THE

LANGUAGE OF

LANDSCAPE

Anne Whi ton pun

Photographs by
Anne Whiston pirtl

Yale Univer ity Pre s

ew Haven and London
 Contents

Introduction 3

Prologue: The Yellowwood and the Forgotten Creek 10

One « ATURE'S INFINITE BOOK": THE LANGUAGE OF

LANDSCAPE

1 Dwelling and Tongue: The Language of Landscape 15

Landscape Is Language () Landscape Is Meaningful and
Expressive () Landscape Has Consequences

2 Survival and Imagination: Rending and Telling the Meanings ofLandscape 27

Landscape Contested, Celebrated, Reclaimed: Slesvig and the Danish
Heath () Meanings: Inherent, Invented, Ambiguous () Landscape
Dialogues: Reading and Responding

3 Artfi,l Telling, Deep Rending: 71,. Literature of Landscape 47

The Poetry of Worship, Conquest, and Defense: Mont-Saint-Michel ()
Landscape Stories: Folklore, Myth, Tragedy, Comedy, Epic, Poetry ()
Landscape Genres: Of Worship, Memory, Play, Movement and Meeting,
Production and Waste, Home and Communiry () Artful TeUing, Deep
Reading: A Literature of Lived Life

Two "WITHOUT FORM A D VOID" TO "HEAVEN AND EARTH":

LANDSCAPE CoMPOSITION

4 15 a Path LiM a Noun, Funving Like a Verb? Elements ofLandscape

and Language 85
Process: Actions and Patterns of Events () Matter: Sensual and
Dynamic () Form; Shape and Structure () Performance Space: Places
of 'eed and Use () The ature of Material, Form, Process, and
Performance: Frank Uoyd Wright's Taliesins

vii
5 Dynamic Weaving, Fabric ofStories: Shaping Landscape Call1en 133
Mountain, Sea, River, Forest: Japan's Deep Cootext .. Elemental
Landscapes: Tree, River, Goud, Mountain, Human, Bird .. Dialogues
in Context: Place .. Sustaining the Fabric of Place: Japan

6 Rules ofCantext: Landscape Grammar 168

Principles of Grammar: Scale and Tense, Modifying and Agreeing,
Order .. Following and Breaking the Rules

Three USING THE LA GUAGE OF LANDSCAPE: PRAGMATICS,

POETICS, AND POLEMICS

7 Shaping: Pragmatics of Landscape Expression 191

Creating a Frame for Stability and Serendipity: Mamas .. Authors'
Sources: Reproduction, Adaptation, Abstraction, Invention .. Thinking,
Building, Caring .. Weaving a Fabric

8 A Rose Is Rarely jl/st a Rose: Poetics ofLandscape 216

Figures of Speech and Rhetoric: Emphasis, Anomaly, Metaphor,
Paradox, Irony, Address .. Expressive Context: Euphony, Cacophony,
Mood, Mystery .. Magic Kingdoms: Disney's Worlds

9 Polemical Landscapes 240

Remembering, Recreating, Destroying the Past: Berlin .. Polemical
Dialogues: Of Nature. History, Function, Art, and Power 0 Transcending
Polemics: Cultivating Paradox

Epilogue: Reimagining Mill Creek 267

Mill Creek Parks .. Mill Creek Art Folk Park and Mini-Golf .. The
Urban Forest .. The Grove

Notes 273

SOI/rces 288
Landscapes .. Landscape Authors .. Reading and Telling Landscape:
General References

Acknowledgmellls 311

Index 315
 Prologue: The Yellowwood
and the Forgotten Creek

Once a yellowwood stood by an old library, leafing, flowering, fruiting, setting

seed; roots grabbed hold, sucked air and water from beneath a plaza of brick. Its
skin-smooth silver trunk bore knobby limbs. Floppy leaves dung to long stems,
catching wind, moving green shadows across red bricks. Students sat each spring
under the yellowwood, listening to names named, glad for green shade, walked
under it to the library, breathed musky June flowers, kicked yellow leaves of Oc-
tober across red bricks.
For many years the yellowwood grew; red stone blackened, the building de-
cayed Then men came one day to ti.~ the library, piled stacks of tools, tiles, and
sacks around the tree, sealing soil under bricks. Two years later, the library reopened,
leaded glass gleaming, blackened stone brightened, furnace fixed. How elegant,
people said. That fall the tree lost its leaves in September.
ext May, the yeUowwood flowered early and profusely. Thousands of fra-
grant white blooms hung in long dusters; petals covered bricks, blew across grass.
How beautiful, people said. How sad, though. Several years' bud scars bunched up
against each twig's growing tip. Abundant flowers signaled a dying, and seeds
found no purchase in the plaza. People admired the tree and walked on; they had
lost the language that gives tongue to its tale. Once a yellowwood stood. No more.
And few knew why.

One day a street caved in. Sidewalks collapsed into a block-long chasm. People
looked down, shocked to see a strong, brown, rushing river. A truck fell into a hole
like that years back, someone said. A whole block of homes collapsed into a hole
one night a long time ago, said someone else. They weren't sure where. Six months
later, the hole was liJled, street patched, sidewalks rebuilt. Years went by, oew folks
moved in, water seeped, streets dipped, walls cracked.
Once a creek flowed-long before there was anyone to give it a name-
coursing down, carving, plunging, pooling, thousands of years before dams har-
nessed its power, before people buried it in a sewer and built houses on top. ow,
swollen with rain and sewage, the buried creek bursts pipes, soaks soil, floods
basements, undermines buildings. During storms, brown water gushes from in-
lets and manholes into streets and, downstream, overwhelms the sewage treat-
ment plant, overflowing into the river from which the city draws its water.
Vacant lots overgrown by meadows and shrubby thickets near boarded-up
homes and community gardens liJled with flowers and vegetables follow a mean-

'0
dering line no one seems to see. In a school that tands on this unseen line, the
gym 800ds every time it rains. Once a year, teachers take students on buses to a
place outside the city to see and study"nature."
On a once vacant lot, brand new houses-red brick, yellow sidIDg, green sliver
oflawn out front, gates open-rise in contrast to nearby older, shattered houses and
land laid waste: "First Time Buyers, own this home for less than you pay in rent; a
sign urges. The houses have been built by churches from coins and foundation
funds, the land a gift from the city. How beautiful, people say. 0 one wonders why
the land was free, why water puddles there, wby the name of the place is Mill Creek.

Signs of hope, signs of warning are all around, unseen, unheard, undetected. Most
people can no longer read the signs: wbether they live in a 800dplain, whether
they are rebuilding an urban neighborhood or planting the seeds of its destruc-
tion, whether they are protecting or polluting the water they drink, caring for or
killing a tree. Most have forgotten the langnage and cannot read the stories the
wildflower> and saplings on vacant lots tell of life's regenerative power; many do
not understand the beauty of a community garden's messy order. They cannot
hear or see the language of landscape.
Architects' drawings show no roots, no growing, just green lollipops and build-
ings 80ating on a page, as if ground were Bat and blank, the tree an object not a life.
Planner>' maps show no buried rivers, no 80wing, just streets, lines ofownership, and
proposals for future use, as if past were not present, as if the city were merely a hu-
man construct not a living, changing landscape. Children's textbooks, from science
to history, show no nearby scenes, suggest or demand no firsthand knowing, just for-
mulas and far-off people and places, as if number> and language had no local mean-
ing, as if their present had no past, no future, the student a vessel not an actor.
The yellowwood was the first yellowwood I ever saw, its perfumed 80wers an
amazing surprise my first year as a graduate student, the same year the hole and
the river emerged near my apartmenL The yellowwood, gone, is still on my daily
path; the forgotten creek is now the heart of my work. Back then I knew nothing
ofdying trees or huried rivers. ow I have learned to read what sloping valleys and
sinking streets tell, what bud scars say. Landscapes are rich with complex lan-
guage, spoken and written in land, air, and water. Humans are storytelling ani-
mals, thinking in metaphors steeped in landscape: putting down roots means
commitment. uprooting a traumatic event. Like a living tree rooted in place.lan-
guage is rooted in landscape.
The meanings landscapes hold are not just metaphorical and metaphysical,
but real, their messages practical; understanding may pell survival or extinction.
Losing, or failing to hear and read, the language of landscape threatens body and
spirit, for the pragmatic and the imaginative aspects of landscape language have
always coexisted. Relearning the language that holds life in place is an urgent task.
This book is dedicated to its recovery and renewal.
Landscape 3 text: The Ridgew3 . Avebury. England.
 1
Dwelling and Tongue:
The Language ofLandscape

LANDSCAPE Is LA 'GUAGE

The language of landscape is our oative language. landscape was the original
dwelling; humans evolved among plants and animals, under the ky, upon the
earth, near water. Everyone carries that legacy in body and mind. Humans
touched, saw, heard, smelled, tasted, lived in, and shaped landscapes before the
species had words to describe what it did. landscapes were the first human texts,
read before the invention of other signs and symbols. Clouds, wind, and sun were
dues to weather, ripples and eddies signs of rocks and life under water, caves and
ledges promise of shelter, leaves guides to food; birdcalls warnings of predators.
Early writing resembled landscape; other languages-\'erbal, mathematical,
graphic-derive from the language oflandscape.'
The language of landscape can be spoken, written, read, and imagined Speak-
ing and reading landscape are by-products of living-of moving, mating, eating-
and strategies of survival-creating refuge, providing prospect, gro\ving food. To
read and write landscape is to learn and teach: to know the world, to express ideas
and to influence others. Landscape, as language, makes thought tangible and
imagination possible. Through it humans share experience with future genera-
tions, just as ancestors inscribed their values and beliefs in the landscapes they left
as 3 legacy, "a treasure deposited by the practice of speech," a rich lode of literature:
natural and cultural histories, landscapes of purpose, poetry, power, and prayerl
Landscape has aU the features of language. It contains the equivalent of
words and parts of speech-patterns of shape, structure, material, formation,
and function. All landscapes are combinations of these. Like the meanings
of words, the meanings of landscape elements (water, for example) are only
potential until context shapes them. Rules of grammar govern and guide how
landscapes are formed, some specific to places and their local dialects, others uni-
versal Landscape is pragmatic, poetic, rhetorical, polemical. Landscape is scene of
life, cultivated construction, carrier of meaning. It is language.
Verbal language reflects landscape. Up and down, in and out-the most
basic metaphors of verbal language-stem from experience of landscape, like
bodily movement through landscapeJ Verbs, nouns, adverbs, adjectives, and their
contexts-parts of speech and the structure of verbal language-mirror land-
scape processes, products, and their modifiers, material, formal, and spatial. Just
as a river combines water, flowing, and eroded banks, sentences combine actions and
actors, objects and modifiers. The context of a word or sentence, like that of hill or
 Landscape legaq: a\-n1ue of ones. A~,..bury. England.

valley, defin it. erbal texts and landscap are nested: word within ntence within
paragraph within chapter, leafwithin branch within tree within forest. Words reflect
ob rvation and experience' dialects ace rich in term specific to landscape of place,
like "estuary Engli h;' de cribed 0 vividly by John tilgoe.~ hake peace, Mack
Twain, T. . Eliot, Anthony Hecht, and Adrienne Rich, like verbal poets of every
literature, mine land cape for structure, rhythm, and fre h metaphor of human
experience; 0 do poets of landscape itself, "Capability" Brown, Frederick la\
Olmsted, Frank Uo d right, Lawrence Halprin, Martha chwartz.5
Landscape is the material home, the language of lands ape is a habitat of
mind. Heidegger called language the house of being, but the language of land-
cape truly is the 1I0/ls of being; we d\ ell within it. To dwell-to make and care
for a place-is elf- re ion. Heidegger traced that verb in High German and
Old English' in both, th root for to d ell" means "to build." In German, the roots
for building and dweUing and "I am" are the same. I am becau e 1 d\ 'eO; 1 dwell
because I build. Bauell-building, dwelling, and being-mean "to build," "to
construct; but al 0 to "cherish and protect, to pre erve and care for, pecifically to
till the soil to cultivate the mind."6
Land cape a 0 iates people and pia e. Danish l/llldskab, German latldschaft,
Dutch lalldschap, and Old English landscipe combine two root. "Land' means
both a place and the people living there. kabe and schaffell mean "to hape",
suffixes -skaband - chaftas in the Engli h u_ hip" also mean a ciation, partner-

16 The Language of Landscape

ship' Tbough no longer used in ordinary speech, the Dutch schappen conveys a
magisterial sense of shaping, as in the biblical Creation. Still strong in Scandinavian
and German languages, these original meanings have all but disappeared from Eng-
lish. Webster's Dictionary defines landscape as static, "a picture representing a sec-
tion of natural, inland scenery, as of prairie, woodland, mountains ... an expanse of
natural scenery seen by the eye in one view"; the Oxford English Dictionary traces
the word to a Dutch painting term (landskip).' But landscape is nnt a mere visible
surface, static composition, or passive backdrop to buman theater; therefore dictio-
naries must be revised, and the older meanings revi\-ed The words environment and
place, commonly used to replace landscape in twentieth-century English, are inad-
equate substitutes, for they refer to locale or surroundings and omit people. In
midceotury, the declining use of landscape was in part a reaction to the azis'
adoption of"blood and soil; a linking of native landscape and racial identity. En-
,'ironment and place seem more neutral, but Lbeyare abStfad. disembodied, sac-
rificing meaning. concealing tensions and conflicts, ignoring the assumptions
landscape reveals. Landscapeconnotes a sense of the purposefully shaped, the sen-
sual and aesthetic, the ernbeddedness in culture. Tbe language of landscape re-
covers the dynamic connection between place and those who dwell there.
Landscape is loud with dialogues, with story lines that connect a place and
its dweUers. The shape and structure of a tree record an evolutionary dialogue be-
tween species and environment; eucalypt leaves that turn their edge to bright sun,
deciduous leaves that faD off during seasonal heat or cold. And they record
dialogues between a tree and its habitaL Tree rings thick and thin tell the water
and food of each growing season of the tree's life. Size, shape, and structure-Iow-
branched or high, densely branched or spare-reflect dialogues between a tree
and a group of trees in open field or dense forest. Each species has a cbaracteristic
form from which individuals deviate, as true of human body shape-muscled
or fat, short or tall-as of trees. A coherence of human vernacular landscapes
emerges from dialogues between builders and place, fine-tuned over time. They
tell of a congruence between snowfall and roof pitch, between seasonal sun angles
and roof overhang, wind direction and alignment of hedgerow ,cultivation prac-
tices and dimensions of fields, family structure and pallerns of settlement. Dia-
logues make up the context of individual, group, and place. The context of life is
a woven fabric of dialogues, enduring and ephemeral.
Humans are not the sole authors of landscape. Volcanoes spew lava, remak-
ing land; rain falls, carving vaDeys. Mountains, gardens, and cities are shaped by
volcanoes and rain, plants and animals, human hands and minds. Trees shade
ground and sbed leaves, produce a more hospitable place for life with similar
needs. Beavers cut trees and dam streams to make ponds: a dweUing place. People
mold landscape with hands, tools, and machines, through law, public policy, and
actions undertaken hundreds, even thousands, of miles away. All living things
share the same space, aU make landscape, and aU landscapes, wild or domesti-

The Language of lAndscape 17

cated, have coauthors, all are phenomena of nature and culture. Others share the
language, hut only humans (as far as we yet know) reflect, worship, make art, and
design landscapes like the gardens of the Villa d'Este that "set the formal strictures"
within a natural contn.1: "where the tension lectures us on our mortal state."9

LANDSCAPE Is MEANINGFUL AND EXPRES IVE

Landscape has meaning. Rivers reflect, clouds portend. Wilderness, for many now
a sacred symbol of undefiled nature, was once a terrifying symbol of chaos. Some
meanings are human inventions, and yet significance does not depend on human
perception or imagination alone. Significance is there to be discovered, inherent
and ascribed, shaped by what senses perceive, what instinct and experience read
as significant, what minds know. Any organism with senses has the potential to
read and understand landscape. To a dear man, a rustling hush cannot signal an
approaching animal, but moving leaves or vibrating ground may. To a canoer a
river is a path, waves and eddy lines are signs to steer by. To a fish a river is a wa-
tery world of light and shadow, surface movement is sign of prey. Fly fishermen
try to read rivers as fish do in order to trick them, picking then flicking the fly at
line's end, mimicking real flies abroad on the stream to convince the fish the fly is
real. orman Maclean describes a master fly-tier who lay under a glass tank filled
I.
with water to study the insect he planned to imitate. The best fly fishermen think
like fish, become the fish, in an intimate bonding of hunter and hunted.
Landscapes are as small as a garden, as large as a planet. To a person the gar·
den is a landscape, to a people the nation is,to the human species, a planet. A pond
is a landscape to a beaver, a tree to a bird, a forest to a tree. Ice floes on a river, lake,
or arctic sea, inhabited by birds and seals, 3fe a landscape. Ice crystals on a winter
window look like ice floes seen from the air, are uninhabited, yet to a poet a land-
scape of the imagination. Landscape may be inhabited in imagination alone.
There are landscapes within landscapes within landscapes. Every landscape
feature is both a whole and part of one or more larger wholes: leaf and twig, nvig
and tree, tree and forest; garden and house, house and street. street and town,
town and region. Every phenomenon, thing, event. and feeling has a context. A
valley is not a valley if it has no ridge or plateau, no up and down. Motion is im-
perceptible without rest, sound without stillness. Without sense of past and fu-
ture, there can be no present, without threat no refuge. The same material, foTtn,
or action may have different meanings in different settings-water in a desert,
water in a sea.
Anomalies are dues to what the wider context is. A "woIr' tree is a tree within
a woods, its size and form, large trunk and horizontal branches, anomalous to the
environs ofslim·trunked trees with upright branches. It is a clue to the open field
in which it once grew alone, branches reaching laterally to the light and up. With
that field unmowed, unplowed, or ungrazed, younger woodland trees grew thickly

The Language of Landscape

together around the older tree, their branche finding light b reaching up. The
older tree engulfed by a dense woodland of younger trees, no longer able to find
lighthorizontall ,sends ne\ branches upward. Landscape is dynamic, present con-
text include the past; the story of the wolf tree is part of the human tory.
When valley and river, path and user fail to correspond-when, for e.um-
pIe, a vall is ast but a ri er mall, a path broad and well-worn, but those ho
pass that wa infrequent- alle and path may ha e been haped b context not
now visible or no longer relevant alley by a great flood, path by an earlier urg-
ing ero d. Also, context may be actual or latent-every landscape has both real
and potential form-what i ,\ hat has been, what will, what might be.
Metaphors grounded in land cape guide how human think and act. George
Lakoffand lark Johnson demon trate what Emerson observed: that humans un-
derstand and experience one kind of thing in terms of another, pro'eering bodies

The lAngua e ofLancUcape 19

 and minds onto the surrounding world: trees and clouds seen as bounded, a river
seen as having a mouth, a mountain as having a foot, front, back, and side. 11 One
might just as easily see things as continuous and undifferentiated; viewing them
as separate is more a function of individual consciousness than an inherent qual-
ity of landscape. Many metaphors are grounded in fundamental relationships
with landscape-moving, making. eating, wasting. The most common refer to
space and direction: in and out, up and down. In American culture, high and in
are good. down and out are bad; central is important. marginal is not. Landscape
imagery conveys feelings and ideas: emotions churning like a stormy sea, rivers of
time, clouds where gods live, sacred mountains, Father Sky impregnating Mother
Earth with rain as the seed, Zeus and Thor hurling thunderbolts in anger, Siva
flashing lightning from his Third Eye, a flare of cosmic intelligence, the god of
Jews and Christians dispatching plagues of locusts and disease to punish the
wicked. Personification. the attribution of human feelings like intention. anger.
love to natural forms and phenomena, is the foundation of myth and religion.
Landscapes are the world itself and may also be metaphors of the world. A
tree can be both a tree and The Tree, a path both a path and The Path. A tree in
the Garden of Eden represents the Tree of Life, the Tree of Knowledge. It becomes
the archetype of Tree. When a path represents the Path nfEnlightenment of Bud-
dhism or the Stations of the Cross of Christianity it is no longer a mere path, but
The Path. The yellow brick road in The Wiznrd of Oz is both path and Path. The
similar is the stuff of metaphor. simile. and personification; contrasts are the stuff
of paradox and oxymoron. Landscape actors, objects, and modifiers may enhance
meaning without rhetoric: rivers reflect and run, but they do not pun.
Built landscapes may be rhetorical. Landscape features, like hill and street,
may be emphasized or embellished for effect, slope steepened to make climb diffi-
cult, street broadened and lined with trees to impress the viewer. Gardens of allu-
sion reflect oral and written literature: Shakespeare gardens allude to the bard's
plays and poetry, their herbs and blooms references to his works; eighteenth-cen-
tury English gardens, with their buildings in classical style and pastoral landscape,
refer to classical literature. When Mussolini built a monument in 1938 to those
who died in a battle of the First World War in Redipuglia, near Italy's northwest-
ern boundary, he used the language of rhetoric. More than one hundred thousand
soldiers are buried there in twenty-two terraces of tombs. arranged from bottom
to top in alphabetical order, sixty thousand buried at the top of the hill in a com-
mon grave surmounted by three crosses, like Calvary. Words engraved in the pave-
ment tell how these soldiers died for the glory ofItaJy, immortal in memory. Fac-
ing the hill of tombs is the grave of their general, as if addressing his entombed
soldiers. Their inscriptions answer. "Presente. nUl am here."
The language oflandscape can be spoken and read even though never codi-
fied, without recourse to rules. People follow paths and make them, plant gardens,
are awed by the scale of mountains and cathedrals; great designers use landscape

20 The Language of Landscape

Landscape of pow r and rhetoric World War One cemetery. Redipuglia. Italy.

fluent! ,all without dictionaries or grammars. Thomas Jefferson linked land cape
and learning at the Univer ity of Virginia where he designed and ited the origi-
nal building. igurd Lewerentz and Gunnar plund comforted the bereaved in
the Hill of Remembrance and Woodland Chapel at Forest emetery in tock-
holm. Glenn Mur utt as ociated people, sun, wind, and water in a hou eat Bingie
on the coast of Australia. Even tho e who eA1Jloit land cape cynically rna do 0
masterfully, as Mu olini did when, at Redipuglia, he fo tered feeling of heroic
nationalism to promote fascism, or as Disney ha exploited it, for profit, at Dis-
neyland and Disney orld.
Landscap are a vast library of literature. The myth of Japan' Fuji and
Australia' Uluru, the folksy tale of trolls and pink flamingo on American lawns,
the classical works of earth, \ ater, and wind at Yoemite and the Grand Canyon,
the high art of the Alhambra and Manhattan's Central Park, and countless other
places, ordinary and extraordinary, record the language of lands ape. The library
ranges from wild and emacular landscape tales shaped by everyday phenomena,
to d ic landscap of artful expression, like the relationship of ordinary spoken
language to great works of literature. \i orship, memory play, movement, meet-
ing, ~ chang ,pO' er, production, borne, and community are pervasive lands ape
genre. To be fully felt and known landscape literature must be experienced in situ;
words, drawin painting, or photographs cannot replace the experience of the
place itself, though they may enhance and intensify it.

TIl Lnllgunge ofLandscape 21

 Index

Abenr.\ (Denmark), 80, 221 art, 6, 8, 34, 36; and function, 3, 256; land-
address, 218, 223. 231, 233-34 scape as, 77, 80, 244; authority of 244.
air, 97-98. 100; in Priene, 170. See also 255-57, 259; v. nature, 252; and land-
clouds; light scape stories, 262. See also i"dividual
Alexander, Christopher, 122-23. 174. 197 listings
Alhambra (Spain), the, 21; and water, 94. Aspen Farms (Philadelphia), 186. 211, 213,
144-45. 149. 221, 226; as landscape of 266; as town, 71-74; structure of, 71, 75,
meaning and value, 158, 174, 182, 263. J06, 263; and meeting place design,
265; and use of framing, 219; and effect 72-74. 123-24; and biblical allusion, 80
of repetition, 221, 223 Asplund, Gunnar, 21, 252
allegory, 114. 229 assonanCe,22J
Alleo, Lady, 66 Austen, Jane, 79. 227
alliteration, 221 Australia. See desert, Australian; Murcun,
allusion, 20, 50, 77-79. 81 Glenn; Uluru
anachorism, 217. 225 authors of landscape, J7-18; voice of, 5J-54;
anachronism, 224-25. 236 sources, J95, 197
anastrophe.225-26 Avangsgarden (Denmark). 34~35. l.24-25,
Andersen. Hans Christian, 29 t72
Andersson, Sven-Ingvar, 120, 201, 220, axes. 106, uO.llo, 180-81, 237, 257
224-25; Mamas. 39. 66, 176-77. 191--95;
and dialogue with clients. 40--41; and Ball house, 44. 125, 200, 215, 22J
Breughel, 191, 195; Urienborg, 225. 235 Barthes, Roland, 276017
Ando. Taclao. 136, 164 Bateson, Gregory, 25, 168
Andropogon Associates, 196, 197.207-8 Battery Park (New York), 5J-52, 224
anomalies, 18-19. 159-60, 166,224-26 Benton, Thomas Hart, and red earth. 97
anticlimax, 224 Berger, John, on language of lived experi-
antiphrasis,232 ence,25
antithesis, 230-3J, Berlin, 33,159, 227; and erasing past, 63,175,
Appleton, Jay. 121 240-44> 263
architecture, ll, 23.35, 75, 96, 127, 149, 182, Bingie, Australia, house at, 3, 2J, 44-45,200,
J92. 197. 203. 2J6, 245. 253. See also j"di- 215
yjduallisti"gs birds, 32-33, 97, 102, 148--50,221
Aristotle, on urban planning, J69 Bloedel Reserve (Seattle), 258, 259-"62. 263
Arndtsen. Beth, n6 Blue Ridge Parbvay, 67, 144
Arnheim, Rudolph, 77. 179 Boston: Fens and Riverway, 24. 53--54,
Aronson, Shlomo, 22 69-70. 196--97,250--;1,28Lnnl.J,13;

315
 Boston (continued) Cicero.31-}2
Roxbury. 41. 96. uS-18. 207> and urban Cincinnati. ,
renewal. 6}. 2~ Ri\"erway. 67. 90; Dud- circles: in landscape, 33, 104. 107. 108.
ley Street neighborhood. 91--92, 179. 109-10; in architecture, 110
205. 20r. Beacon Hill, 158; Redevelop- city plan. 106-7. 184-5; Greek, 16?"-70
ment Authority, lOr. Public Garden. diche. 200, 229
219. 23r. and inner city decline, 25]-58 climate, 89, 97, 1,6
Boston Urban Gardeners, 91 climax, 22}-24
boundaries: rivers as, 33, 1.40; in Japan, .,.,., douds, 32, 33, 142-43. 200
and territory, 1I8-19, 120 Coastal Plain. 6. 184
Bowood (England). 90. 203 Colorado, 157; Platte River. 43. 144; plains,
Brandt, G. N.: Mariebjerg Cemelery, 1,D--5"1,6, 171; Fort Collins. 1,3. See also
Uo-U, 138. 264; and Andersson. 193, 195; Denver
and own garden, 198. See also Marie- Columbus Park (Chicago). 250-51
bjerg Cemetery community gardens. ]-8. 193; as landscape
Brazil,222 of community. 8. 72-7,. 211; as expres-
Brierly, Cornelia, 1}2 sion of laodsctpe. 22, 35-)6. 73-7;; aod
Brown, "Capability." 16, 90, 20.30 252 biblical allusion, 79-"80; and land re-
Bryant Park ( ew York). 51 claimed. u,-18, 21Q-U4 See also Aspen
By~ PL E., 203. 204 Farms
conceit. 228-29. 231
California. 78, 143, 238; Irvine, 86. 87. 233. context: as shaper of landscape elements,
263; Newport Coast Road, us; Soulh 15. 17. 18--19.86,133; as woven fabric, 17.
Coast Plaza. 175; and paradox and 160-61, 163-67; and anomalies, 18-19.
irony, 233. See also Disneyland/Disney 1,9"-60; Latin word "contexere," 133; of
World; Laguna Canyon; Orange Japan, 134-37, 163-67; and trees, 137-39;
County. Calif.; Sea Ranch; Village shaping, 138, 207-9; and rivers, 139-42;
Homes and douds, 142-43; and mountains.
Calvino, halo, 26) 143-46; and humans, 146-48; and birds,
Carson, Rachel, 1.49 148-50; of Denver. 1,D--5;; enduring v.
cathedral, 58. 100 ephemeral, 156-58; multiple. 16lHi9.
Cather, Willa, 1,9 171; and scale, 1]1-741 design and deep
cemetery, ,9-0J. 230, 23,- See also Forest context. 181-83, 184-86
Cemetery; Mariebjerg Cemetery; contrast, 20, 219
Redipuglia Cooper's Place (Boston). "5-19, w, 207
Central Park, 21, 24. ,3-540 197, 277J143; Copenhagen, J4, 230. 253-54
Bethesda Fountain. 126, 227 Courances (France), 261, 264
Chantilly (France), 90, 101-3, 18:z., 2}1 Ctao2, Galen. 64
Chartres cathedral, 511 Cronon. William, 38-39. 49
Chestnut Hill, Pa.• 184~5 Crouch. Doris, 169
China: gardens in, 78, 233; Forbidden City, Crowe. Sylvia. 246
106--7 culture. 95; and cuJtural blindness, 35. U4;
Church. Thomas, 203, 2,2 local v. universal. 48-49. 7,-n. 81, 195

}16 Index
Dallas, 63, 175
Darwall. Randall.
Dayton. Ohio. 205
2_.0 Dubas. I\<no. 1240 .26
dwell, to (¥turd). 16

Denmark: Skamlingsbanke. 27-2Jl. 31; tho Eames, Charles. 1]2, 174. 208
heath, 2]-31, 49, 79. 81, 158. 274"4; and Earnos. Ray. 1]2, '74
Danish narur~. Danish culture. )4-35. eanh. Su rock; soil
74-75.158.263; Lc:jr<. 34-35. 124-25' Em- echoism, 221
drop Adventure Playground. 66; and <eology. 245. 247-48. 249-50
seasons. 89; !.<gol.nd. 219; Arhus Uni- Eiseley, Loren, 43, 148
versity. 227. Sn also individual/istings Eliol, Gmrge. on landsca~ and memory,
DeO\'<1". 150->5. 156, 17~79, 26s; Sky\ino 9S
Plaza. '55. 21); and grid plan. 156--57. Eliot. T. -.109.139. 19S, 196
17~79; HarI<quin plaza. 221. 22b--27 Emdrup AdvontUr< Playground (0<0-
desert. 81. 88. 97-98, 1}9, 156, 159; Aus- marlt).66
tralian.36. 104-5. 111-14; rhythms of,}8j Emerson, Ralph Waldo, 5, 19, 55. U7
and F. L Wright, 13tr}l, 178--79; con- emphasis. 21]-23
trast in, 219 England: and 181h·century landscape:, 20,
design: human ability to, 18, 2.5,}8; Fens as, 33> So. ]8, 90. 114-15, 228; sacred places
24. 53--54. 70. '96; and dialoguo with in. 58; .nd landscap< of production. 69;
clion... 4O-4.l> 44; and dialogu<s with and influence on American landscape.
landscape:, 43-46, 199, 202; Western v. 78, u5, 228, 235' and <xparting gardoo
J.panos<. 75-]]; sealo of. I]); and r<pro- style to Empire, U4. 18}. 225; and power
duction. 196-98; and abstraction. upr<SS<d through Iandscap<. 11). '58.
193-99; and imitation. 198-99; and in- 25]; footpaths in. U9-I57, 179; and im·
vention. 199-202; by trial and error. ported plants. 13). 225; and enduring
202-4: and drawings, 202, 204-7; and context, 157-58, 179; Vale of the White
vernacular method, 2020 205; shaping Horse, 234
context as, 20]-9; and ideology. 24} epanalepsis. 222-2)
Dewey. john, 5. 196 epanaphora.222:-23
dialogue looming through.); of I.ndscap< EPCOT. 2S, 51, 225. 261. 265
dements, 17. 22. 39, In-7S. 2.16; with Escorial. tho. 257
I.ndscap<. '7. 24-25. 38--40. 45. 48; 1><- European Community. and agricultural
1W«n d<>igu<T and clioot, 40--46. 7.\, 96. lands. 158. 27404
214-15 Evdyn. John. 184
Dillard, Annie. 2.4 exaggeration. 219-20. 238
Dinan, Franc~, rh-er Rance, 141, 2)1, 2.65
Disney. Walt, 67. 146, 2)}. 2}6. 239 Fairmount Park (Phil.ddphi.). 184, .85.
DisncylandIDisn('f World, 21, 51, 63. 221. 230,268
222, 227. 2)6--39; M.in Str«t. 6]-68, 78, farm. )-6. }4; farming, 240 )1; fanners. 25.
106, 2}6, 253tand humans asconte:xt.I46 97.225
distortion. 22tr21, 2}8 Fdd, St<Voo. 148
Donn<ll Gordoo (Calif.). 203 F<ns and Riv<Tw,y (Boslon), 24. 5)-S4.
Downing, Andr<w J.ckson. 228 69--]0, 1~7. 250-51. 28mnu~3

Index )1]
 Ferrand. Beatrix, 50 garden mo\'ement, 246. 25L See also
Finland, 96-97 community gardens; individual listings
Finlay, Ian Hamilton, 79, 201 Gardner, lsabeUa Stewart, and courtyard
fire, 86, 87, 89, 98. 99, 100 garden. 235
fisher:men, 18, 240 142 Gasworks Park (Seattle), 262
Ford, Harward, ]1-7'2, :1.15 gates, m and ritual passage. 55-;6, ;8, 222.;
(orest, 36; at Chantilly, I02--j; in Japan, and performance space, U7, u3-19. UI,

136---37. 144; as communities, 139; at 1.2,},125. 126; as context, 133

Bloedel Reserve, 259"-62.; urban, 271-]2. Geddes, Patrick, 196
See also trees genres. of landscape, 21. 54-55. 276m7; of
Forest Cemetery (Sweden), 121, 133, 180; worship, 55--57; of memory, 5g--63; of
Hill of Remembrance, 21, 61--62, 8o, u5. play, 63--67; of movement, 67--68; of
178; Woodland Chapel. 110 production. 68-70; of home and com-
fountains, 64--65, 94, 1.26, 220, 227, 268; Tan- munity.7o-n
ner Fountain, 6.... 98; at Parc Andre Cit- geometry. 104-11. 216; and Le Olre,102-3.
roen, 6;. 199; at the Alhambra. 9.... 180.182; fractal. 105-6; and F. L Wright,
144-45. 221, 226; Bethesda Fountain, lOS. 109. 131. 181
u6. 227; Lovejoy Fountain, 145. See also Gettysburg, 50, 58-59
Ira's fountain Ghost Parking Lot (Harnden, Conn.), 51,
framing, 130. 216, 218-19, 223 52, 199
France: Regional Cuhural Parks, 5'; formal Gollwitzer, Gerda, 139
gardens in. 78, 90, 182, 228; river Ranc~ Gould, Stephen lay, 95
141, 231,265. Set also Chantilly; Parc de Grand Canyon. 21
Sceaux; Paris; Vaux-Ie- VKomte; Versailles Great Plains, 15G-55. 156, 171
Franklin Court (Philadelphia), 232, 234 grid, 102, 103, uO.180--81; of American Mid-
Freeway Park (Seallle), 67 west, 106. 153. 156-;7; and city plans,
freeways, 67, 90 106-7,169-7°
Friberg, Per, 201 Grundtvig, N. F. 5.,28
Friedrich, Caspar David, on language of
nature,37 Haag, Richard. 261, 262, 264
Fromonot, Fram;oise, 205 habitat. 16.95. "9. 244i of tree. 17; forest as.36
FroSt. Robert, U5 Hadrian's Villa (Italy), 175
Frye, Northrop. 195, 2760.17 Halprin. Lawrence, 16, 149, 196. 210. 215;
function: and art. 3. 256; and congruence and dialogue vtith clients. 42-43; and
with feeling and meaning, 80--81, 94. freeways. 67. 90; and fountains. 145. 147.
169'-70; and relation to (orm and fed- .80, 195, '911-99; and directly shaping
ing, U3; and deep context. 181; author- landscape. 202-}. See also Ira's Foun-
ity of, 244, 253-55, 256, 259 tain; Lovejoy Fountain; Sea Ranch
Hargreaves. George, 228
Gans. Herbert, 255 Harlequin Plaza (Denver). 221, 226--27
garden, 70-75; as "third nature," 32; as par- Harrison, Helen, 245
adise. 33, 70, 248; experimental. 191-95. Harrison. Newton. 245
201; and self-expression, 192--95; natural Harvard University, 6. 7; Tanner Fountain.

3J8 index
 64, 98; Graduate School of Design. 116. deep context of landsape. '.14-3];
2}8 l.5ubo, 148; and integrating old and new,
Harden, Dolores. 160-61. 264 .6~r. rice fields, 166-<;7. 28on35;
Hecht. Anthony. 231 Yokohama railroad Slation. 225. S« also
Heidegger. Martin. on concept of d,,-elling. Is< shrine: R)".nji; Saihoji
,6 Jefferson. Thomas. 21. '}6. '9'\, 216. 2;2
High Plains, ';2 Jelkyu, Gertrude, 78
Hippocrates, on wban planning. '69 Jdli~. Groffr~. 195. 198. 2l~20. 224.229.
history. 'lS-49. 24.l 236
Hollis, Doug. 245 Jensen, lens, 78, 109. 131, 248-49. 250-51
Hoskins. W. G.• 179 Johnson. Mark, '9
Houston, 166.228. 230
Hoyt. Burnham, 1;1 Kahn, Ch3rlOLt~. 91
Huizinga. lohan, on places of play, 6) Kahn, Louis, 149. 163
Hull. John. 36 Kansas City. Mo., liD, Uj
humans: as shapers of landsape. 15, 1j'-18, Kamrra (KYOlo). 99,'64, 218
22-26. '56-58: and language of land- Kennedy. Raben, .62
scape. 22-23. 25-26; as trees, 1)9; as COD- Ken~ \V"tlliam. 90
tat.l~ Kmtucky, 104. liD, 181
Hunt, John Dixon. 32 K<w. Royal Botanical Garden al. 225
Kiemsledt. Hans, 91
Independence National Park (Philadel- Klee, Paul, 39-40, no, 196.263
phia). 153. 263 Kobe. 99. ,)6. 164
International Style, 98, 182-8) Kongeashus Memorial Park (Denmark).
Ira's Fountain (Portland, Ore.), 145. 28-)1,49.50. n, Ul
146-47.180.198 Kyoto' 76. 98-99. 107. 135-36. 165-66;
irony, 31, 34. 229-33 Shisendo. 39. 98~9. 164. 195;
lse shrine (Japan), 55-58. t07. 234> and en- Shugakuin. 99. 137; Kalsura, 99. 164, 118
during impermanence, 56, 100; and
n~ted enclosures, 56. 10]. 180. 2ll Laguna Can}"On, CaIif·.1l6-87. 89. 98. 99
Italy. 55: gardens in. 18. 50. 78. 236; Villa Laguna Can}"On \V"~derness Park, _4)
d'Este, 18, 2)6; Villa Rotonda. ll2; Villa lakoff. George, '9
lante. 236. S« also R<dipugJia landsape: as language, J, 8, 15-'8, ~21.
:u.-26; asdwdling.lS,l6; and rarly forms
Jacobs, Jane. 255 of writing. IS, IJ3fll; as tC'Xt, 1;-16. Jj--jT.
James, Henry, 80 \o\'Oed for. 16-17. 27307; as shaping. 16-I.8.
James, William. 5. 265 J.4; \'efTlacular, I]. 39. 49-50. 181-82. 202;
Japan: as landsape of parado.<. 500 '35-36. 2}4; as manmade. 1]-18. l4-2So 274014;
2)0; subways. 68. n. 166; houses. 75-n; authors of. 1;>-.8, 51--54: and scale. 18,
cities. 76-n. 166-6r. green light in, 8t, 1]1-75; and anomaly, 13-19. 159-60.
98-99. 135; and stroll garden. U5. 130, 224-2; and metaphor, 19-20. 2].)4.200,
179055. 179"53; and influence on F. L 226-29; as rhetoric, ~21; as expression
Wright, 12]. 1)0, 278050, 179"53; and of power. 20-21, us. 1>8, 220, 25]-59;

Index 319
 landscape (continlled) Loewe, Ruth. 2n, 2u.. 215
genres. 21, 54--55: as literature, 21-22, Long, Richard, 219, 231
48--54, 80-81; and nature, 24. J2, 246--'50, Lorrain. Gaud", 7&-79. 235
259; and renewal of wastelands, 4 Los Angdes. 88,173; Power of Place. 160-61.
53-54>69"-70.71. 26~and paradox. 27. 264
30,31.50,135, 229-33. 25~ reading, 27. Loudon, J. C., 228
35-37. n-81; of instruction, 27-29. 60. Louis XIV: and allusion in landscape, 78,
62, ]To and irony, 31, J4, 22~33; and the 218. 228; aod Champs- £lysees. 106; and
senses, )6. 96-99; dialogues with. 3:>-46. power expressed through Iaodscape.
48; of worship, 47-48. S40 55--58, ~ 220,257
229; of memory. SO---St. 59'-63. 196. I5}; Lovejoy. A. 0 .• 248
restoration of, 52, 196-"'97. 207-8, 2ll-15, Lovejoy Fountain (Portland, Ore.), 145
250; of movement and meeting. ~ Lowenthal, David. 62-63
6r-M; of play. 5" 63-67. L4l>-4r. of pro- Lyle. John. WI
duction, 55. 68-70; of home and com- lynch. Kevin, 64. 122, 195, 196
munity. 55. 70---770 as art, n. 80, l44; allu-
sions in, n-79; dements of. 137-50, 168; Maclean. Norman, 18, 24, 43
grammar of, 168--81, 18)-88; and local Magrine. Rene. 219
dialects, 181-8}; sources of, 195-202; Malevicb, Kazimir, 195
as woven fabric. 209-15; emphasis in, Mall. the (Washington. D.C.). 60. 220. 227.
217-23; and climax and anticlimax, 2)7
>.23-'-4; and address, 233-3>; aod expres- Mandelbrot, Benoit, 105
sive context, 235-36; and magic worlds, Marcus, Gare Cooper, 64
2)6-39 Mariebjerg Cemetery (Denmark). )8; aod
landscape architecture. 6-9. ~ 63, 72, 96, use ofgrid, nO--11, 138.180,197, 264; and
u6. 245-47. 249-50, 252. See also indi- Danish landscape, 158. 263
vidual listings Mamas (Sweden). 39, 66. 176-77, 19G--95.
landslides. 39. 87. 89 209,215
Langer, Suzanne. 80 Marx. Roberto Burl", 237
Lasswen. Harold. 258 materials. 85-86; shaped by process, 92-<)3.
layers, 31,33. 89. 106, UO---II, 136-37. 149. 158, 96, 99-100; as sensual. 101; and use of
171,182 homogeneous, 130, 180; limilS imposed
i.e Notre, Andre,IOl-3. 1,58,l82, 196.229.252 by. 1lT. imported. 182-83
Leopold. AJdo. 25. 52-53. 79. 8,. 197 mazes, 33. 108. 229
Le Plastrier, Richard, 201-2, 2040 205. 215. 245 McHarg. Ian. 6-7. 196. 249
Lewerentz. Sigurd. 21 McPhee. John. 39
light: and sacred places, 33. 58; and air. meanmg.ll, 15, 18-22, 32-33, 168, 216; ambi-
97-98; in Japao, 98-99. 136-37 guity. 33-35; reading, 35-40; and con-
Lin. Maya. 60. 147- See also Vietnam Veter- gruence with function aod feeling.
ans Memorial 80-81, 94. 169-70; process and. 99-101;
Lincoln Memorial, 50, 85,147, 220 expressed in shape and structure,
litotes, 232 10]-U; and context, 133
Little Spartica (Scotlaod).79 meiosis, 2}2

320 Index
memorials, 49-50, 59-60; Koogenshus, of design, ·0-45. 182., 202, 20M. 206.
28-31; Verdun. 50. ;9, 61. 62; as elegy, ;0, Sa also BaU house; Bingie. Auslralia,
1.7508; Leopold Memorial Reserve, house at
52-5]; atioDal French Resistance Muriyama, Kinya. 203
Memorial, 59. See also Forest ~metery; Mussolini. 20. 21. 59. 257
Redipuglia; Vietnam Veterans Memorial
memory. 98--99. 138--39.196; landscapes of. N=urn Garden Colony (Denmark):
5~1. 5~), 196,253 hedges 3t. 74-75. 222. 264> and Danish
Messiaen, Olivier. 148 culture. 75, 1;8, 263; order and flexibil-
metaphor, 15, 19-20,27.34.200.217.226-29 ity, 180, 193, 197
metonymy. 223. 22]-28 nature: cities as 3, 24,156.264--65; and shap-
Mexico City. 106, 183 ing of landscape, 1]-18; landscape as in-
Michener. James. 154 terpretation of. 24, J2; "nati\'e" nature,
Middleton Place (South Carolina), <>B--<;g 3)-32; and word for. 32. 273n7. 274nI3;
Mies van der Rohe, ludwig, 195. 232 authority of, 244, 246-50. 259; and use
Mill Creek (Philadelphia): design for, ), 7. of native species, 251; v. art, 252
2). 42, '2]3-15; as sewer. 1~1l. 161-62, azis, and political use of landscape, 17,
18;-88.212; and abandonment of inner 246,249,252
city neighborhoods, 92, 161--<S), 17), 187. Netherlands, the. 158, 219
26): r<imagining, 267-72- See also As- ew York City, 1)8, 18.-.7---83. 2)2; Bryant
pen Farms; Sulzberger Middle School Park.)1; Banery Park, 51-52, ll4; Bronx
Miller, Wilhelm, 78 River Parkway, 67. 90; Statue of Liberty,
Minnesota State Capitol, competition. 218: Paley Park, 2)6; Jacob Javits PI323,
252-53.259 2»-56. See also Central Park
Mishima. Yukio. 235 Niagara Falls, 53. 224? 262
Mississippi River. 27. 37, 49. 142 Nicholson, Ben, 229
Mohr, Jean. on language of lived experi- Noguchi, lsamu. 175
enCe,1.5 orherg-Shull., Christian. 122
Monet, Claude. 35. 39 otre Dame cathedral, 58, JOO
Mom-Saint-Michel. 47-48. 49. 540 56. 110. ourlangie Rock (Australia). 124
ll)
Mont Valerien (Paris). 50, 59. 60 OcatiUa (Arizona), 130. 180. 181
Morrison. Darrel, 197 Ohio, 5, 205
Morrison, Philip, 172, 174 Olin. laurie, 51, 197. 250. 255
Morrison, Phylis, 1]2, 174 Olmsted, Frederick law. 16. J96. 252; and
mountains, 77. 143-46; as sacred landscape. wild landscape. 53-:55, 70. 250, 277D43;
20,33,143.165; in Japan, 134-35, 165 Yosemite, 55. 70; Fens and Riverway.70,
Mount Auburn Cemetery (Cambridge. 116, 196-97. 250-;1, 28100U.13; Iagara
Mass.). 230. 235 Falls, 224, 262. See also Fens and River-
Muir, John, 52, 55 way; Central Park
Mumford,lewis.196 Oral Roberts University (Oklahoma), 220
Murcult. Glenn,3. 125.195; and use ofland- Orange County. Calif., 42-43. 86, 87, U5,
scape, 21, 43-45, 197, 200, 145; method 175.233,263

lndex 321
 order. 109, 17g-81; and repeating events, performance space, 121-26, 278n35; Uluru
87-90; and F. L. Wright, 131-32, 180-81; as, 111-14, 118--19; Stourhead as, 114-15,
and Mariebjerg Cemetery. 180, 193. 264; 11&-19; Cooper's Place as. 115-19
and Nrerum. 180. 193. 264; and Mamas. performance zoning. 209
191--95; and framework for Mill Creek, personification, 20, 228, 235
210-15. See also geometry Pfeiffer, Bruce, 1}2
Osaka. 76, 165. 166; subway, 68; Shitennoji, Philadelphia, 183-88; planning commis-
16} sion, 23, 163; water department, 23, 215;
oxymoron, 230-32, 263 Welcome Park, 81; city plan, 81, 106, 197,
218, 222; seasons in, 175; Fairmount
Palladio, Andrea, 222. 252 Park. 185, 189, 230; Franklin Court, 232,
Palm Canyon, Calif., 88 234; Independence National Park, 253,
Panofs!..1', Erwin. 160 263; Redevelopment Authority, 254,
paradox, 27. 229--33; at Kongenshus, 31; at 270. See also Mill Creek; Schuylkill
Ryoanji, 50, 135; at Bloedel Reserve, 258, River; West Philadelphia
259-62; cultivating, 262--65 Phoenix. 129.159, 179
parallelism, 218, 221, 223 photography, 4, 5, 8
Pare Andre Citroen (Paris). 64--65, 198 Piedmont. 6,183-84
Pare de La Villette (Paris). 108, 200, 221, 222 Pinchot, Gifford. 55
Pare de Sceaux, 175-76, 182, 223 place: word for, 17; experience of, 80-81;
Paris, 22~ Pare Andre Citroen, 64--65, 198; identity of, 160-63. 182-82, 264
Place de Vosges, 97, 230; Champs- placement, 218, 223
Elysees, 106; Pare de La Villette, 108, planning, 8, 11.23.92, 166, 182, 208, 255
200,221,222; plaza by La Grande Arche, plants: succession of, 31, 35 223-24; com-
120; Arc de Triomphe.125; Eiffel Tower, munities of. 139, 181, 250; native v. for-
227; and Haussmann, 257 eign, 196, 246, 250. 251
parks, 78. See also illdividuallistings play: landscapes of, 55, 63--67. 146-47; ad-
park\vays, 67. 90 venture playground, 65--66
past: and landscape of memory, 50-;1, PlinY,J9
59--63, 253; erasing (Berlin), 63, 175, Pohlsgaard, Henrik, 201
240-44, 263; loss of through urban re- Poll, Sonja, 108--9, 227
newal, 63, 175, 263; re-creating, 243; au- Pollan, Michael, 24
thority of, 244. 25D-53, 257; and tradi- Pope, Alexander, 79, 222, 231
tion and invention in landscape, 263 Poussin, Nicholas, 79. 235
paths: as metaphor, 20, 27; as landscape el- Poweiton/Summer-Winter Community
ement, 22, 49, 84. 85, 102, 1OB.---9; in sa- Garden (Philadelphia), 74
cred landscape, 27, 33. 111; as places of power, expressed through landscape, 220.
meeting and movement, 73-74, 119-21, 257-59; at Redipuglia, 20-21. 257; in
170; storied, 78--79, 114-15, "9. 259-60; English landscape, u5, 158, 257; and
at Uluru, 111, U4, U9; English footpaths, stone, 133
U9-20, 179; as performance space, 121; prairie, 139, 152,156, 157. 230; trees on, 139,
and form and meaning. 125, 178 159,219
Penn, William, 184 Prairie School, 78

322 Index
Prairie S'r)e of landSGlpe. 227 Rocky Mountain Arsenal (Denver). 229-30
President's Park ("\'ashington, D.C.), 22]. Rod..-y Mountains. I#. 150. 153
2j6-3T. 238-39 Roden Crater (Arizona), 143. 219
Priene (Turker).169-"71,178.18I,197 Rokko chapel (Kobe). ,64
proe<ss, 85"""9); as metaphor. 93-<J6: and Rome, ancient, 55, u6; classical themes and
meaning. ~101; and molal. I)); limits English landscape, 20, jOt 78-79,114-15;

imposed by,l]]; designing wilh.l99. 202 and influence on landscape. 78.11~ 1;6;
prochronism. 225. 236 structure of caslrUm, 106
prospect. 124-26.')4; Skamlingsbaoke, 28. Rouse. James, 2}8
1)4; Stourhead, 119; and mountains, Rousham,90, U5
134-35. 153. 171 Rowe. Peter, 197
Pruin-Igo Housing Project ( t. Louis), 254 Ruskin. John, 38
Ryoanji (Krnto), 135-36. 158: and paradox.
Quabbin resermit (Massachusetts), 160. 50, 135-36, 13]; and metaphor, ~ 226;
234 and Bloedel Reserve. 260. 264

RasmUSSC'n. Steen Eiler. SO. 195 sacred places, 5r;;3: paths in. 27. 33. 111:
Redipuglia (Italy): as IandSGlpe of power mountains as.3J. 56-57, 14); and mazes,
and rhC'toric~ 20-21, 2ST. as landscape of 3), 229; in Japan, 5H6, 165, 222; light in,
instruction, 59"""'60. 62, m and allusion. )8; Uluru. 88, m-u, 159; sacred archi-
n-78 tecture, uo; anomalies as, 159. See also
Red Rocks Amphitheater (Denver). 15<>--51. landscape, of worship; memorials
17' Saihoji (Krnto). 39. 1)4; moss garden.
refuge, 114-25;Skamlingsbanke. 28. gar- 94-95,99; teahouse, U5
dens as, 109, uS, U9; Uluru, 112-13, lI9. St Louis Arch, 50, 81
Stourhead. 114, 119; and Forest Ceme- Salk Instilule (La Jolla). 149
Lery.I]8 Sanibel Island, Fla., 208-9
Replon, Humphrey. 128 San Jose freeway, 90
rhythm. 90. 221-22; of events, 89. 154; sea- Sanssouci (GermanY),17.5, 224
sonal.181 Sargent, Charles Sprague, 196, 251
Richards. I. A.. 34 scale. 18, 171-75; al Chantilly. 101; and shap-
Riley. Robert. 39 ing. 107, 202; at Disneyland. 237
Rio hopping Center (Atlanta), 217. 235 Schafa. R. Murray, III
riYef'St }2, 148-50; Mis.sissippi Rhn, 27. 37. SchinI:eI. Karl Friedrich. 24l. 243
49.1420 river Rance. 141, 231, 265; South Schjetnan. Mario, .83
Platte River. t54--550 179. 165; Schuylkill Schon. Donald. 7
Rj.,,-e:r. 183-88. .ll,}. 268 Schuylkill RiYef. 18)-38, 212, 213, 268
Riverside Park (New York). 6.l Schwartt, Martha: plice Garden. '00-'01,
rock: in Finland. 96-9]; as material. 96-97. 199.228. 2)0. 25~ Rio Shopping Cen-
~100; at Taliesin West, lJo-)I, 179; 1er, 2.16-1]; "Hanging Taas Bluebonnet
Ryoanji garden. 135-36; at Denver. Field,. 225-26; Boston roof garden. 229;
15o--jl. Set! also stone New York roof garden, 2)2; Bagel Gar-
Rockefeller. Abby. garden of, 50. 89 den. 2)2, 256--;;r. Jacob Javits Plaaa. 256

lnda 323
 Sea Ranch (Calif.), '77, 210 stone: sarsen, 16, 133; at Skamlingsbanke,
Seattle: Freeway Park, 67; Bloedel Reserve. 28; at Kongenshus, 29-30; as material,
258,259-"62, 26); Gasworks Park. 262 99-100; and context, 133; New England
Sea World (Calif.), 63, 221 walls, 159, 160, 181; at beech forest, 220;
Seddon, George, 160 at Vizcaya. 230. See also rock
senses, ~ 36, 37. 96--97. 10]-8 Stonehenge, 89. 133, 219
Serra. Richard, Tilted Arc., 255-57 Stone Mountain (Arizona), 124
Shakers, the, and sacred architecture, 110, stories of landscape. 11, 17, 48--51. 77-79;
229 people misread, 22, 81; and voice, 51--54;
Shakespeare. William, 16. 20 little Spartica, 78--79; Stourhead.114-15,
shape, 107-11; v. structure, ]03-4; fractal, 119; and designers as storytellers, 267-72
104; and F. L. Wright. 109. 131; of river Stourhead (England): and classical allu-
and valley, 1]8 sions, 78--79. 114-15, 228; as manifesta-
shaping: landscape as, 8, 16-18; by nature, tion of power, 114-15, 158; boundaries
17; by humans, I], 22-26, 244; direct. 49, at, 118--19
202-4; and imitation, 86. 198--99; and Stowe (England), 50, 78, 147
abstraction, 128, 198-99. 248. and repro- structure: at Chantilly, 101-3; v. shape,
duction, 196-98; and invention, 199-202; 103-~ from Latin ustruetura." 104;
indirect, 202.; and context, 207--9 geometries of, 104-11; of landscape,
Shisendo (Kyoto), 39, 98--99, 164, 195 106-11; F. L. Wright view of, 131-32,
Shilennoji (Osaka), 163 279"55; surface v. deeper. 157-58, 210;
Shugakuin (KYOI0), 99,137 for Mill Creek, 2]0--15
SITE (Sculpture in the Environment), 51, Sturbridge Village. 50, 253
199.225 Sulzberger Middle School. 162, 163, 214. 271
Skamlingshanke (Denm31k), 27-29, 31 sun, 38, 58; and Murcutt's designs, 44-45,
Smithson. Robert, 245 182, 200; in desert, 179
Smol-y Mountains, 143-44. III Sun Xiaoxiang, 78
soil, 28: and farmers, 24-25, 97; exhausted, Sutton Place (England). 219, 224, 229, 235
31,34-35. 274m3; restoring fertility to, 52 synecdoche. 227
Son fist, Alan. 245
S0rensen, Carl Theodore: and skrammele- Taliesin orth (Wisconsin), 48, 127-3'2, 133,
jeplad~ 65-66; Nrerum, 74-75, 264; 178, 180--81. 198. 204; hill garden, 126,
Abenrl. 80; and complex geometry, 127. 128, 131. 198, 278nn49.50. See also
108--9, LU; and Andersson, 193, 195; Wright, Frank Lloyd
Arhus University. 227. See also Kongen- Taliesin West (Arizona), 48,127-32, 133.178,
shus Memorial Park; N.erum Garden 181, 198, 203-4. 221; prow garden, 129,
Colony; Vitus Bering Park 131, 178. 198. See also Wright, Frank
soundscape.221 Lloyd
South Platte River, 154--55, 179, 165 Tanner Fountain (Cambridge, Mass.), 64, 98
Splice Garden. 100--101, 199, 228, 230, territory. U8--20, 125.126; reclaimed, u6-18;
263-64 of tree, 172
Spruce Hill Garden (Philadelphia), 74 Thomas, Dylan, 100
Stevens, \Vallace, 107 Thoreau. Henry David. 24

324 Index
time: in landscape. SO. 89-90. 140. 174-75; 7S, 220. 25]; and grometry of design.
linear v. cyclical. 95; scale of. 174 180,18!
Tokyo, 68. 76. 164, 166 Victory Arch (Baghdad). 220
topiary. 176-77. 191. Sa also Mamas V!rtDam Vderans Memorial. 60-61. n. 81,
topographic maps. 91--9~ 2os. 207 Ss. 171; as d~. SO. 275D8; and human
trtts, 17, 10]. 140; wolf trtts, 18-19. n. 137. context. 133, 147-48; as an, 256-57
1)8. 159; as metaphor, 20, J2, 100-101. 227i Villa d·Esle. 1 236
willow. 32-3); dogwood. 3" 1(4; al Is<, Vdlage Homes (Davis, Cali£), 7;
55-56; as context. 13}' 137-39; and wind. Villa Lant<. 2]6
1n-7S; at University ofVirginia. 216; de:- Villa Rotonda, 222
fanned beeches, 220-21. See also forest Virgil. 78. U4
Tschumi, Bernard, 200 Virus Bering Park (Denmark), 108. 195, 200
Tuan. Yi·Fu, 94 V=ya (Roridal, 174. 230
Tur~U, James, 142-43. 219. 245
Twain. Mark, 5, 16, 27. 36. n. 142. 27401 Walker, Peter, 229. 257
Wallace. McHarg. Roberts. and Todd. 7. w8
U1uru (Australia). 21. 14); and allusion. 7T. walls: as mmlori~ 59. 81, 85. 147-48. 1]1;
as sacred place. , w-~ 159; as pttfor- at Forest Cemetery 61-62; Berlin. 6].
mana space, llJ-l4. 118-19. w; as land- 227. 240-41. 242. 24); t:W England
mark, 159, 219; stone, 159. 160, 181
United tates. 55. and orientation of Washington. D.C.: Lincoln Memorial. ;0.
houses. 75-76; and influence of English S5. 147. 220; Washington Monument,
landscape. 7S. u5, llS. 235; corporate S5, 147; the Mall. 220, 227, 257; Presi-

headquarters, 7S, us. 257; national dent's Park, 227. 236-37. 238-39. See also
parks. 159; and natural garden move- Vietnam Veterans Memorial
ment, 251 wastelands. transformed: the Fens. 24.
University of California-lrvine, park, 106 53-54, 69-70; Werribec Farm, 70, 71;
University of California-San Diego. Ii- Bloedel Reserve. 25~2, 263
brary.loo water: and floodplains. 10-11, 90. 91. 92:-93,
University of Pennsylvania, 6-7, 41, 203; 161-62; water systems. 2..2, 68-69. 88,
and Mill Creek. 72. 16]. 214-15 169'-70. ur. in Murcutt's designs. 45.
Unh-ersity of Virginia, 21, 216, 2.17. 2ll 200; and sacred springs. 58, 100; restor-
urban rent'Wal, 67. 10;. 1]1, 253-55. 259; and ing quality of. 70. 184, 18;-<17. =-1); as
loss of past. 6]. 17;. 263 element of landscape. 8" 88. 100.
UriOlborg. 2.2;. 23; 139-43: hydrologic cycle. 9M>4. 226:
Utton. Jorn. 200. 202 needed for life. U4. 126; in K)'Oto, 1]6:
and ri\"e'fS, 139-42; Halprin's studies of.
Van Valkenburgh. Michael. 201 45, 198--99; in Prie:ne, 169'-70; and de-
Vaux·le-Vicomte. 90.101,182., uS sign of Fens. 196; as paradox, 230. S«
Venturi, Robert. 2)2, 252 also Alhambra, the; fountains
Verdun. SO. 59, 61. 62; Fleury, 59 Watts, May Theilgaard. 37
Versailles, 90. 121. 231; Hameau, 50; and al- Welcome Park (Philadelphia). 81
lusion, 7S, 21S; and authority of power. \,\'e:rrib« Fann (Australia), 70. 71

Inda 325
Westminster Community Garden (Phila- wolf trees, l8-l~ n. 137.138.159
delphia) • 2JtrU, 21) \\'ordswortb. William, 37. 79
West Philadelphia, 21G-15. 254; \\'est \\'orship. landscapes of, 47-48. 54. 55-58.
Philadelphia Landscape Project, 7J, 2220 229_ See also sacred places
211-12, 215; PoweitonJ ummer-\Ymter Worster, Donald, 49
Community Garden, 74; Spruce Hill Wrighl, Frank Uoyd, 16, '96; and an Amer-
Garden. 74; Garden of Eatin: 79; Geth- ican style of architecture. 78; and use of
semane,79; Sulzherger Middle School, geometric form. 105. 109. 131. 181; and
96, 162, 163, 214. 271; and City Planning land as architecture. u7-28, 130, 1)2,
Commission plan. 163; Westminster 2.78n43; and nature. 127. 198. 247. 248;
Community Garden. 21trU, 213. See Japanese influence on, 127. 278n50.
also Aspen Farms; Mill Creek 279n53; and abstraction, 128, 198. 248;
Whiunan, Walt. 139 prow garden. u9. 131, 178. 198; Ocatilla,
Widrick. John, 73. 123, 212, 215 130. 180, 181; and structure, 1)1-32.
wilderness: as chaos., 18, 2.t as sacred ground, 180-81. 2]9nn55.59; and experimenta-
18. 55; human impulse tocooool.31; con- tion. 132, 1]8. 201. 203-41 Johnson Com-
structed by Olmsted, 5]-54, 69-70 pound,lSI
WiDiams. Raymond, 248 \\'right. Ken. 2.2, 245
\\Ctlliamsburg, Va., 50, 253 Wye Valley, 119-20
wind. 177-78; and Danish beath. 28. 34, 81.
and Murcuu's designs. 44-45. 182, 200. yellowwood tree. IG-U. 22-23. 2]2
245; and Venturi effect. 18).2.19 Yosemite. 2.1,49.53.55.70
\¥"mes, James. 51

Index
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