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Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival Into Balboa Park
Inspired by Mexico: Architect Bertram Goodhue Introduces Spanish Colonial Revival into Balboa Park By Iris H.W. Engstrand G. Aubrey Davidson’s laudatory address to an excited crowd attending the opening of the Panama-California Exposition on January 1, 1915, gave no inkling that the Spanish Colonial architectural legacy that is so familiar to San Diegans today was ever in doubt. The buildings of this exposition have not been thrown up with the careless unconcern that characterizes a transient pleasure resort. They are part of the surroundings, with the aspect of permanence and far-seeing design...Here is pictured this happy combination of splendid temples, the story of the friars, the thrilling tale of the pioneers, the orderly conquest of commerce, coupled with the hopes of an El Dorado where life 1 can expand in this fragrant land of opportunity. G Aubrey Davidson, ca. 1915. ©SDHC #UT: 9112.1. As early as 1909, Davidson, then president of the Chamber of Commerce, had suggested that San Diego hold an exposition in 1915 to celebrate the opening of the Panama Canal. When City Park was selected as the site in 1910, it seemed appropriate to rename the park for Spanish explorer Vasco Nuñez de Balboa, who had discovered the Pacific Ocean and claimed the Iris H. W. Engstrand, professor of history at the University of San Diego, is the author of books and articles on local history including San Diego: California’s Cornerstone; Reflections: A History of the San Diego Gas and Electric Company 1881-1991; Harley Knox; San Diego’s Mayor for the People and “The Origins of Balboa Park: A Prelude to the 1915 Exposition,” Journal of San Diego History, Summer 2010. -
The Making of the Panama-California Exposition, 1909-1915 by Richard W
The Journal of San Diego History SAN DIEGO HISTORICAL SOCIETY QUARTERLY Winter 1990, Volume 36, Number 1 Thomas L. Scharf, Editor The Making of the Panama-California Exposition, 1909-1915 by Richard W. Amero Researcher and Writer on the history of Balboa Park Images from this article On July 9, 1901, G. Aubrey Davidson, founder of the Southern Trust and Commerce Bank and Commerce Bank and president of the San Diego Chamber of Commerce, said San Diego should stage an exposition in 1915 to celebrate the completion of the Panama Canal. He told his fellow Chamber of Commerce members that San Diego would be the first American port of call north of the Panama Canal on the Pacific Coast. An exposition would call attention to the city and bolster an economy still shaky from the Wall Street panic of 1907. The Chamber of Commerce authorized Davidson to appoint a committee to look into his idea.1 Because the idea began with him, Davidson is called "the father of the exposition."2 On September 3, 1909, a special Chamber of Commerce committee formed the Panama- California Exposition Company and sent articles of incorporation to the Secretary of State in Sacramento.3 In 1910 San Diego had a population of 39,578, San Diego County 61,665, Los Angeles 319,198 and San Francisco 416,912. San Diego's meager population, the smallest of any city ever to attempt holding an international exposition, testifies to the city's extraordinary pluck and vitality.4 The Board of Directors of the Panama-California Exposition Company, on September 10, 1909, elected Ulysses S. -
Chapter 1 the Development of Landscape Architecture
Revisiting Riverside: A Frederick Law Olmsted Community Chapter 1 The Development of Landscape Architecture Landscape Architecture is a profession that involves human interaction with nature. It entails human impacts upon the land, such as the shaping of landform and the creation of parks, urban spaces, and gardens. Landscape architecture can also include the mitigation of human impacts upon nature. For example, landscape architects are often involved with the restoration of or preservation of areas for wildlife and for the continued success of natural processes (i.e. stormwater collection and purification, groundwater recharge, water quality, the survival of native plants and plant communities, etc.). Landscape architecture is often inspired by social needs. Olmsted’s work was a reaction to the uncleanly, overcrowded conditions of cities in the late nineteenth-century and the need for people to escape from these conditions and restore themselves in a natural setting. This same ethic inspires many of today’s landscape architects who seek to provide safe, inviting parks within cities and to develop housing that responds to the needs of the residents. This housing could be in the form of improved public housing, developed through dialog with residents and informed by the successes and failures of past public housing trends. Landscape Architect’s involvement with planning efforts range from complex and inspired plans such as Riverside in 1868 - 1869, Garden Cities (Radburn, NJ 1928), the Greenbelt town design of the 1930s, and today’s ecologically and culturally sensitive development models, to the typical, ubiquitous, suburban developments that have evolved since the early twentieth century. The scope of landscape architecture ranges from broad projects (town planning and large, national parks) to narrow (small parks, urban plazas, commercial centers and residences). -
NJASLA 2014 Awards Program
The New Jersey Chapter of the American Society of Landscape Architects is pleased to present the 2014 Professional Awards. The awards program is intended to help broaden the boundaries of our profession; increase public awareness of the role of landscape architects; raise the standards of our discipline; and bring recognition to organizations and individuals who demonstrate superior skill in the practice and study of landscape architecture. A jury of distinguished landscape architects reviewed twenty-one submissions and selected win- ners in fi ve categories. We invite you to view the winning projects throughout the conference on our continuously-running video presentation located on the conference fl oor. The winners will also be featured in upcoming newsletters, our website and other events which promote our profes- sion throughout the state during the course of the year. Thank you for attending this year’s presentation. We hope you enjoy this year’s ceremonies and strongly encourage you to consider submitting your work for next year’s program. Eric Mattes Denise Mattes HONORINGour past 2014 AWARDS JURY EMBRACING Dr. Wolfram Hoefer, Rutgers University our future Wolfram is an Associate Professor at the Department of Landscape Architecture at Rutgers, the State University of New Jersey and serves as Undergraduate Program Director for the department. He also serves as Co-Director of the #NJASLA50 Rutgers Center for Urban Environmental Sustainability. In 1992 he earned a Diploma in Landscape Architecture from the Technische Universität Berlin and received a doctoral degree from Technische Universtät München in 2000. He is a licensed Landscape Architect in the state of Bavaria, Germany. -
Maverick Impossible-James Rose and the Modern American Garden
Maverick Impossible-James Rose and the Modern American Garden. Dean Cardasis, Assistant Professor of Landscape Architecture, University of Massachusetts (Amherst) “To see the universe within a place is to see a garden; approach to American garden design. to see it so is to have a garden; Rose was a rugged individualist who explored the not to prevent its happening is to build a garden.” universal through the personal. Both his incisive James Rose, Modern American Gardens. writings and his exquisite gardens evidence the vitality of an approach to garden making (and life) as James Rose was one of the leaders of the modern an adventure within the great cosmic joke. He movement in American garden design. I write this disapproved of preconceiving design or employing advisedly because James “ the-maverick-impossible” any formulaic method, and favored direct Rose would be the first to disclaim it. “I’m no spontaneous improvisation with nature. Unlike fellow missionary,” he often exclaimed, “I do what pleases modern rebels and friends, Dan Kiley and Garrett me!”1 Nevertheless, Rose, through his experimental Eckbo, Rose devoted his life to exploring the private built works, his imaginative creative writing, and his garden as a place of self-discovery. Because of the generally subversive life-style provides perhaps the contemplative nature of his gardens, his work has clearest image of what may be termed a truly modern sometimes been mislabeled Japanesebut nothing made Rose madder than to suggest he did Japanese gardens. In fact, in response to a query from one prospective client as to whether he could do a Japanese garden for her, Rose replied, “Of course, whereabouts in Japan do you live?”2 This kind of response to what he would call his clients’ “mind fixes” was characteristic of James Rose. -
Pieris, A. Sociospatial Genealogies of Wartime Impoverishment
PROCEEDINGS OF THE SOCIETY OF ARCHITECTURAL HISTORIANS AUSTRALIA AND NEW ZEALAND VOL. 33 Edited by AnnMarie Brennan and Philip Goad Published in Melbourne, Australia, by SAHANZ, 2016 ISBN: 978-0-7340-5265-0 The bibliographic citation for this paper is: Anoma Pieris “Sociospatial Genealogies of Wartime Impoverishment: Temporary Farm Labour Camps in the U.S.A.” In Proceedings of the Society of Architectural Historians, Australia and New Zealand: 33, Gold, edited by AnnMarie Brennan and Philip Goad, 558-567. Melbourne: SAHANZ, 2016. All efforts have been undertaken to ensure that authors have secured appropriate permissions to reproduce the images illustrating individual contributions. Interested parties may contact the editors. Anoma Pieris University of Melbourne SOCIOSPATIAL GENEALOGIES OF WARTIME IMPOVERISHMENT: TEMPORARY FARM LABOUR CAMPS IN THE U.S.A. Established to develop New Deal resettlement programs in 1937, the United States Farm Security Administration (F.S.A.) was best known for accommodating migratory labour from the drought-stricken central plains. Large numbers arriving in California prompted F.S.A. engineers and architects to develop purpose-designed labour camps and townships, described as early exemplars of community planning. Yet in 1942, when 118,803 Japanese and Japanese Americans were evacuated from the newly created Military Exclusion Zones and incarcerated in relocation centres, F.S.A. skills were put to a different use. This paper demonstrates how wartime exigency, racist immigration policies and militarisation transformed a model for relief and rehabilitation into a carceral equivalent. It contextualises this transformation within a socio-spatial genealogy of temporary facilities that accommodated mass human displacements – including two examples from California: the Tulare County F.S.A. -
American Society of Landscape Architects Medal of Excellence Nominations C/O Carolyn Mitchell 636 Eye Street, NW Washington, DC 20001-3736
AMERICAN SOCIETY OF American Society of Landscape Architects LANDSCAPE ARCHITECTS Medal of Excellence Nominations NEW YORK 205 E 42nd St, 14th floor c/o Carolyn Mitchell New York, NY 10017 636 Eye Street, NW 212.269.2984 Washington, DC 20001-3736 www.aslany.org Re: Nomination of Central Park Conservancy for Landscape Architects Medal of Excellence Dear Colleagues: I am thrilled to write this nomination of the Central Park Conservancy for the Landscape Architects Medal of Excellence. The Central Park Conservancy (CPC) is a leader in park management dedicated to the preserving the legacy of urban parks and laying the foundations for future generations to benefit from these public landscapes. Central Park is a masterpiece of landscape architecture created to provide a scenic retreat from urban life for the enjoyment of all. Located in the heart of Manhattan, Central Park is the nation’s first major urban public space, attracting millions of visitors, both local and tourists alike. Covering 843 acres of land, this magnificent park was designated as a National Historic Landmark in 1963 and as a New York City Scenic Landmark in 1974. As the organization entrusted with the responsibility of caring for New York’s most important public space, the Central Park Conservancy is founded on the belief that citizen leadership and private philanthropy are key to ensuring that the Park and its essential purpose endure. Conceived during the mid-19th century as a recreational space for residents who were overworked and living in cramped quarters, Central Park is just as revered today as a peaceful retreat from the day-to-day stresses of urban life — a place where millions of New Yorkers and visitors from around the world come to experience the scenic beauty of one of America’s greatest works of art. -
The Trees of Balboa Park by Nancy Carol Carter
The Trees of Balboa Park By Nancy Carol Carter Landscape architect Samuel H. Parsons, Jr. noted with enthusiasm the growth of trees and shrubs in City Park when he returned to San Diego in 1910. Five years had elapsed since his New York firm had submitted a comprehensive master plan for the layout of the 1,400 acres set aside as a park in 1868, but mostly left in a natural state for the next few decades. Parsons had returned to San Diego because the city had decided to host an international exposition in 1915. He was hired this time to assess progress on City Park’s master plan and to suggest improvements in all of San Diego’s parks. He thought San Diego had made good progress in engi- neering roads and otherwise fulfilling the landscape plan of City Park.1 His formal report to the park commissioners, submitted June 28, 1910, includes a description of trees and other plantings in the park. By the time Parsons wrote this report, City Park had been in existence for forty-two years and was estimated to contain about 20,000 healthy trees and shrubs. The park commission kept careful records of 2,357 shrubs and vines planted in 1909, but earlier landscape records are sketchy.2 In 1902, Parsons had suggested that the mesas be left open to preserve the stunning views stretching from the mountains to the ocean. “Overplanting is a common mistake everywhere,” he said, “A park is too often perverted to a sort of botanical garden, where a heterogeneous lot of plants are gathered together and massed in a haphazard fashion.”3 He was trying to help San Diegans understand the difference between a park and botanical garden and perhaps obliquely com- menting on the hodgepodge of homegrown efforts to develop the park before 1910. -
San Diego History Center Is a Museum, Education Center, and Research Library Founded As the San Diego Historical Society in 1928
The Jour nal of Volume 56 Winter/Spring 2010 Numbers 1 & 2 • The Journal of San Diego History San Diego History 1. Joshua Sweeney 12. Ellen Warren Scripps 22. George Washington 31. Florence May Scripps 2. Julia Scripps Booth Scripps Kellogg (Mrs. James M.) 13. Catherine Elizabeth 23. Winifred Scripps Ellis 32. Ernest O’Hearn Scripps 3. James S. Booth Scripps Southwick (Mrs. G.O.) 33. Ambrosia Scripps 4. Ellen Browning Scripps (Mrs. William D.) 24. William A. Scripps (Mrs. William A.) 5. Howard “Ernie” Scripps 14. Sarah Clarke Scripps 25. Anna Adelaide Scripps 34. Georgie Scripps, son 6. James E. Scripps (Mrs. George W.) (Mrs. George C.) of Anna and George C. 7. William E. Scripps 15. James Scripps Southwick 26. Baby of Anna and Scripps 8. Harriet Messinger 16. Jesse Scripps Weiss George C. Scripps 35. Hans Bagby Scripps (Mrs. James E.) 17. Grace Messinger Scripps 27. George H. Scripps 36. Elizabeth Sweeney 9. Anna Scripps Whitcomb 18. Sarah Adele Scripps 28. Harry Scripps (London, (Mrs. John S., Sr.) (Mrs. Edgar B.) 19. Jessie Adelaide Scripps England) 37. John S. Sweeney, Jr. 10. George G. Booth 20. George C. Scripps 29. Frederick W. Kellogg 38. John S. Sweeney, Sr. 11. Grace Ellen Booth 21. Helen Marjorie 30. Linnie Scripps (Mrs. 39. Mary Margaret Sweeney Wallace Southwick Ernest) Publication of The Journal of San Diego History is underwritten by a major grant from the Quest for Truth Foundation, established by the late James G. Scripps. Additional support is provided by “The Journal of San Diego Fund” of the San Diego Foundation and private donors. -
San Diego History Center Is a Museum, Education Center, and Research Library Founded As the San Diego Historical Society in 1928
The Journal of San Diego Volume 61 Winter 2015 Numbers 1 • The Journal of San Diego History Diego San of Journal 1 • The Numbers 2015 Winter 61 Volume History Publication of The Journal of San Diego History is underwritten by a major grant from the Quest for Truth Foundation, established by the late James G. Scripps. Additional support is provided by “The Journal of San Diego History Fund” of the San Diego Foundation and private donors. The San Diego History Center is a museum, education center, and research library founded as the San Diego Historical Society in 1928. Its activities are supported by: the City of San Diego’s Commission for Arts and Culture; the County of San Diego; individuals; foundations; corporations; fund raising events; membership dues; admissions; shop sales; and rights and reproduction fees. Articles appearing in The Journal of San Diego History are abstracted and indexed in Historical Abstracts and America: History and Life. The paper in the publication meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Front Cover: Clockwise: Casa de Balboa—headquarters of the San Diego History Center in Balboa Park. Photo by Richard Benton. Back Cover: San Diego & Its Vicinity, 1915 inside advertisement. Courtesy of SDHC Research Archives. Design and Layout: Allen Wynar Printing: Crest Offset Printing Editorial Assistants: Travis Degheri Cynthia van Stralen Joey Seymour The Journal of San Diego History IRIS H. W. ENGSTRAND MOLLY McCLAIN Editors THEODORE STRATHMAN DAVID MILLER Review Editors Published since 1955 by the SAN DIEGO HISTORICAL SOCIETY 1649 El Prado, Balboa Park, San Diego, California 92101 ISSN 0022-4383 The Journal of San Diego History VOLUME 61 WINTER 2015 NUMBER 1 Editorial Consultants Published quarterly by the San Diego History Center at 1649 El Prado, Balboa MATTHEW BOKOVOY Park, San Diego, California 92101. -
LANDSCAPE ARCHITECTURE LICENSURE HANDBOOK: Ensuring Safe, Healthy, and Resilient Natural and Built Environments
LANDSCAPE ARCHITECTURE LICENSURE HANDBOOK: Ensuring Safe, Healthy, and Resilient Natural and Built Environments Produced by: Josh Sundloff, JD, ASLA Produced for: The American Society of Landscape Architects Original Creator and Contributor: Alex P. Schatz, JD January 2017 TABLE OF CONTENTS 1. EXecutiVE SUMMARY 6 2. Introduction 9 2.1 Scope of Research 11 2.2 The Profession of Landscape Architecture 13 2.3 Allied Professions 15 3. LICENSURE Protects THE PUBLIC Health, SAFETY, AND Welfare 9 3.1 States’ Power to Regulate the Public Health, Safety, and Welfare 22 3.2 Licensure Addresses an Easily Recognizable Potential for Harm 24 3.3 Licensure Promotes the Public Interest 27 3.4 Licensure Can Be Accomplished Without Undue Impact to Other Professions 29 4. LICENSURE IS Supported BY Multiple POLICY Rationales 30 4.1 Background 30 4.1.1 Licensure of Design Professions 31 4.1.2 Licensure of Landscape Architects 33 4.1.3 Sunrise and Sunset Reviews of Landscape Architecture 36 4.2 Economic 40 4.3 Comparison to Regulated Nontechnical Occupations 43 4.4 Public Interest 45 4.5 Legal Treatment of Design Professions 49 4.5.1 Statutes of Repose 49 4.5.2 Certificates of Review 51 4.5.3 Mechanic’s Lien Rights 52 Landscape Architecture Licensure Handbook: Ensuring Safe, Healthy, and Resilient Natural and Built Environments Page 2 of 147 5. LICENSURE Protects AGainst THE RISK OF HARM 53 5.1 Licensure Protects Against the Risk of Physical Injury 55 5.1.1 Lighting 55 5.1.1.1. Lighting Equipment 56 5.1.1.2 Lighting Design 56 5.1.2 Playgrounds 60 5.1.3 Plant -
Frederick Law Olmsted, Landscape Architect, 1822-1903
OS I o L I B R A PLY O F THE U N I V ERS !TY or 1 LLl N015 CPU t The person charging' this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN jum9»9» APR 9''^^ NOV 2 6 1 i) mi i-i'R: •M- OCT 12 01991 OCT 3 99t JAN 1 i L161—O-1096 FORTY YEARS OF LANDSCAPE ARCHITECTURE BEING THE PROFESSIONAL PAPERS OF FREDERICK LAW OLMSTED, SENIOR LIBRARY m^lVERSITY OF ILUNOiS URBANA Frederick Law Olmsted in 1850 FREDERICK LAW OLMSTED LANDSCAPE ARCHITECT 1822-1903 EDITED BY FREDERICK LAW OLMSTED, JR. AND THEODORA KIMBALL EARLY YEARS AND EXPERIENCES TOGETHER WITH BIOGRAPHICAL NOTES ILLUSTRATED G. P. PUTNAM'S SONS NEW YORK AND LONDON Ubc Ikntcherbocfter press 1922 Copyright, 1922 by Frederick Law Olmsted Made in the United States of America ON THE CENTENNIAL YEAR OF HIS BIRTH IS PUBLISHED THIS FIRST VOLUME OF THE PROFESSIONAL PAPERS OF FREDERICK LAW OLMSTED PREFACE The richness and variety of the professional papers left by- Frederick Law Olmsted, Senior, is astonishing, especially in view of the enormous amount of work on the ground which he accomplished in the almost forty years of his active career as a Landscape Architect. Orderly and thorough by habit of thought, he wrote down with minute care the various steps of his professional dealings, in many cases retaining unused drafts which show valuable processes of mind.