Landscape Journal 31:1–2 ISSN 0277-2426 © 2012 by the Board of Regents of the University of Wisconsin System Worth. In another quarter, today’s increased stress on today’s quarter, stress another Worth. In increased As a landscape architect, urban designer, author, designer, urban and architect, alandscape As AN INTRODUCTION Freeway Park in Seattle, and Heritage Square in Fort in Square Heritage and Freeway Park Seattle, in much of the renewed interest in the Halprin landscape landscape Halprin the in much renewed interest of the has been a byproduct of abyproduct eff been has prin cast a giant shadow (Figure 1). which shadow practice, (Figure agiant His cast prin for fi the proselytizer projects such as Manhattan Square Park Rochester, in Square projects such asManhattan to adopt his RSVP Cycles as a design method. Cycles asadesign to adopt RSVP his have attempted still others Halprin; Anna dancer the collaboration of the wife, nature his the with to assess Marc Treib Lawrence Halprin andthe ModernLandscape Garden The From of late Halprin’s several major works have threat- been covered last broad the the contributions. of In range his spanned half a century, was so multi-faceted that to that was acentury, somulti-faceted half spanned early attempts toearly attempts record movement; have others tried however, his decade, in renewed interest been has there satisfactorily has about him written date nothing ecology and sustainability has led other researchers to researchers other led has sustainability and ecology ened, some have been demolished or bowdlerized, and and some have orened, demolished bowdlerized, been eld’s Lawrence Hal- recognition, orts to preserve major to preserve orts 1 Sadly, who worked primarily in the urban sphere, designing designing sphere, urban the who in worked primarily Halprin is generally known as a landscape architect architect asalandscape known isgenerally Halprin and designs his in asrepresented Halprin’s thinking, fountains and plazas—including one major memo- plazas—including and fountains raphy, for basis factors asthe these use and fauna and rial—within cities from cities coast to even and coast, rial—within landscapes are realized, the people who realize them, them, people who the realize realized, are landscapes by which processes the which one designs, with lary landscape architects. landscape inventory the existing vegetation, hydrology,inventory existing the topog- nia—one of the fi of the nia—one to carefully communities rst planned his writings, was impressively writings, his comprehensive. people—in this case, the clients. While his later works his While clients. the case, this people—in garden that provides the classroom and test site provides test for that classroomgarden and the abroad. Yet, as Garrett Eckbo once claimed, it is the it isthe abroad. claimed, once Yet, Eckbo asGarrett and not negligibly,and how to approach with interact and study the design of The Sea Ranch in northern Califor- northern in Ranch Sea of The design the study design. Only with slight exaggeration could we could exaggeration say slight with Only that 2 Collectively these landscapes demonstrate that landscapes these Collectively 3 There, one learns avocabu- one learns There, Denver, Colorado, 1976. Denver, Colorado, Park, Skyline Halprin, Lawrence Figure 1 were of considerably larger scale, Halprin, too, began ideas fi rst conceived while still a student at Harvard. In in the garden. After an apprenticeship of less than fi ve a 1937 article in Pencil Points, “Small Gardens in the years in the San Francisco offi ce of Thomas Church, he City,” he demonstrated a variety of formal vocabularies struck out on his own in the boom years that followed on sites subdivided from a prototypical San Francisco the end of World War II. Before returning to an outline block (Figure 2).5 These designs established a vocabu- of Halprin’s own career, however, it is instructive to lary he would employ for decades to follow. describe the condition of modern landscape architec- By the end of the 1930s other designers, too, were ture—particularly as it developed in California—dur- exploring new directions. A half-generation older than ing those years in which Lawrence Halprin began his Eckbo, Thomas Church also began to move on from professional landscape practice. the California Comfortable style characteristic of his landscapes at the late-1920s residential development of Background Pasatiempo, where he collaborated with the architect Through the 1920s and into the 1930s the course of William Wurster.6 At the 1939 Golden Gate Exposition, California garden design followed a path of least re- Church realized two gardens in which the meandering sistance. As it had been historically in many places in wall and unusual materials staked out new territory— the world, the California garden provided a place for territory he would mine productively in the postwar retreat, family activities, and the production of vege- years, most notably in the celebrated 1947 Donnell tables and fl owers. While typically of meager dimen- garden in Sonoma, discussed below. sions, the suburban garden expanded the internal spaces of the house or bungalow and lured people outward to Blending Building and Site profi t from greenery, sunlight, and fresh air. As with One of the central conceits of architectural modernism many if not most ethos, a good part of the California was that of interconnection, both within a building’s story was bound in myth—a myth promulgated by local internal spaces and with the environment outside them. boosters and land developers, and fanned by the cin- The replacement of the bearing wall by the structural ematic image and the sale of citrus. The design of these frame posed the wall as a screen, a plane reduced to gardens tended to be simple and conservative, especially minimal thickness, or even entirely absent. That the if homegrown. But even gardens designed by landscape wall could be transparent or translucent fostered a architects rarely, in manner, led the clients they served. heightened connection between indoors and outdoors, Instead, accommodating their tastes was the norm. a connection more seamless than ever before possible. But change was coming. After graduating from the At its extreme—in California, for example—architec- University of California, Berkeley, in 1935 the young tural modernism approached the near complete inte- Garrett Eckbo headed south to work for Armstrong gration of inside and out characteristic of traditional Nurseries in Los Angeles.4 During the year or so he Japanese building. There, space existed as a complete spent there Eckbo produced over 100 garden designs, continuum, the sole diff erence between garden and for the most part simple aff airs with sets of spaces architectural space being the roof that protected the assigned to varied activities—gardens that specifi ed an latter. Beyond that, only a thin layer of translucent rice abundant number of species, especially when con- paper, opened at the touch of a fi nger, suggested what sidering the size of their sites. The style of the Eckbo was “inside” and what was “outside”—a distinction at designs of that time could be appropriately termed times more psychological than physical. “California Comfortable” as the gardens provided suit- Of course, this seamless integration of inside able settings for the desired lifestyle, without asserting and outside appeared only where climatic conditions their design as a manner, much less as an artwork. allowed. In California the myth of indoor-outdoor By the end of the decade, however, things began to living had held sway since the late 19th century, when change. The Depression had led many design profes- novels such as Helen Hunt Jackson’s Ramona pro- sionals into government service rather than private prac- moted the allure of Hispanic life in the patio and the tice, and Eckbo had entered the western regional offi ce court, each planted lushly with fl owers, shrubs, and of the Farm Security Administration in 1939. There he vines.7 Through the 1920s the Spanish Colonial Revival designed several migrant farm worker camps, applying prolonged this dream of living in the Spanish manner,

6Landscape Journal31:1–2 Figure 2 Garrett Eckbo, Small Gardens in the City, 1937. Axonometric (courtesy Marc Treib).

Figure 3 Frank Lloyd Wright, Barnsdall house, Los Angeles, California, 1923. Amphitheater.

Treib 7 Figure 4 R. M. Schindler, Schindler-Chase house, Los Angeles, 1922. Site plan (Architecture and Design Collection, University of California, Santa Barbara). although truth be told, life in Spanish California had with these condensations he extended roof and fl oor hardly been comfortable for all but a very privileged planes and prolonged the structural beams, turning few. Frank Lloyd Wright’s architecture in Southern Cal- them downward into columns—creating what came ifornia in the 1920s enriched the Hispanic myth with to be called the “spider leg.” With such devices Neutra architectural details drawn from Mesoamerican cul- reduced the perceived distinction of the architecture, tures such as the Zapotec and Mayan. In works such as further eroding the sense of limit begun with Wright’s the 1923 Barnsdall (Hollyhock) house Wright fashioned destruction of the box at the turn of the century. an intricate quilt of internal spaces complemented by Neutra’s early Lovell house of 1929, like Schindler’s patios and enclosed courts, the entirety of the scheme own houses, paired outdoor recreational spaces with reaching an axial culmination in an amphitheater des- the rooms of the house. But over time, the garden- tined for outdoor performances for Aline Barnsdall, her side wall of Neutra’s houses dematerialized, changing guests, and theatrical confrères (Figure 3).8 from wood panels or masonry walls into large planes Modernism entered more noticeably in the work of of glass—a transformation supported by the post-war two Austrian émigrés: Rudolph Schindler and Richard development of aluminum-framed sliding doors. In Neutra. The Schindler-Chase house of 1922 treated its 1947, Neutra’s Kauff man house in Palm Springs fi rst fl at site as a spatial matrix that embraced both interior addressed the landscape as a refi ned machine (Fig- and exterior (Figure 4). The thin concrete wall panels ure 5). Turned from the afternoon sun and the west- provided only a minimal membrane between inside ern winds, with views across the valley modulated by and outside, fi replaces opened externally as well as vertical aluminum louvers, the house opened to the east internally, and small porches encouraged the inhabi- and southeast—its polite, mannered lawn area set as tants to sleep healthfully outdoors. Life was good, or an island of civilization nestled in the rough desert ter- so it would seem. Many of Schindler’s other works, at rain. As the machine-in-the-desert it embodied archi- least where space allowed, exploited the benign living tecture and landscape in complete symbiosis. conditions of The Southland, and the terrace and the Thus, architectural modernism in California. patio remained key elements of the house. What of modernism in landscape architecture? How In turn, Neutra furthered this quest for the can we defi ne what is modern when the forms of plants minimal division of inside and out to an almost zero and trees have remained nearly constant throughout degree. With experience in landscape architecture in time? How did practitioners in the middle of the 20th Switzerland after World War I, Neutra was unusu- century approach the making of landscapes? Eight ally conscious of the interrelation of architecture and characteristics, admittedly a mixing of apples and landscape: an attitude he summed up in a small book, oranges, together describe the project of landscape Mystery and Realities of the Site, published in 1951.9 modernism, at least in California, and mostly in the Tracing the course of Neutra’s residential architec- garden. Halprin inherited these concerns and devel- ture, one witnesses an almost pathological reduction oped his landscape designs accordingly. of surfaces and thickness of wall panels. In tandem

8Landscape Journal31:1–2 Figure 5 Richard Neutra, Kauffman House, Palm Springs, California, 1947.

1. Use various activities of family life, and in his gardens we Landscape modernists griped that for too long—per- fi nd a direct acknowledgement of the needs of vari- haps for centuries—landscape design had been gov- ous age groups and the understanding that children erned by the visual sense alone. They railed against the will grow, owners will age, and that the garden must formality of the French and Italian traditions and the change over time (Figure 6).12 feigned naturalism of the English landscape garden.10 Rather than gardens for visual pleasure, they argued 2. Indoor/Outdoor for gardens made to be used: used for family relax- As noted above, the integration of living outdoors— ation, children’s play, entertaining—and of course paired with the revolution in internal residential social display. In some ways, their arguments were planning—was a dominant theme in mid-century exaggerated if not completely fatuous: gardens had landscape design. Fifty years before, in northern Cali- addressed and accommodated use—one needed to fornia, the members of Berkeley’s Hillside Club had move through a garden even just to view it; and one already proposed that the house was merely the shelter always did things in them, whether dining, playing, or between two gardens to which one retreated when it even those acts somewhat more illicit. The question, rained. Living should be outside, sleeping should be on then, was really about what sort of use. Admittedly porches, and domestic activities should benefi t from many gardens had ranked species over spaces, and the clemency of the environment and the lack of fl ying in richly planted early 20th-century gardens, such as insects. That belief persisted. those by Ellen Biddle Shipman, one fi nds little room for Supported by revised loan practices, the joining of any activities other than strolling on the formal paths kitchen/dining/living areas found parallels in the plan- or sniffi ng the fl owers.11 In these landscapes not much ning of backyards and their relation to the living spaces had diff ered from the experience of Jane Austen’s char- of the house. Garden space was especially important acters as they took turns in the English shrubbery. And given the miniscule square footages of builders’ devel- this is what needed to change. opments in the immediate postwar period. Attitudes Following newly developed sociological studies, toward privacy and good neighbors also changed: good landscape architects allotted areas for play, sports, fences may make good neighbors, but good barbecues sand boxes, even tricycle racing—especially in park and wicked cocktails made even better ones. Fluidity designs where areas were assigned to various user in space and movement was the hallmark, a fl uidity groups, from tots to the elderly. Thomas Church, in facilitated by the postwar marketing of the sliding patio particular, argued for places to accommodate the door. Privacy, however, remained a continuing concern

Treib 9 Figure 6 Thomas Church, Hickenbothan garden, Hillsborough, California, 1948 (Environmental Design Archives, University of California, Berkeley).

Figure 7 Garrett Eckbo, Goldstone garden, Los Angeles, California, 1950s. Plan (courtesy Marc Treib). given the shrinking lot sizes and the minimal distances were more concerned with pattern than with space. between houses. That was an exaggeration, of course, but the focus As previously noted, Richard Neutra best exem- on pattern in fl ower bedding and fl at parterres in plifi ed this confl ation of inside and out from an archi- many of these historical landscapes was certainly tectural standpoint. But it is really with the work of evident. The modern, in contrast, addressed space: Californian landscape architects such as Thomas living space, not pattern. Eckbo wrote that we live Church, Garrett Eckbo, Robert Royston, Geraldine in space, not in surface areas, and it is toward creat- Knight Scott, Douglas Baylis, and Lawrence Halprin, ing vital spaces for dwelling that we must devote out that one fi nds gardens whose spaces and forms adroitly energies and talents.13 Among other sources, Eckbo addressed the inside of the house. In addition, the gar- drew on the shapes of modern painting and sculp- den might also aspire to the status of art. ture, but to his credit these gardens did not exist in plan alone. Instead, Eckbo fashioned the garden as a 3. Space rather than pattern complex interweaving of solids and spaces. The plan Modernist landscape architects argued that past of the 1950s Goldstone garden in Los Angeles intrigues formal gardens such as those of France and Italy as a graphic images but the realized garden is more

10 Landscape Journal 31:1–2 Figure 8 Garrett Eckbo, Goldstone garden, Los Angeles, 1950s (Garrett Eckbo, courtesy Marc Treib).

Figure 9 Christopher Tunnard; Gordon Cullen, delineator, “Plants with Grey Foliage” (Gardens in the Modern Landscape, 1948).

rewarding as a three-dimensional construct—the that provoked their selection. Although there was a garden is no mere vertical extrusion of its plan (Fig- great infl ux of exotics into California in the postwar ures 7 and 8). It is hardly coincidental that Eckbo often period—especially from New Zealand, South Africa, presented his designs in axonometric projection as well and Latin America—they were used with restraint to as in plan. complement native Californian, American, and even Asian species that had been introduced at an earlier 4. Simplified palette of plants date. Vegetation was used primarily for its space-defi ning One could also attribute this limited vegetal properties or for its sculptural form, and as a result, palette to the proclivities of the designers or perhaps to the modern garden tended to be green rather than a falling knowledge of plants. In addition, the nurser- colorful (Figure 9).14 Color punctuated or articulated ies that served suburbia tended to deal with volume a structural frame established by inert materials and rather than variety, although this changed over time. those more evergreen. The modern garden was rarely The inventory of nursery stock continues to exert an about horticultural collecting: it was more about enormous infl uence on landscape design: you can’t use what plants could do, rather than what plants were, what isn’t available.

Treib 11 Figure 10 Garrett Eckbo, Rangell garden, Los Angeles, California, early 1960s.

Figure 11 Garrett Eckbo, Alcoa Forecast Garden, Los Angeles, California, 1959 (Garrett Eckbo, courtesy Marc Treib).

Figure 12 Thomas Church, Lakewold, Tacoma, Washington, 1962–1973. Swimming pool.

12 Landscape Journal 31:1–2 Figure 13 Garrett Eckbo, Cole garden, Los Angeles, California, 1950s (Evan Slater, courtesy Marc Treib).

5. Extensive Areas of Paving a range of products that could be fabricated from alu- Both Thomas Church and Garrett Eckbo asked minum. They commissioned storage units, furniture, potential clients: “How much do you really like to toys, and even a ball gown made of aluminum. And in garden?”15 If the client was not an avid “dirt gar- 1959 they commissioned a garden from Garrett Eckbo dener” they often advised the use of paving instead as well: the Alcoa Forecast garden.16 Eckbo graciously of lawn and plants. As a result, maintenance was off ered his own garden in Los Angeles as the test site, greatly reduced—and the use of paving as a design and there he developed three major areas in which to feature increased correspondingly (Figure 10). employ stock shapes and sheets from Alcoa’s produc- Expanded areas of paving also signaled the disap- tion (Figure 11). The result was a fantasyland of golds pearance of the professional gardener in postwar and bronzes, with expanded meshes, bars, and various suburbia and the arrival of the do-it-yourself era. other shapes used to extend the eaves of the Eckbo Paving supported social activity as well as reduc- house with a system of metal pyramids and to cre- ing maintenance—the patio provided a place to ate a pavilion roofed with a wave of aluminum mesh. entertain, to toss back a few, or to off er a surface Although Eckbo never intended that the full range on which the kids can play without damaging the of aluminum types would ever be used again in such plants or themselves. Paving often took a leading concentration, in its extremity and novel materials the role in Halprin’s gardens, as in the extensive exposed Alcoa Forecast garden became a landmark in 20th- aggregate surfaces of the 1961 McIntyre garden in century garden design. It also announced that mate- Hillsborough. His fountains from the 1960s, in turn, rials such as metals, fi berglass, and asphalt had a place elevated exposed concrete to princely status, mono- in the new landscape. lithic and plastic. 7. Swimming Pools 6. Use of New Materials Long the province only of the rich, new building The end of hostilities meant that industries geared for techniques and the economic expansion during the the war eff ort now reoriented toward domestic con- postwar period brought the swimming pool into a sumption. This shift brought new products onto the broader middle-class market. Church argued that market as well as the renewed availability of old mate- pools could take various shapes and sizes. Actually, he rials whose manufacture had been curtailed by war- preferred that the pool not occupy the central part of time restrictions. Among these was aluminum. In the the garden—its size and color tended to dominate the mid-1950s Alcoa, one of the material’s two largest pro- view.17 But if the pool were to be dominant it had to be ducers, began their Forecast program to demonstrate designed. In the 1962 Kelham garden, in Yountville,

Treib 13 Figure 14 Roberto Burle Marx, Monteiro garden, Corrais, Brazil, 1947.

Figure 15 Garrett Eckbo, Burden garden, Westchester, New York, 1945. Plan (courtesy Marc Treib).

Figure 16 Dan Kiley, Miller garden, Columbus, Indiana, 1955.

14 Landscape Journal 31:1–2 the pool established an almost classical armature for Yves Tanguy and Joan Miró, or in sculptures by Jean the landscape. In Tacoma, Washington, he resolved Arp and Isamu Noguchi; the orthogonal forms of the the diff erence between husband and wife—she did constructivist tradition, and a mixing of the two I have not want a pool; he wanted to swim—with a rather termed “biocubic,” shapes also found in mid-century classical four-cusped basin (Figure 12).18 In the 1958 California paintings such as those by Karl Benjamin.20 Henderson garden Church elevated the pool and tinted Biomorphism, perhaps arriving through the work it a darker color to better integrate it with the house by of architects such as Alvar Aalto or via the plastic arts, William Wurster. Both form and materials varied with appeared frequently in Church’s work from around the parameters of the commission. mid-century, as it did in landscapes by the Brazilian Eckbo’s ability to derive impressive formal innova- Roberto Burle Marx. Himself an artist, Burle Marx tion from client need is well illustrated by the swim- often began with a rather abstract painting executed in ming pools that accompanied his garden designs from gouache that bore little relation to the actual contours the mid-1950s. The Cole garden in Beverly Hills, for of the site.21 A plantsman as well as an artist and land- example, answered the call of the noted swimwear scape architect, Burle Marx then executed his designs designer—Cole of California—for a setting equally in a give and take between abstract plan, terrain, and suitable for announcing the season’s fashions as well as vegetation—often with spectacular results—as can be for the quotidian dip (Figure 13). The wall at the rear seen in his 1947 Monteiro garden in Correias outside of the pool appears as its furthest limit, yet it actually Rio de Janeiro (Figure 14). spans the water supported by a concrete beam, allow- As sources for his plans and landscape designs, ing the water to continue beneath. One can imagine Eckbo also drew on forms and artistic impulses from the excitement resulting from swimsuit models’ enter- contemporary painting and sculpture. The Russian- ing the pool—screened from view by the masonry born Wassily Kandinsky was one of these sources, evi- wing walls—emerging Esther Williams-style in the dent in the plan for the unrealized 1945 Burden garden main part of the pool, wet and golden before the eyes in Westchester, New York (Figure 15). Here patios and of the admiring audience. We see here Eckbo’s impres- paths wove an intricate fabric of routes and destina- sive ability to derive spatial and formal interest from tions that together would have comprised a complex novel or seemingly restrictive needs. None the less, spatial network that both expressed and supported the most celebrated of the period’s pools was found contemporary living. in Sonoma County, where a kidney-shaped water feature and its accompanying sculpture formed the Of course, there was no single modern garden; like centerpiece of the Thomas Church’s Donnell garden. landscape design everywhere it varied with the client, Lawrence Halprin served as its project designer. He the site, and the designer. In contrast to the meanders would retrieve this play of art and freely shaped pool in and curves of the biomorphic vocabulary another several of his own garden designs from the late 1940s approach paired the order of the classical garden with and into the succeeding decade. the fl uidity that characterized modernist space. Con- sider that Dan Kiley’s 1955 Miller garden in Columbus, 8. Regard for Modern Art Indiana, though completely orthogonal, is no less mod- In some ways, the fi rst generation of modern landscape ern—though perhaps less modernist—than the more architects defi ned their project negatively, that is, in emphatic Californian works.22 Kiley complemented terms of what it was not. It was neither in the formal each of the living zones of the house by Eero Saarinen traditions of Italy or France nor the naturalism of with a garden room, each varying to some degree the English landscape garden. Add to that a concern based on orientation and intended use (Figure 16). for space and activity rather than for horticulture or On the river side of the garden, the celebrated allée of ornamental patterning, and you are well on your way honey locusts presented a porous boundary between to a contemporary landscape manner. But what forms the residential plateau and the land that falls toward should this manner take? Here the shapes and composi- the water. Exploiting the possibilities of the geometric tions of art provided the solution.19 Sources included scheme, Kiley positioned a small fountain at one end the biomorphism of surrealism—seen in paintings by of the allée and a sculpture by Henry Moore at the

Treib 15 Figure 17 Thomas Church, Donnell garden, Sonoma, California, 1947.

Figure 18 Osmundson and Staley, Kaiser Roof Garden, Oakland, California, 1960.

Figure 19 Lawrence Halprin, Esherick garden, Kentfield, California, 1947. Swimming pool, 1949.

16 Landscape Journal 31:1–2 other. The concept behind the Miller garden design is adroitly set askew from the lanai and the stone retaining very simple—its success relies to a large degree on the wall, creating an infi nite series of paths and views that impeccable resolution of geometry and a spatial atti- are compounded by movement from various directions. tude and structure which are completely modern. This is true modernist landscape space in which the pool and its pivotal sculpture by Adaline Kent is set adrift, Arguably the best representative of the modernist and in many ways, here at mid-century the high point of genre—or at least its most extreme and comprehen- modernist garden design was achieved. Not incidentally, sive—was Thomas Church’s Donnell garden in Sonoma, the design, as a theater for outdoor living, beautifully California, dating from 1947, designed when Lawrence embodied Church’s dictum that gardens are for people. Halprin was working in the offi ce.23 As project designer The biomorphism that structured the design of the Halprin attended all the meetings with the clients, Donnell garden was both rampant and infl uential in walked the land with Church, and prepared the fi rst landscape architecture through the 1950s and into the sketches. The Donnell family had been living at the 1960s. Certainly, many gardens by Burle Marx shared opposite end of their ranch of some 6,000 acres, but they sympathies with Thomas Church’s few extreme mod- favored this particular piece of land as a pleasurable site ernist works, although the Brazilian gardens used a for family picnics, as well as for its proximity, by several far greater variety of plant materials with more bril- miles, to San Francisco. Here they would fi rst build their liant applications. More locally, biomorphism shaped garden, and only some years later, their home. the 1960 Kaiser Center Roof Garden in Oakland by The climate of the San Francisco Bay Area rarely Osmundson and Staley, in a rare public work in the reaches as low as freezing in winter, or above 85°F in genre (Figure 18). Clever in a diff erent way, the sweep- summer; in winter, rain is normally more of a problem ing lines of beds, berms, and pools camoufl aged the than the cold. In addition, the lack of fl ying pests per- placement of trees over the grid of structural columns mits outdoor living for a good part of the year. Church’s that supported the parking garage below. design, in fact, addressed the chill of the summer after- noon fog or the winter months, providing radiant heat Lawrence Halprin: Early Years in one section of the terrace, or even indoor spaces into Shortly after serving as the project designer for the which to retreat. Extensive paving characterizes this Donnell garden, Halprin left the Church offi ce in 1949 garden created for daily family use and for entertaining. to establish an independent practice.25 His early works Every aspect of the design addressed the connection of refl ect the infl uence of Church, for example the garden indoors and outdoors, whether the sliding glass panels and pool in Kentfi eld for the young architects Rebecca of the lanai, or the extension of the seating bench from and Joseph Esherick.26 Employing a favorite Church the indoors to the outside—where it occupies a sun trap device, Halprin wrapped the garden within a single removed from the westerly winds. broad curve that enfolded a magnifi cent California live All of this might be only of thermal and social oak, establishing a lawn for living defi ned by a judi- interest were it not for the perfect balance through- cious use of plants and paving (Figure 19). Rebecca out the design of enclosure and openness, of form and Esherick’s design for the house cast the southern slope formlessness, of vegetation and construction. Church of the living room roof as an arbor planted with grape claimed, and wrote, that the garden forms were derived vines, a diaphanous roof that modulated the passage from the surrounding landscape with its channels and of sunlight into the living room. The swimming pool, meandering streams and rivers that empty into the top added several years later, resembles in plan a lamb of San Francisco Bay (Figure 17). But rather than copy- chop or perhaps half an avocado. Its elements cited les- ing them literally, rather than replicating an existing sons learned from the Donnell project. Here, however, ecological system (as today many wetland restoration a circle covered in mosaic tiles replaced Kent’s central advocates are wont to do), Church held that a garden sculpture in its role as a visual and functional center was a place for people, and through analogy translated for the pool.27 those natural forms into his own vocabulary.24 Halprin and Joseph Esherick collaborated on a The Donnell pool—which is actually quite geo- number of projects over the years, some on fl at land, metrically regular and drawn with compass arcs—is others on sloping sites. The U-shaped plan of the 1952

Treib 17 Figure 20 Lawrence Halprin, Summers Garden, Hillsborough, California, 1952. Site plan (The Environmental Design Archives, University of California, Berkeley).

Summers house in Hillsborough defi ned an auto court addressing issues of privacy. Greenwood Common, set that linked house and street (Figure 20). The beauty of in the Berkeley Hills above the University of California the ensemble of home and garden derived, to a large campus, represented a transition from the single house degree, from Halprin’s comprehensive scheme and to the collective landscape—although during those detailed planting, beginning with trees massed along years Halprin also designed the landscapes for several the street front to buff er noise and insure privacy. The housing complexes (Figure 21).28 The architect Wil- front areas are lined with elm trees; Algerian ivy and liam Wurster subdivided the site into 11 lots, conceiv- masses of rhododendrons cover the ground plane and ing the project as an enclave of modern living through reinforce the northern edge of a formal entry court modern architecture. The history of the project, which softened on either side by junipers and camellias set in began in the early 1950s, took various turns, with pots. To the east, citrus trees and azaleas anchor the two of the sites originally projected for construction lot line, while other species provide equal variety in remaining unbuilt and ultimately fused with common the western portion of the garden. The main garden, land. An allée of ornamental plum trees and a com- to which the principal spaces of the house opened, was mons zone ringed by a looping path were Halprin’s treated with careful simplicity; the swimming pool has initial intervention. A fountain of his design was never been placed away from the house to minimize the pos- realized but his palette of birches, agapanthus, and sibility of visual and acoustic disturbance. The entirety Bishop pines has endured despite the years and the sub- serves as a poignant example of architecture and land- sequent interventions of several landscape consultants. scape together creating a richness of place impossible Halprin also designed gardens for four of the to achieve independently. Greenwood Common houses, the one for the Baer fam- Each of these projects served a single family ily being the most extensive and refi ned. A substantial and was designed one at a time with limited concern part of the garden was devoted to a patio for outdoor for either neighbors or neighborhood, other than living and a play area for the kids. The Baer design

18 Landscape Journal 31:1–2 Figure 21 Lawrence Halprin, Greenwood Common, Berkeley, California, 1956.

Figure 22 Lawrence Halprin, Baer Garden, Greenwood Common, Berkeley, California, 1955. Preliminary plan (Lawrence Halprin Collection, The Architectural Archives, University of Pennsylvania). demonstrates the landscape architect’s fl exibility in private lot to address the public Common. Just across engaging the specifi c conditions of the site. In this case the way, Halprin followed a diff erent course for the the lot—limited in square footage—was rigorously Maenchen garden, approaching it as an enclosed court defi ned by wooden fences, refl ecting a plan orthogo- tinted by the Asian interests of the clients. The plants nally ordered (Figure 22). Despite the geometry of the and birches within the court continued the pattern scheme, the resulting spaces were highly intricate and established beyond the house in the common green dynamic with elements that traversed the limits of the area, again linking the private and the public zones.

Treib 19 Figure 23 Lawrence Halprin, McIntyre Garden, Hillsborough, California, 1961. Site plan (The Environmental Design Archives, University of California, Berkeley).

The net eff ect of the Greenwood Common landscape is a transformation of natural into structured contours. one of order yet complexity, closure and expansion to Mosaics by the artist Ray Rice lined the bottom of the the views of the bay and the Golden Gate Bridge in the pool and energized the soft blue of the water visible distance. through the portholes set in the constructed third wall. A key work in Halprin’s career completed another In the 1950s competition design and later imple- house by Joseph Esherick. For the 1961 McIntyre gar- mentation of the Sproul Plaza area of the University of den Halprin used cuts and retaining walls to regrade California, Berkeley campus, Halprin’s transition from the hillside into two levels enriched with water rills the residential to the public landscape was evident. By and fountains. The echoes were those of the Moor- that time Halprin had already gained a mastery of the ish garden, especially the Generalife in Granada basics and had started to enrich modernism with les- (Figure 23).29 The play of water features and highly sons gleaned from historical landscapes. For example, textured concrete surfaces that recurred in many later the double rows of plane trees that march through the projects—suburban and urban—were fi rst tested upper plaza without pause trace the ghost of Telegraph here. Far more dramatic, though less known, was Avenue which had been truncated by the new design. the landscape that accompanied the 1962 Lehmann The result was a dynamic space fi lled with campus house designed by Esherick in Kentfi eld, north of the activity, and one which has remained the epicenter of Golden Gate.30 Buildable land on this steep site was collective student life (Figure 25). Through the 1960s at a premium and much of the house was raised far the Halprin offi ce produced landscapes for the numer- above the slope. How to accommodate the swimming ous housing complexes then being built in signifi cant pool specifi ed by the clients? Cut-and-fi ll; but cut- numbers around the San Francisco Bay Area. These and-fi ll of an order that diff ered signifi cantly from the designs tended to be less innovative in their confi gura- norm. The hillside would be excavated to create one tion and use of plants, relying instead on stalwarts like side of the pool, but the “fi ll” would be provided by the California sycamore, Coastal live oak, and poplars. concrete pool construction and a wooden deck fl oating The Capital Towers redevelopment area in Sacramento high above the contours (Figure 24). Halprin’s study is indicative of these works, using aligned trees to buf- sketches show the hillside continuing directly into the fer traffi c noise and as a transition between the street pool but soil conditions and the threat of slides forced and the interior courts. A bosque of plane trees marked

20 Landscape Journal 31:1–2 Figure 24 Lawrence Halprin, Lehmann Garden, Kentfield, California, 1963.

Figure 25 Lawrence Halprin, with Hardison and DeMars, Sproul Plaza, University of California, Berkeley, 1950s.

Figure 26 Lawrence Halprin, Plaza de Las Fuentes, Pasadena, California, 1983.

Treib 21 Figure 27 Lawrence Halprin, Auditorium Forecourt Fountain, Portland, Oregon, 1967. the pivot of the project. Similar approaches of lining, Fountain/Plaza: Portland massing, buff ering, and creating transitions comprised The radical break in Halprin’s landscape architecture the offi ce’s normal manner into the 1970s. The College- came with the design of several monumental fountains town housing development in Sacramento employed a in the 1960s and 1970s, fountains that attempted to complex play of comingled courtyards and paths in an bring to the urbanite not the forms, but the experi- around the two-story housing blocks by the architect ence, of the rocky outcroppings and streams of the Neil Smith. Here the landscape provided the green mountain landscape. In the mid-1960s, for example, lining for the architectural spaces, although in the Halprin created what was essentially a new landscape signature open areas lawn and trees played a stronger type in which fountain and plaza—historically, dis- role. Late in his career, Halprin rehearsed the lessons tinct types—forge a landscape in which fountain and of the McIntyre garden in the 1983 Plaza de las Fuentes plaza are amalgamated as a new unity. The streams of in Pasadena, treating an awkward T-shaped site with California’s High Sierra Mountains served as Halprin’s fountains and lawn that seamlessly joined hotel and reference, translated into the stepped planes of con- civic spaces (Figure 26). crete with seemingly enormous amounts of water tum- bling over their edges (in fact the water was cleverly Throughout these decades many of the lessons learned handled so that the volume is relatively modest while within the garden found applications in designs for the eff ect is impressive). The Auditorium Forecourt, public areas in city and suburb. Halprin’s work from or Ira’s Fountain, in Portland tempted the populace to this point on falls roughly into six interrelated catego- enter and play although entry was offi cially prohibited ries: urban landscapes, whether for fountains, plazas, or (Figure 27).32 The nearby Lovejoy Fountain abstracted street trees; urban design, witnessed in his books Cities the masses of mountain ledges and the fall of its water; and Freeways and the New York, New York plan and the stepped planes that formed the plaza itself recalled book of 1968; parks; housing and community plan- almost literally the contour models of cardboard so ning; community participation; and investigations into appreciated by architects at that time. The details were the creative processes.31 Of this vast output, much of it basic, even crude: The design was rooted in an expres- drawn from ideas fi rst proposed and tested in his gar- sive power rather than in sophisticated construction. den designs, I will discuss only the urban fountains and The fountain design suggested a return to some form their plazas, and Halprin’s investigations into ecological of naturalism, but to that word “naturalism” we must planning, as subjects by which to conclude this essay. add the word “abstract.” In that sense the fountain projects idealized natural environmental scenes. But Halprin re-presented rather than re-created nature; he

22 Landscape Journal 31:1–2 Figure 28 Lawrence Halprin, Auditorium Forecourt Fountain, Portland, Oregon, 1967. The fountain dry, showing the ha-ha.

Figure 29 Joseph Esherick, architect; Lawrence Halprin, landscape architect, Hedgerow Houses, The Sea Ranch, California, 1965 (George Homsey, Environmental Design Archives, University of California, Berkeley). sought to bring the experience of the rock and water of refreshing in warmer months; despite signs that pro- the mountain landscape for those dwelling within the hibit entry children accept the challenge to climb and brick and stucco of cities—so that they could share the slide and play in the torrents, always under the watch- experience of nature, even if in a fabricated form. ful eyes of their parents and nannies, of course. The Without question, locals have appreciated the designers were careful in building safety into the foun- fountains and accepted their call to participate. People tains’ designs. At Ira’s Fountain, for example, there is draw near the water to sit or picnic; the cool spray is less than fi ve inches of water on the upper surfaces. At

Treib 23 Figure 30 Lawrence Halprin, Manhattan Square, Rochester, New York, 1976. the brink, the water deepens to about three feet—to landscape design as a creative enterprise. Analysis sup- create a kind of “underwater ha-ha”—negating the planted formal creative search as landscape practice need for railings at the precipices (Figure 28). But expanded to meet rapidly increasing environmental everyone approaches the fountains with caution, not challenges. With McHarg’s manner came the impli- expecting them to be completely safe. Perhaps this is cation that if the method and analysis were correct the reason no serious mishap has marred the almost the resulting spaces and forms would be appropriate, half-century history of these fountains that so ada- handsome, and just. This is a complicated subject that mantly invite use. requires greater discussion than space allows. I raise the issue only to point out that eff orts of the team that Ecological Planning designed The Sea Ranch, just below Gualala on the In 1969 Ian McHarg published Design with Nature, a northern California coast, were precocious in their call for planning in accord with the ecological condi- planning of this second-home development in full tions of the site or region.33 Its appearance brought a cognizance of what ecology dictated.34 Halprin led the new consciousness of scope and method to landscape team, aided by the naturalist Richard Reynolds and architecture, but it also dampened the practice of Halprin’s offi ce staff . The architectural team included

24 Landscape Journal 31:1–2 Joseph Esherick, Charles Moore, William Turnbull, successful, not always elegant, in form and detail, Hal- Donlyn Lyndon, and Richard Whitaker. prin’s landscapes nonetheless provide us with projects The plan called for leaving open the existing worthy of study—and admiration. meadows, long devoted to pasturage. To address the high winds that frequented this coastal landscape they clustered semi-detached houses around the exist- NOTES ing hedgerows or tightly packed condominium units All photographs are by Marc Treib, except where noted. around protected courts (Figure 29). The site’s pastoral 1. Although writings by and about Anna Halprin have character would be preserved—obviously designed appeared continually from at least the 1960s—for example, gardens visible from common lands were not accept- in journals such as The Drama Review—in recent years there have appeared a number of full-length studies dedicated to able. Replanting Bishop pines, meadows, and wild- her thoughts and achievements. Among these are Janice fl owers recovered some of what had been lost through Ross, Anna Halprin: Experience as Dance, Berkeley: University decades of grazing. By carefully siting the fi rst struc- of California Press, 2007; from a more personal perspec- tures with their natural wood sheathing and sloped tive: Anna Halprin and Rachel Kaplan, Moving toward Life: roofs, screening auto courts with wooden fences, and 5 Decades of Transformational Dance, Middletown, CT: Wes- burying the fi rst athletic club within berms of earth, leyan University Press, 1995, and Anna Halprin, Returning to Health: With Dance, Movement, and Imagery, Mendocino, the design team helped establish a fl edgling second- CA Liferhythm, 2002. In addition, both documentary films home community truly rooted to the land. and certain articles and books have stressed the nature Many of Halprin’s urban projects from those of the collaboration between Ann and Lawrence Halprin, years became landmarks. Freeway Park in Seattle for example Randy Gragg, ed., Where the Revolution Began: (where Angela Danadjieva’s role was central) created Lawrence and Anna Halprin and the Reinvention of Public inestimable park space by capping Interstate 5 in the Space, Washington, DC, Spacemaker Press, 2009. downtown area; San Francisco’s Levi’s Plaza applied 2. For Halprin’s own version of the Sea Ranch story see Lawrence Halprin, Sea Ranch: Diary of an Idea, Berkeley: many of the lessons and forms of the Portland foun- Spacemaker Press, 2002. See also Donlyn Lyndon and Jim tains, as did his more recent Letterman campus in Alinder, The Sea Ranch, New York: Princeton Architectural the Presidio. Outside Jerusalem he collaborated with Press, 2004, especially 286–293; and Marc Treib, Appropri- Schlomo Aronson on the Jerusalem Promenade.35 ate: The Houses of Joseph Esherick, Richmond, CA: William The list continues with Heritage Park in Forth Worth, Stout, 2008, 202–227. Manhattan Square Park in Rochester, and near the 3. “This [the distribution of the number of landscapes Eckbo end of his life, the reworking of the Concert Meadow had designed] may suggest the transition in opportunity and focus from domestic garden design (the grass roots of at Stern Grove in San Francisco (Figure 30). There the landscape architecture—almost the only direct relationship stepped terrain that characterized Fletcher Steele’s 1941 between owner/client and user) to public/private owner- library amphitheater in Camden, Maine, encountered ship facilities open to the public, subject to general com- Halprin’s personal rock music. And lastly, one must munity use and to complex attention and demands from cite the fl awed memorial to Franklin Delano Roosevelt not-always-predictable sources.” Garrett Eckbo, “Pilgrim’s in Washington DC, which assembled most of Halprin’s Progress,” in Marc Treib, Modern Landscape Architecture: A Critical Review, Cambridge, MA: MIT Press, 1993, 218. favorite motifs to the degree that the project became as 4. For a biographical overview of Eckbo’s life and career see much a memorial to the landscape architect as to the Marc Treib and Dorothée Imbert, Garrett Eckbo: Modern president, its purported subject. Landscapes for Living, Berkeley: University of California And the books: Freeways, Cities, New York, Press, 1997. New York, The RSVP Cycles, Taking Part, The Sea 5. In this self-initiated student work, Eckbo designed over a Ranch: Diary of an Idea, and various publications of dozen variants of gardens on an urban block drawn from his notebooks.36 Major achievements indeed. But in San Francisco’s grid and published the project as “Small considering where Halprin’s eff orts terminated, it is Gardens in the City,” Pencil Points, September 1937. instructive to consider, again, where they began: in the 6. William Wurster was responsible for having Church appointed as Pasatiempo’s resident landscape architect garden, as part of an involving ethos that considered and designed the house in which he and Betsy Church people and ecology but gave them a landscape replete would live for several years. Marc Treib, ed., Everyday with signifi cant, at times exciting, form. Not always

Treib 25 Modernism: The Houses of William Wurster, San Francisco: 14. In the 1948 edition of Gardens in the Modern Landscape, San Francisco Museum of Art and University of California Christopher Tunnard included a portfolio of “Architect’s Press, 1997, 22–30. For an overview of the residential devel- Plants,” qualifying his selection as those “which in various opment see Margaret Koch, The Pasatiempo Story, Santa ways can be employed to contribute to the shape or atmo- Cruz: Pasatiempo Inc., 1990. sphere of certain familiar settings.” London: Architectural 7. The California portrayed in the book was, of course, highly Press, 125. fictionalized and highly romantic—life was far more 15. His reason for posing this question: “People want their demanding for most of the early settlers, as well as the gardens to provide many pleasures, conveniences and com- native tribes. Helen Hunt Jackson, Ramona, New York: Little forts; none of them but dyed-in-the-wool gardeners want Brown, 1884. them to be of any work.” Gardens are for People, 21. 8. Southern Californian designers were more open to new 16. The story of the garden is told in Marc Treib, The Donnell manners and international influence; northern California and Eckbo Gardens: Modern California Masterworks, Rich- remained more attached to the Arts & Crafts tradition, mond, CA: William Stout, 2005, 98–190. “modernized” to some degree in the Second Bay Region 17. Church offers a portfolio of swimming pool shapes—and Tradition. Marc Treib, “Aspects of Regionality and the the reasons behind them in “The Shape of the Pool,” Gar- Modern(ist) Garden in California,” in Therese O’Malley dens are for People, 216–219, and in Your Private World, San and Marc Treib, Regional Garden Design in the United States, Francisco: Chronicle Books, 1969, 127–141. Washington, D.C.: Dumbarton Oaks, 5–42. 18. Describing the origins of the shape of the pool at Lake- 9. Neutra remains one of the few modernist architects to have wold in Tacoma, Church noted: “The wife wanted a pool in written specifically about the landscape. Richard Neutra, keeping with the simplicity and elegance of her traditional Mystery and Realities of the Site, Scarsdale, NY: Morgan & garden. So did the husband, but he is also a vigorous swim- Morgan, 1951. mer and did not wish to settle for a pool that would curb his 10. Eckbo had a particular vendetta against the axis, in early enjoyment of the sport.” Church, Your Private World, 140. as well as later writings. In a memoire written late in life 19. The practice also colored the making of architecture. See he rehearsed what he had written some fifty years before: Henry-Russell Hitchcock, Painting toward Architecture, New “Design shall be areal, not axial,” adding: “By the eighteenth York: Duell, Sloan and Pearce, 1948. The book included the century the Beaux-Arts tradition was frozen in axial sys- Tremaine project: house design by Oscar Niemeyer and tems, yet the real world is only occasionally axial, and then garden design by Roberto Burle Marx. by accident. Spatial experience is much more than a line.” 20. The shapes, mixing the biomorphic curve with the straight Eckbo, “Pilgrim’s Progress,” 209. angle of cubism and constructivism, were characteristic of 11. This characteristic persists, at least in part, in the so-called many of Benjamin’s paintings. See Elizabeth Armstrong, ed., Perennial Tradition, of which the Dutchman Piet Oudolf Birth of the Cool: California Art, Design, and Culture at Mid- is currently the best known practitioner. On Shipman, century, Newport Beach: Orange County Museum of Art, see Judith B. Tankard, The Gardens of Ellen Biddle Shipman, 2007. Similar shapes frequently appeared in the landscape Sagaponak, NY: Saga Press, 1996; and Robin Karson, The designs of Robert Royston and James Rose. Muses of Gwinn, Sagaponak, NY: Saga Press, 1995. 21. 21. Among the numerous books on Burle Marx, the most 12. Church’s discussion of the Hickenbotham garden in substantive remain P.M. Bardi, The Tropical Gardens of Hillsborough, California offers evidence of his insight into Burle Marx, New York: Reinhold, 1963; Giulio G. Rizzo, behavior in the garden: “Play space with plenty of equip- Roberto Burle Marx: Il Giardino del Novecento, Florence: ment, starting with a sand pile and continuing through Cantini, 1992: and Guilherme Mazza Dourado, Moderni- swings, rings, and slides to basketball standards, will dade Verde: Jardins de Burle Marx, São Paulo, Senac, 2009. generally keep a family of children well contented. But if 22. Gary Hildebrand, The Miller Garden: Icon of Modernism, you intend to have a garden at the same time, it is wise to Washington, DC: Spacemaker Press, 1999; Dan Kiley and arrange the path system so that bicycles won’t be tempted Jane Amidon, Dan Kiley: The Complete Works of America’s to cut corners, and to provide raised curbs along your favor- Master Landscape Architect, Boston: Little, Brown and ite flower beds.” Thomas Church, Gardens are for People, Company, 1999, 20–27; and in several essays in Dan Kiley New York: Reinhold, 1955, 15. Landscapes: The Poetry of Space, eds. Reuben M. Rainey and 13. Explaining how we live in space not on the ground, Eckbo Marc Treib, Richmond, CA: William Stout, 2009. writes: “The block of air space above our lot or home site 23. Extant documentation on the garden, in drawings or office has no meaning or livability until it is enclosed and defined records, is scant. A comprehensive presentation of the with structures and planes,” but cautions that: “Enclosure design is included in Treib, The Donnell and Eckbo Gardens, by shrubs is not the same as enclosure by a brick wall.” 16–97. Garrett Eckbo, The Art of Home Landscaping, New York: 24. ”The pool, its shape inspired by the winding creeks of the McGraw-Hill, 1956, 51. salt marshes below, was designed to provide adequate

26 Landscape Journal 31:1–2 space for all water activities” Church, Gardens are for REFERENCES People, 227. Armstrong, Elizabeth, ed. 2007. Birth of the Cool: California Art, 25. Lawrence Halprin in conversation with the author, San Design, and Culture at Midcentury. Newport Beach, CA: Francisco, November 1994. Orange County Museum of Art. 26. On the Esherick house and garden in Kent Woodlands, see Aronson, Shlomo, introduction by Lawrence Halprin. 1998. Treib, Appropriate, 105–108. Shlomo Aronson: Making Peace With The Land, Designing 27. Publications on Adaline Kent are rare, the most compre- Israel’s Landscape. Washington DC: Spacemaker Press. hensive being the memorial catalog; Autobiography: From Bardi, P.M. 1963. The Tropical Gardens of Burle Marx. New York: the Notebooks and Sculpture of Adaline Kent, Houston, TX: Reinhold. Gulf Printing, 1958. Church, Thomas. 1955. Gardens are for People. New York: 28. For a coverage of the Greenwood Common landscape Reinhold. and garden designs see Waverly Lowell, Living Modern: A ––––––– . 19 6 9 . Your Private World. San Francisco, CA: Chronicle Biography of Greenwood Common, Richmond, CA: William Books. Stout, 2010. Dourado, Guilherme Mazza. 2009. Modernidade Verde: Jardins de 29. In later years a swimming pool was inserted near the house, Burle Marx. São Paulo: Senac. undermining the serenity of the scheme. Eckbo, Garrett. 1937. Small Gardens in the City. Pencil Points, 30. Halprin’s Lehman garden and pool is discussed in Treib, September: 573–586. Appropriate, 121–124. ––––––– . 19 5 6 . The Art of Home Landscaping. New York: McGraw-Hill. 31. Halprin insured that his ideas on these subjects would be ––––––– . 1 9 9 3 . P i l g r i m ’ s P r o g r e s s . I n Modern Landscape Architecture: available to a broad audience by publishing books such as A Critical Review, ed. Marc Treib. Cambridge, MA: MIT Press. Cities, New York: Reinhold Publishing, 1963; Freeways, New Gragg, Randy, ed. 2009. Where the Revolution Began: Lawrence York: Reinhold Publishing, 1966; and New York New York, and Anna Halprin and the Reinvention of Public Space. New York: City of New York, 1968. Washington DC: Spacemaker Press. 32. Describing his intentions for Lovejoy Plaza Halprin wrote: Halprin, Anna. 2002. Returning to Health: With Dance, Movement, “In the plaza there should be events . . . sculpture—shows— and Imagery. Mendocino, CA: Liferhythm. concerts—dance events with dancers all over and arriving to center space from above downstairs around fountain.” Halprin, Anna, and Rachel Kaplan. 1995. Moving toward Life: Lawrence Halprin, notebook sketch, reproduced in Law- 5 Decades of Transformational Dance, Middletown, CT: rence Halprin: Changing Places, ed. Lynne Creighton Neall, Wesleyan University Press. San Francisco: San Francisco Museum of Art, 1986, 18. Halprin, Lawrence. 1963. Cities. New York: Reinhold Publishing. 33. Ian McHarg, Design with Nature, Garden City, NY: Double- ––––––– . 19 6 6 . Freeways. New York: Reinhold Publishing. day, 1969. ––––––– . 19 6 8 . New York New York. New York: City of New York. 34. See Note 2 above. ––––––– . 1 9 8 6 . N o t e b o o k s k e t c h . I n Lawrence Halprin: Changing 35. Halprin designed the Haas Promenade on the edge of Jeru- Places, ed. Lynne Creighton Neall, 18. San Francisco, CA: salem as a linear belvedere supporting dramatic views over San Francisco Museum of Art. the city. It was extended in 1989 as the Sherover Prom- ––––––– . 19 74 . Taking Part: A Workshop Approach to Creativity (with enade by Shlomo Aronson, who had studied at Berkeley Jim Burns), Cambridge, MA: MIT Press. and for several years had worked in Halprin’s office. The ––––––– . 1 9 9 4 . C o n v e r s a t i o n w i t h a u t h o r . S a n F r a n c i s c o , C A . project is covered in Shlomo Aronson, Making Peace with the November 1994. Land; Designing Israel’s Landscape, Washington, DC: Space- ––––––– . 20 0 2 . Sea Ranch: Diary of an Idea. Berkeley, CA: maker Press, 1998, 98–99. Halprin contributed the book’s Spacemaker Press. introduction. Hildebrand, Gary. 1999. The Miller Garden: Icon of Modernism. 36. In addition to those publications already cited, Halprin’s Washington DC: Spacemaker Press. books include The RSVP Cycles: Creative Processes in the Hitchcock, Henry-Russell. 1948. Painting Toward Architecture. Human Environment, New York: George Braziler, 1969; Tak- New York: Duell, Sloan and Pearce. ing Part: A Workshop Approach to Creativity (with Jim Burns), Cambridge, MA: MIT Press, 1974; and The Franklin Delano Jackson, Helen Hunt. 1884. Ramona. New York: Little Brown Roosevelt Memorial, San Francisco: Chronicle Books, 1997. Karson, Robin. 1995. The Muses of Gwinn. Sagaponak, NY: Saga Press. Kent, Adaline. 1958. Autobiography: From the Notebooks and Sculpture of Adaline Kent. Houston, TX: Gulf Printing.

Treib 27 Kiley, Dan, and Jane Amidon. 1999. Dan Kiley: The Complete BIOGRAPHY Marc Treib is Professor of Architecture Works of America’s Master Landscape Architect. Boston, MA: Emeritus at the University of California, Berkeley, a Little, Brown, and Company. practicing graphic designer, and a landscape and archi- Koch, Margaret. 1990. The Pasatiempo Story. Santa Cruz, CA: tectural historian and critic. He has published widely Pasatiempo. on modern and historical subjects in the United States, Lowell, Waverly. 2010. Living Modern: A Biography of Greenwood Japan, and Scandinavia, including Space Calculated In Common. Richmond, CA: William Stout. Seconds: The Philips Pavilion, Le Corbusier, Edgard Varèse Lyndon, Donlyn, and Jim Alinder. 2004. The Sea Ranch. New York: Princeton Architectural Press. (1996), A Guide to the Gardens of Kyoto (1980, 2003); McHarg, Ian. 1969. Design with Nature, Garden City. New York: Thomas Church, Landscape Architect (2004); Settings and Doubleday. Stray Paths: Writings on Landscapes and Gardens (2005); Neall, Lynne Creighton, ed. 1986. Lawrence Halprin: Changing Representing Landscape Architecture (2007); Drawing/ Places. San Francisco, CA: San Francisco Museum of Thinking (2008); Spatial Recall: Memory in Architecture Modern Art. and Landscape (2009), and Meaning in Landscape Archi- Neutra, Richard. 1951. Mystery and Realities of the Site. Scarsdale, tecture & Gardens (2011). The Landscape of Modern Archi- NY: Morgan and Morgan. tecture: Wright, Mies van der Rohe, Neutra, Aalto, Barragán O’Malley, Therese, and Marc Treib, eds. 1995. Regional Garden will be published in 2013. Design in the United States. Washington DC: Dumbarton Oaks. Rainey, Reuben M., and Marc Treib, eds. 2009. Dan Kiley Landscapes: The Poetry of Space. Richmond, CA: William Stout. Rizzo, Giulio G. 1992. Roberto Burle Marx: Il Giardino del Novecento. Florence, Italy: Cantini. Ross, Janice. 2007. Anna Halprin: Experience as Dance. Berkeley, CA: University of California Press. Tankard, Judith B. 1996. The Gardens of Ellen Biddle Shipman. Sagaponak, NY: Saga Press. Treib, Marc, ed. 1997. Everyday Modernism: The Houses of William Wurster. San Francisco, CA: San Francisco Museum of Art and University of California Press. ––––––– . 1 9 9 5 . A s p e c t s o f r e g i o n a l i t y a n d t h e M o d e r n ( i s t ) G a r d e n in California. In Regional Garden Design in the United States, eds. Therese O’Malley and Marc Treib, 5–42. Washington DC: Dumbarton Oaks. ––––––– . 20 0 5 . The Donnell and Eckbo Gardens: Modern California Masterworks. Richmond, CA: William Stout. ––––––– . 20 0 8 . Appropriate: The Houses of Joseph Esherick. Richmond, CA: William Stout. Treib, Marc, and Dorothée Imbert. 1997. Garrett Eckbo: Modern Landscapes for Living. Berkeley, CA: University of California Press. Tunnard, Christopher. 1948. Gardens in the Modern Landscape. London: Architectural Press.

28 Landscape Journal 31:1–2