Language, Landscape, Wilson MA, Elizabeth Vickers Faith Smith The Twenty-First Century at Elm Bank, Rinnerroon—Creating a Celtic Garden in Dover, MA, Caroline Whitney 1999 an Irish Landscape, Karin Stanley

Skunknett Nature Center: A Window into A Landscape Design for Tierra Verde Little River Park, NH: Rejuvenation of a Cape Cod, MA, Ecology, Pamela Community Center, FL, Carolyn Berger Damaged Landscape, Karen Wakefield Whiteley Leland Mill Reservation Restoration Plan: The Renewal of a Town Center: Topsfield, History Remembered/ Nature Enjoyed, MA, Maria Wheeler 1998 Sherborn, MA, Thurza Campbell Dedham, MA, Town Center Master Plan, 2001 Modern Residential Garden Designs, Robin Marcia N. Damon Bouyer Wakefield’s Emerald Necklace: Landscape Reflections in Stone, A Guide to the Use of Gardens of Innocence and Experience: Design Plans for a Passive Park at Lake Stone in the Garden, A. David Davis Landscape in the Literature of Childhood, Quannapowitt, Wakefield, MA, Pattiann Nancy Butman Stilts, Stones, and Sand—Landscape Design Bampos at the Ocean’s Edge, Cape Cod, MA, The North 40: A Development Study, A Streetscape Improvement Plan for the Susannah Davis Wellesley, MA, Alison Campbell Village of Stowe, VT, Juliet Barash Reflections of History: Bradford Riverwalk Making the Connection: The History, Unitarian Universalist Rowe Camp and Design, Haverhill, MA, Nancy Hollis Influence, and Future of the Greenway Conference Center Master Plan, Rowe, Movement, R. Jill Chamberlain A Preservation Plan for Canton Corner MA, Prudence Barry Cemetery, Canton, MA, Kathleen Keith A Therapeutic Landscape Design for the An Interpretive History of “Skylands,” A Greenways Community, MA, Susan The Olmsted Brothers’ “Broadfields”: A Jens Jensen Landscape in Maine, Jane Roy Foley Preservation Project, North Andover, Brown MA, Kyle Lunn The Natick, MA, Community Organic Restoration of the Peach Wall at the Lyman Farm: The Land as Community, Barbara The Colonial Garden on the Common, Estate, Waltham, MA, Carol Michener J. Karski Lynnfield, MA, Joanne Paul Card Wildlife Landscaping for Homeowners, A Rehabilitation Plan for the Orchard on Design of Hayward Place, Chinatown, Julie Lisk Thompson Island, Boston, MA, Deborah Boston, MA, Elizabeth Carey Rivers Memories of a Bamboo Grove, Wakamatsu Dong-Ping Forest Park Expansion Plan: An Park, Kobe, Japan, Ireine Nagai A Design for “Homewood,” A Wooded Ecological and Cultural Study, Cong- Cape Family Retreat, Osterville, MA, Ming Island, Shanghai, China, Yo Yi Chen Tee Time for Migratory Songbirds: An Maureen Spillane Environmental Plan for the Widow’s Constructing a New Edge: The Sewall Walk Golf Course, Scituate, MA, Philip Master Plan for the Providence, RI, Zen Shipyard and Waterfront Park, Bath, ME, Racicot Center: Gardens of Nameless Being, Catherine Davis-Massey Nathan Wilbur Therapeutic Landscape Design Guidelines A Design for Breckinridge Park, York, ME, for Special Needs Facilities, Judith Reeve Caroline Donnelly Brookline’s Small Parks: Circles, Triangles, 2000 Horticultural Recommendations for Larz Median Strips, Alya Shklovskaya Anderson Park Master Plan, Brookline, Shelticote: Sharing in a Virginia Landscape, MA, James Farnsworth Landscape Resource Center of Boston: A Paula Berardi Website for Landscape Designers, Anne Landscape for Living in Public Housing, Smith A Restoration Plan for the French Garden at Dorchester, MA, Judith Lipson-Rubin the Stevens-Coolidge Place, MA, Laura Gardens of Chinese Inspiration, Marie Bibler Salt Sea Lane—A Restorative Landscape for Stella Seniors, Falmouth, MA, Frances The Legacy of Robert Smithson, Patricia McClennen Landscape as Processing: The Offered Fuller Journey, Claire Tague Italian Renaissance, French Grand Style, A Design Plan for Oak Ridge Cemetery, and Modern: Three Landscape Design Master Plan for Egremont Inn, Egremont, Dennis, MA, Shannon R. Goheen-Huettner Styles Adapted for a Contemporary MA, Joshua Taufman The Hidden Gardens of Harvard, 1600- Home, Maureen Meinert A Master Plan for the McLean Hospital 2000, Paige Jarvis Mercer Reclaiming Walden: A Narrative of a Landscape, Belmont, MA: A Damaged Landscape and Recommen- Contemporary Interpretation of the A Design for the Hoft Farm Habitat Garden, dations for the Re-Use of the Concord Sublime, Diana Thomas Martha’s Vineyard, MA, Melissa Morrison Landfill, Concord, MA, Joan Popolo A Master Plan for Spot Pond, Middlesex In and Out of the Garden: Paintings and Cooley Dickinson Hospital: A Design for Fells, MA, Christopher Tinkham Drawings, Diane Nicholls Art and Healing, Northampton, MA, A Therapeutic Garden at the Veterans A Master Plan for Glen Urquhart School, Janis Porter Administration Hospital, Brockton, MA, Beverly Farms, MA, Diana Peck A Master Plan for the Use of Public Land at Michael Toomey Willowdale: A Suburban Development Independent Projects 55

the Covered Bridge Crossing the Nashua Renovation of the Virginia Thurston Appleton River, Pepperell, MA, Margaret-Ann Rice Healing Garden, Harvard, MA, Jessie “The Machine in the Garden”: A Design Panek The Influence of Modern Designers on Re-Use Technology Center for the Residential Design, Richard Russell Arthur A. Shurcliff: Reshaping Boston Twenty-First Century, Gizella Betak Landmarks, Jo Ann Robinson Fenwick Gardens: Landscapes for The Ecology and Design of a New Affordable Housing, Dorchester, MA, A Master Plan for an Equestrian Landscape, Hampshire Farm, Dexter Burley Nina Shippen NH, Lisa Robinson Development Study: Big House, Little A Design for the Lahey Clinic Healing Inventing Downtown: Streetscape Study for House, Back House, Barn, George Gardens, Burlington, MA, Catherine Sudbury, MA, Cheryl Salatino Connors Wiersema A Design for the Asklepios Healing Garden, Watermarks: Imprinting the Past, Harlem Valley Rail Trail Design—Fostering Boston, MA, Joan Smith Mediating the Present, Reclaiming the Connections, Millertown, NY, Jill Future, Margaret Coyle-Nestler Pompey’s Park Design, Medford, MA, Wentorf Wright Lynette Tsiang Unity and Continuity: A Design Dolan Pond Conservation Area: A Plan for Connecting Landscape, Life, and Spirit, Revitalizing an Urban Wetland, Margo St. Mary’s Parish, Winchester, MA, Young 2003 Deirdre Crowley

A Sense of Time, A Sense of Place: A Master Master Plan Proposal for Connecting of 2002 Plan for the Unitarian Universalist Three Historic Longfellow Properties, Church of Worcester, Jo-Anne Crystoff Cambridge, MA, Susan Doolittle Roots of Learning: A Landscape Master A Treatment Plan for the Mount Lebanon, The Philosophy Foundation: The Plan for Machon Elementary School, NH, Shaker Society North Family, Relationship Between Philosophy and Swampscott, MA, Susan Balleza Jacqueline Del Rossi Design, Ellen Forrester Veteran’s Memorial Park Revitalization Mount Holyoke College: A Historic Journey and Destination: Seriality and Plan, Old Orchard Beach Park, ME, Landscape Report, Terese D’Urso Sequence as a Landscape Design Strategy, Andrea Berlin Valeria Ivan Job Lane Farm Design: Integrating New A Cornish Garden Design Project, NH, England’s Past and Present, Deborah A Master Plan for Auburndale Park, James Brown Edinger Newton, MA, Sarah Kish Master Plan for the Gundlach Bundschu Colonial Farm to Colonial Revival Garden, In-Between: A Design for Two Middle Winery of Sonoma, California, Eunice a History, Cambridge, MA, Karen Falb School Landscapes in Waltham, MA, Burley Elizabeth Lowe The Tribuna Residence Design, Norwell, The Gerry Playground: Renewing the MA, David Foster Art as Inspiration in Residential Landscape Natural Landscape, Marblehead, MA, Design, Amy Martin Alexandra Carr Under the Canopy: Master Plan for an Education Facility at the Arnold A Proposal for Roscoe Conkling Park, A Master Plan for Diamond Cove, Great Arboretum, Deborah Gaw & Carol Utica, NY, Erica Max Diamond Island, Portland, ME, Laurie Spitzer Green Colburn Revealing Hidden Treasures: Ware Pond The Isaac Jackson Garden, Newton, MA: Design, Marblehead, MA, Joan McDuff On Common Ground: A Study of Preserving a Legacy, Jacalyn Gould Community in the Garden, Boston MA, Tannery Brook Park: The Restoration of a Maureen Doherty A Master Plan for the Dimock Community New England Landscape, Anne Murphy Health Center Campus, Linda Jonash Larrea Parcel Master Plan, Cape Elizabeth, Mapping the Essence: Landscape as an ME, Linda Francescone Garden Vignettes for Strong Planting Agent of Human Ritual, Susan Opton Design, Linda Lischer Landscape Language and the Perception of Revitalizing a Historic Parkway, Fairhaven, Place, Christine Gavin A Woodland Garden Design: Coastal MA, Mary Rapoza Maine, Joan Lofgren El Jardin del Paraiso, NYC, Lynne Heath Hillside School, Marlborough, MA: A Barrett House: A Master Plan, New Landscape Master Plan, Frank Re A Guide for Identifying Native Plant Ipswich, NH, Marshall McKee Communities on Martha’s Vineyard, MA, Spirituality, Community, and Context: A Kristin Henriksen Grandfather’s Farm Master Plan: Peace Design for the First Parish Church of Field, Quincy, MA, Mona McKindley Canton, MA, Susan Shelkrot Designs for Urban Driveways, Tidal Henry Glen Urquhart School: Integrating Indoor The Grand Tour and Its Influence on and Outdoor Education, Beverly, MA, 2005 Landscape Design in England and Deborah Nance America, Sally H. Kahn Turkish Garden Kiosk: A Design Proposal Reclaiming Deer Meadow Homestead, A Design for Big Meadow Creek Alpaca for Central Park, NYC, Gursan Ergil Sharon, MA, Jean Phelan Farm, Idaho, Mary Elizabeth Leu A Restorative Garden Design for Hale A Nineteenth-Century Mill Village, Fairy Tale Garden Number 12 Design House, Boston, MA, Linda Herman Harrisville, NH, Izola Porter Proposals, Ferrell Mackey A Master Plan for Albermarle Park: Mt. Hood Nature Trails: Rediscovering a Barrett House, New Ipswich, NH: A Meeting Recreational Needs With Cultural Landscape, Melrose, MA, Kathy Cultural Landscape Report, Marshall Sustainable Design, Judith Kokesh Shamberger McKee A Design for Paradise: Breaking Ground in Design for a Natural Woodland Garden, the Virgin Islands, Deborah Lee Sharon, MA, Cheryl McLaughlin 2004 Design Implications of a Street Tree Design for Quamphegan Landing, South A Cloister Garden Design, All Saints’ Inventory in Lexington, MA, Karen Berwick, ME, Phyllis Murphy Church, Chelmsford, MA, Sylvia Longeteig 56 Arnoldia 64/4

Designing the Pequossette Park District, Community Farm: An Island of Hope, Campus, Weston, MA, Timothy Belmont, MA, Susan Marsh Edward Chapman McFadden A Landscape for the Espousal Center: Going Places: Designing a Transportation Landscape Design According to James Vick: Embracing Dual Communities, Waltham, Node in Gloucester, MA, Rita A Nineteenth-Century Seedsman Appeals MA, Patricia McGinnis Christensen to Middle Class America, Thomas Mickey A Master Plan for Heritage Museum and The Relocation of Partners Village Store: A Gardens, Sandwich, MA, Suzanne Design Study, Westport, MA, Lauren Sharing the Shores of Lake Massapoag: A O’Keeffe Conroy New Landscape for the Community Center in Sharon, MA, Adriana Shifting Patterns, Shifting Significance: The The Front Entry: A Design Manual for O’Sullivan Design and Social History of Fresh Pond Integrating Architecture and Landscape, Reservation, Cambridge, MA, Jill Sinclair Diane Crossman Union Square for People: Reclaiming Public Space in Somerville, MA, Nancy Phillips In Our Back Yard: A Design to Enhance an Turkish Garden Art and Its Influence on Urban Park, Allston, MA, Maureen European Landscape Design, Gursan Ergil The Jackson Homestead: A Landscape’s Sullivan Past and Present, Newton, MA, Barbara Meditating on the Edge: Designing an Smiley A Design Proposal for Waterfront Park, Urban Memorial Garden, Watertown, Boston, MA, Gabrielle Whitcombe MA, Monica Fairbairn Town-Owned Trees in Mattapoisett Village: A Guide to Their Stewardship, MA, Stewardship of the Land: A Suburban Model Deborah Smiley 2006 for Integrating Landscape Ecology with Landscape Design, Nea Glenn A Development Study at a Confluence of Boundaries, Swampscott, MA, Ted Smiley The Eras of Oatlands: A Master Plan Study Design Proposal for a Secret Garden in of Two Centuries of Virginia History, Queset Garden Park, North Easton, MA, A Landscape Study for the the Lowell Margaret Black Katherine Holland Dracut Tyngsboro, MA, State Forest, Gale Smith Integrating Strategic Sites in an Area of A Design Proposal for the Charles E. Revitalization: Designing a River Aspinall Conservation Easement, N.H., Landscape Master Plan for Woodlawn and Overlook and Town Green, Ipswich, MA, Carol Jowdy John Black’s Tomb, ME, Julie Wang Jennifer Buchanan Looking Beyond: A Master Plan for the A Master Plan for Camp Taconnet: Nature A Master Plan for the Newton Angino Blessed John XXIII National Seminary Completed, ME, Joan Yogg

The Magazine of the Arnold Arboretum LANDSCAPE INSTITUTE INDEPENDENT PROJECTS