History of Designed Landscapes | Portfolio (BEnvs, UoM)

VISUAL DIARY History of Designed Landscapes ABPL20039 Sebastian Cocks 698650 Angela Hayes, Friday 12:00pm Semester 2, 2017

1. SHIROTORI GARDEN PARK Motoo Yoshimura. Nagoya, Japan. 1962 2. ITAMARATY PALACE (MINISTRY OF FOREIGN AFFAIRS)

Roberto Burle Marx. Brasilia, Brazil. 1965

3. ROUSHAM HOUSE

William Kent. Oxfordshire, England. 1738.

4. St KILDA BOTANICAL GARDENS Tilman Gloystein. Melbourne, Australia. 1860.

5. ABBY ALDRICH ROCKEFELLER GARDEN

Beatrix Farrand. Maine, United States. 1926.

Branches of the delta

Tea house

Bridges in Shirotori park are stone to retain spiritual significance as it is beleived stones contain kami.

A tea house highlights Yoshimura’s desire to recreate tradition.

Headwaters

1. SHIROTORI GARDEN PARK

Topographically this is the highest point of the garden. As such, it is where the physical and spiritual journey begins.

Motoo Yoshimura. Nagoya, Japan. 1962

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Shirotori Park is a garden in central Nagoya that was designed and constructed by Motoo Yoshimura in 1962 as a public space for the city council.1 Yoshimura is a landscape architect whose work revolves around the reinterpretation and admiration of traditional Japanese landscape design.2 Shirotori Park highlights Yoshimura’s desire to see traditional Japanese values regarding nature – which stem from Shintoism – return to modern day Japan. The primary aim of Shirotori Park is to provide the people of Nagoya with a way to reconnect with their immediate natural locality. This connection, in Yoshimura’s eyes, had been severed due to the intensely rapid urbanisation of the city.3 Bunji Murotani, Motoo Yoshimura: Creation of Contemporary Japanese Gardens (Tokyo: Process Architecture Publishing Co., 1990), 4.

2 Murotani, Motoo Yoshimura, 5.

3 Murotani, Motoo Yoshimura, 12.

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Historical Japanese garden theory

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Traditional Japanese gardens, stemming from the Shinto belief that all natural things are adorned with a spirit of a higher level, desire to inspire harmony with Nature (in a spiritual sense).4 Rocks, water and trees are adorned with heavenly spirits called kami.5 These three essential elements dictate the layout of Shirotori Park and dictate a viewer’s experience of the garden.

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Given Japan’s hazardous terrain – 75% mountainous regions, active volcanoes and harsh coastlines – the traditional attitude towards Nature in Japan was one of respect, rather than a desire to conquer.6 This explains why the Shirotori Park is a place of observation more than recreation.

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Murotani, Motoo Yoshimura, 6.

David Young and Michiko Young, The Art of the Japanese Garden (Singapore: Tuttle Publishing, 2005), 14.

Murotani, Motoo Yoshimura, 6.

Circulation plan

Shirotori Park has a clear spiritual and physical journey. The path taken is dictated by a logical following of the river and the natural topography of the site. The journey is also logical in a spiritual sense as one progresses through stages of light to darkness. Provided are the eight stages of the journey:

1. Headwaters

Clear, cool water spouting onto rocks.

Mostly evergreen, coniferous vegetation.

2. Torrent

Open scenery contrasting to headwaters.

Rockpools and spraying clouds of water.

3. Valley

Water slows down through a deep valley surrounded by crimson maple trees.

4. Branches of the delta

Wide, triangular area where sediment gathers from the meeting streams.

5. Riverside

Modelled on the local Kiso rivers. A scene of abundant, slowly moving water.

6. Ocean

A rocky coastline worn down by waves and pine trees lining white sand.

7. Lakes and marshes

A marsh surrounded by foliage so dense that it is dark even in daytime.

8. Village

Scenes of a mountain village where natural and man-made create harmony.

Tradition at Shirotori A fundamental concept in Japanese garden design is that of miniaturization.7 In this sense Shirotori Park is a very traditional Japanese garden as Yoshimura laid out the grounds specifically to reform a lost connection between the citizens of Nagoya and the surrounding Kiso River and Mount Ontake through miniaturization.8 This garden exemplifies a modern take on what is perhaps the oldest gardening manuscript in the world; known in Japanese as the Sakuteiki. A summary of this treatise is that to create a garden one must “create a subtle atmosphere, reflecting again and again on one’s memories of wild nature”.9 This is the great achievement of Shirotori Park.

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Young and Young, The Art of the Japanese Garden, 20.

Murotani, Motoo Yoshimura, 17.

Jiro Takei and Marc P. Keane, Sakuteiki: Visions of the Japanese Garden (Tokyo: Tuttle Publishing, 2008), 151.

Bibliography Murotani, Bunji. Motoo Yoshimura: Creation of Contemporary Japanese Gardens. Tokyo: Process Architecture Publishing Co., 1990.

Takei, Jiro and Marc P. Keane. Sakuteiki: Visions of the Japanese Garden. Tokyo: Tuttle Publishing, 2008.

Young, David and Michiko Young. The Art of the Japanese Garden. Singapore: Tuttle Publishing, 2005.

Figure list All figures taken from: Murotani, Bunji. Motoo Yoshimura: Creation of Contemporary Japanese Gardens. Tokyo: Process Architecture Publishing Co., 1990.

2. ITAMARATY PALACE (MINISTRY OF FOREIGN AFFAIRS) Roberto Burle Marx. Brasilia, Brazil. 1965 Biography Roberto Burle Marx was born in São Paulo, Brazil in 1909 to a wealthy and well-travelled family of Brazilian and German-Jewish descent.1 In 1928 Burle Marx travelled with his family to Berlin to consult a specialist regarding problems with his eyesight. It was in Berlin that Burle Marx became versed in the theories of European Modernism.2 The ideological influence of being within the creative sphere of the Bauhaus school came to profoundly influence the young Burle Marx. It was from his time in Europe that Burle Marx learnt the importance of having a well-rounded approach to the arts.3 Burle Marx embraced the idea of combining his love of painting and gardening into one seamless art form, a notion he is viewed today as having pioneered.

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Fig. 1: Yellow-Red-Blue, Wassily Kandinsky (1925).

Fig. 2: Itapecerica, Roberto Burle Marx (1988).

Marta Iris Montero, Burle Marx: The Lyrical Landscape (London: Thames & Hudson, 1997), 14.

Montero, Burle Marx, 15.

Montero, Burle Marx, 17.

Figures 1 – 3 highlight the influence of Modernist painting on Burle Marx’s gardens. Fig. 1, an oil painting by Bauhaus figurehead Wassily Kandinsky, shows clear similarities in spatial explorations and the representation of dynamism to Burle Marx’s own painting work (as highlighted

by Fig. 2). Fig. 3 shows a garden plan by Burle Marx wherein there is clear continuity from his painting inspirations, particularly in terms of geometry and colour.

Fig. 3: Plan for rooftop garden of the Ministry of Education and Health, Rio de Janeiro, Roberto Burle Marx (1938).

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Fig. 4: Plan for the Ministry of Foreign Affairs, Roberto Burle Marx (1965).

Fig. 5: Southern view

Itamaraty Palace Having been forced to return to Brazil due to rising political tensions in Germany it was this immersion into European Modernism and an embrace of Brazilian natural flora that came to define Burle Marx. His time in Europe also proved beneficial in providing commissions for Modernist projects under Lucio Costa, Oscar Niemeyer and even Le Corbusier.4 The hyper-vibrant colours and voluptuous shapes of native Brazilian flora inspired Burle Marx to use the country’s plant life as a palette with which to paint his landscapes.5 The gardens at Brasilia’s Ministry of Foreign Affairs, designed by Niemeyer in 1965, are a perfect example of Burle Marx’s use of native flora to bring to life the work of his Modernist architectural contemporaries.

In the dry climate of Brasilia water is a powerful symbol. Thus, the entirety of the gardens at Itamaraty – except for the interior courtyards – are floating in a large rectangular lake that surrounds the building. They are comprised of aquatic and damp-soil plants collected personally by Burle Marx from the countryside around Brasilia.6 The imagery of the moated islands remaining out of reach of visitors is also symbolic of the importance of nature remaining safe from total human control.7 4 5 6 7

Montero, Burle Marx, 21.

Anita Berrizbeitia, Roberto Burle Marx in Caracas: Parque del Este, 1956 - 1961 (Philadelphia: University of Pennsylvania Press, 2005), IX. Montero, Burle Marx, 120.

Eliza Pennypacker and Kristi A. Wormhoudt, “Abstracting the Landscape: The Artistry of Landscape Architect A. E. Bye,” Landscape Journal, vol. 11, no. 1 (1992): 96.

Ceiba erianthos

Interior courtyards Carludovica palmata

Vriesia imperialis

Fig. 6: Terrace courtyard garden

There are two interior garden spaces that are negatives of each other. One is water based and uses climbing jungle plants. The other, which sits under an enormous sun-filtering pergola on the upper floor, uses rocks and gravel to form islands that cater for ferns and other xerophilous plants (shown in Fig. 6 and Fig. 7).8 The Itamaraty Palace is a success in displaying Burle Marx’s painterly attitude to landscape planning, his deftness in native plant choices and his ability to work alongside architects to create the ultimate Modernist piece of ‘total art’.

Ophiopogon jaburan

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Devallia fijeensis

Fig. 7: Terrace courtyard garden

Montero, Burle Marx, 120.

Bibliography Montero, Marta Iris. Burle Marx: The Lyrical Landscape. London: Thames & Hudson, 1997.

Berrizbeitia, Anita. Roberto Burle Marx in Caracas: Parque del Este, 1956 - 1961. Philadelphia: University of Pennsylvania Press, 2005.

Pennypacker, Eliza, and Kristi A. Wormhoudt. “Abstracting the Landscape: The Artistry of Landscape Architect A. E. Bye.� Landscape Journal, vol. 11, no. 1 (1992): 96 - 98.

Figure list Fig. 1: Kandinsky, Wassily. Yellow-Red-Blue, oil on canvas, 1925.

Accessed September 25, 2017. http://www.wassilykandinsky.net/images/works/52.jpg.

Fig. 2: Burle Marx, Roberto. Itapecerica, lithograph, 1988. Accessed September 25, 2017. http://theplanthunter.com.au/ph/wp-content/ uploads/2015/10/RobertoBurleMarx_featured01.jpg.

Fig. 3: Burle Marx, Roberto. Plan for rooftop garden of the Ministry of Education and Health, guache, 1938. Accessed September 25, 2017. http://images.adsttc.com/media/images/57a1/f9cc/e58e/ ce8a/4000/00c8/slideshow/TJM_662-BurleMarx_F030-MinistersRooftopGarden.jpg?1470233031.

Fig. 4, 5, 6, 7: Montero, Marta Iris. Burle Marx: The Lyrical Landscape. London: Thames & Hudson, 1997. Pages 121 - 123.

3. ROUSHAM HOUSE William Kent. Oxfordshire, England. 1738.

Picturesque Planning for the grounds at Rousham House began in 1737 for client General James Dorrer, an intimate friend of Lord Burlington who was responsible for many of the great commissions of the time.1 William Kent, also a friend of Lord Burlington, was employed to literally recreate the landscape paintings of Claude Lorraine within the grounds.2 Thus, Rousham became an early example of the picturesque style that shaped British country manors in the 18th century.

Rousham is a perfect example of the new aesthetic desire to break away from the formality of baroque 17th century design (associated with France) and move towards the picturesque. Kent employs undulating landscape, surprising viewpoints and scattered sculptural and architectural reliefs – traits that come to define the picturesque movement. Rousham also shows how the newly formed land-ruling class in England at the time wanted country houses to romanticise the British countryside, even exaggerating the beauty to satisfy their patriotic sentiments.3 1 2 3

Ha-Ha (Fig. 2)

Christophe Girot, The Course of Landscape Architecture (London: Thames & Hudson, 2016), 213.

Denis Cosgrove, Social Formation and Symbolic Landscape (Sydney: Croom Helm, 1984), 201.

W. G. Hoskins, The Making of the English Landscape (London: Penguin Books, 1985), 174.

Front façade (Fig. 3)

Medieval arch (Fig. 4)

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Cold bath (Fig. 5) Temple of Echoes (Fig. 6)

Fig. 1: Plan for Rousham House

Fig. 2: Ha-Ha diagram

Figure 3 shows the sweeping expanses of lawn that British country houses employed to extend the viewer’s gaze across the landscape. This gaze was uninterrupted thanks to the development of the Ha-Ha wall, shown in Figure 2.

Fig. 3: House façade with lawn expanse

Stylistic and social importance Rousham is also successful in that the extended views across the landscape create a feeling for visitors that the whole of England may be considered tamed by Englishmen, part of an ongoing garden-scape. This was to imply stability and immense power of English ruling classes.4 These extended sweeping views, shown in Fig. 3, were enabled by the development of the HaHa wall that could enclose a property without blocking out the outside views (shown in Fig. 2).

These gardens show clear Italian influence in sculptural relief elements that emulate the Villa d’Este at Tivoli, as well as the Palladian inspired Temple of Echoes (Fig. 6). However, periodic sentiments of English national pride were appeased through gothic elements - such as ruins of churches with flying buttresses - and the creation of a medieval arch (Fig. 4).5 Rousham is an early example of combining classical Italian elements with gothic and medieval British elements to appease the growing patriotic sentiments in England following the Union of English and Scottish parliaments and the defeat of France at Blenheim in the 17th century.6 Rousham also highlights the impact of Newtonian natural philosophy on landscape design. Newton’s investigations into space and gravity created a desire to explore limitless space and to embrace interactions with nature. This resulted in a move towards using expanses of lawn rather than pathways lined with hedges to encourage visitors to interact with their immediate natural environment when traveling through the garden rather than focussing on a preordained destination.7 This desire for interactive, thought-provoking walkways is also highlighted by Rousham’s now famous Cold Bath (Fig. 5).

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Cosgrove, Social Formation and Symbolic Landscape, 204.

Cosgrove, Social Formation and Symbolic Landscape, 203.

Cosgrove, Social Formation and Symbolic Landscape, 205.

Girot, The Course of Landscape Architecture, 207.

Fig. 5: Cold Bath

Fig. 4: Medieval arch

Fig. 6: Temple of Echoes

Bibliography Cosgrove, Denis. Social Formation and Symbolic Landscape. Sydney: Croom Helm, 1984.

Girot, Christophe. The Course of Landscape Architecture. London: Thames & Hudson, 2016.

Hoskins, W. G. The Making of the English Landscape. London: Penguin Books, 1985.

Figure list Fig. 1: Unknown artist. Plan for Rousham House. Accessed on October 1, 2017. https://www.pinterest.com.au/ pin/297448750372536205/.

Fig. 2: Kelly, Felix. Ha-Ha. 2010. Accessed on October 1, 2017. https://www.gapphotos.com/imagedetails.asp?view=temple-of-echoby-kent-and-towsend-at-rousham-park-house-and-garden-bicesteroxfordshire-designed-by-william-kent-16851748-&imageno=196108.

Fig. 3: Tim Gainey, photographer. Accessed October 2, 2017. http:// www.alamy.com/stock-photo-rousham-house-and-garden-oxfordshire-england-104057985.html.

Fig. 4: Alan Buckingham, photographer. Accessed October 2, 2017. https://alanbuckingham.photoshelter.com/image/I00009Ztzx7m3Cgc. Fig. 5: S. Harmer, photographer. Accessed October 2, 2017. http:// thesunking2.blogspot.com.au/2013/08/rousham-kentian-masterpiece.html.

Fig. 6: Charles Hawes, photographer. Accessed October 2, 2017. https://www.gapphotos.com/imagedetails.asp?view=temple-of-echoby-kent-and-towsend-at-rousham-park-house-and-garden-bicesteroxfordshire-designed-by-william-kent-16851748-&imageno=196108.

Alister Clark Memorial Rose Garden

St Kilda City Gardens Gates

Levi Pavilion Blessington Street Gates Significant tree Greenhouse

Palm tree Flower bed Fig. 1: Plan for the St Kilda Botanical Gardens

4. St KILDA BOTANICAL GARDENS Tilman Gloystein. Melbourne, Australia. 1860.

The St Kilda Botanical gardens were officially conceived in 1860 with the initial plan being drawn up by Tilman Gloystein as a commission from the state government of the freshly declared Victoria.1 The gardens have seen extensive redevelopments but retain the basic axial planning of Gloystein. The first plant life curator was George Brunning who adapted most of the chosen flora from the Royal Botanic Gardens.2 The St Kilda Botanical Gardens have seen Melbourne as a city evolve around them and, as a result, the garden contains important features from many very different periods of time. Notable features include: the Blessington Street Gates (1918), the art-deco St Kilda City Gardens Gates (1950), the Levi Pavilion (1928) and the Alister Clark Memorial Rose Garden (1950).

“St Kilda Botanical Gardens: Victorian Heritage Database,” Heritage Council Victoria, last modified August 5, 1999, http://vhd.heritagecouncil.vic.gov.au/places/2410.

2 “St Kilda Botanical Gardens: Victorian Heritage Database,” Heritage Council Victoria, last 1

modified August 5, 1999, http://vhd.heritagecouncil.vic.gov.au/places/2410.

Fig. 2: View of the greenhouse with pond

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Stylistic intrigue The gardens have an axial nature that implies Baroque influence. The main north-south axis is lined with palm trees, which are not found elsewhere in the park (see Fig. 3). This Baroque formality is furthered by the rose garden. Although this was not added until 195, the rose garden has brick bordered planting beds and an intricately ornate pavilion at is central fulcrum (see Fig. 4).3 The two main perpendicular axes are softened by more gardenesque features. These softening features include subtle hills and scattered clumping of trees like English Picturesque landscapes (see Fig. 5). The gardens combine crescent shrubberies with palm-lined avenues to create the central vistas and the less formal tree clumpings create the feeling that the central axes sit within woodlands. The gardens have also been used for housing rare native floa, and are currently made up of 10% natural flora which (added in 1932).4 “Parks, Playgrounds & Trees: St Kilda Botanical Gardens,” City of Port Phillip, accessed on October 14, 2017, http://www.portphillip.vic.gov.au/st_kilda_botanic.htm#ABOUT. 4 “St Kilda Botanical Gardens,” Australian National Botanic Gardens, last modified September 9, 2016, https://www.anbg.gov.au/chabg/bg-dir/100.html.

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Fig. 3: Palm-lined central axis

Fig. 4: Alister Clark Memorial Rose Garden after pruning

Fig. 5: View of the informally-planned area

Social importance

Fig. 6: Sculptural metal bench from the garden

The gardens have acted as a canvas for exploration into native and imported flora for several generations. They currently house 810 mature tree specimens, eight of which are on the significant tree register.5 The real success of these gardens, besides being one of only two public gardens remaining in Melbourne from the 19th century, is that the gardens have acted as a backdrop for cultural development in one of Melbourne’s most artistically active suburbs. Painters such as Albert Tucker have lived in the streets bordering the gardens, and the garden itself is dotted with sculptures and mosaics that herald the importance of the surrounding visual arts scene on the development of these grounds. Figures 6, 7 and 8 highlight some of the sculptural metal work that has been crafted to live in the gardens.

“Parks, Playgrounds & Trees: St Kilda Botanical Gardens,” City of Port Phillip, accessed on October 14, 2017, http:// www.portphillip.vic.gov.au/st_kilda_botanic.htm#ABOUT. 5

Fig. 8: Sculptural metal gate on Tennyson Street Fig. 7: Sculptural metal gate on Blessington Street

Bibliography Australian National Botanic Gardens, St Kilda Botanical Gardens, last modified September 9, 2016, https://www.anbg.gov.au/chabg/bg-dir/100.html.

City of Port Phillip, Parks, Playgrounds & Trees: St Kilda Botanical Gardens, accessed on October 14, 2017, http://www.portphillip.vic.gov.au/st_kilda_botanic.htm#ABOUT. Heritage Council Victoria, St Kilda Botanical Gardens: Victorian Heritage Database, last modified August 5, 1999, http://vhd.heritagecouncil.vic.gov.au/ places/2410.

Figure list Fig. 1: Friends of the St Kilda Botanical Gardens. Plan of the St Kilda Botanical Gardens. Accessed on October 14, 2017. http://www.portphillip.vic.gov. au/st_kilda_botanic.htm.

Fig. 2: Photographer unknown. Accessed on October 14, 2017. http://www. melbournepoint.com.au/attractions/parks/st-kilda-botanic-gardens/.

Fig. 3: Friends of the St Kilda Botanical Gardens, photographer. Accessed on October 14, 2017. http://www.portphillip.vic.gov.au/st_kilda_botanic.htm.

Fig. 4: Photographer unknown. Accessed October 14, 2017. http://www.melbourneplaces.com/melbourne/st-kilda-botanical-gardens-a-winter-view/.

Fig. 5: Expedia inc., photographer. Accessed October 13, 2017. https://www. expedia.com.au/St-Kilda-Botanical-Gardens-Melbourne.d6159232.Attraction.

Fig. 6, 7, 8: Bent Metal Blacksmiths, photographer. Accessed October 15, 2017. http://bentmetal.com.au/project/st-kilda-botanical-gardens/.

5. Abby Aldrich Rockefeller Garden Beatrix Farrand. Maine, United States. 1926.

Biography Beatrix Farrand (born Beatrix Jones) was born in New York in 1872.1 She began her landscape design career in her early twenties, at a time when it was very rare for men to accept women as professionals.2 Farrand went on to become one of America’s most treasured landscape architects, laying out a career that spanned many decades and saw hundreds of commissions for the upper echelons of East Coast American society.3 Farrand was particularly stylistically influenced by the great parterres of André Le Nôtre and the horticultural knowledge of Gertrude Jekyll. Farrand’s style became known for vibrant flower borders, her use of vertical gardening to conserve space and her advocacy for native American flora (shown in Fig. 1).4 She lectured on the difficulties of deeply entrenched gender inequality in professional life and employed a predominantly female staff at her firm.5 Farrand was one of few women designers to break free of the societal expectation at the time that large-scale public projects should be undertaken by men.6 However, she was the only woman of the ten founding members of the Society of Landscape Architects and opened many doors for women seeking to enter her field.7 1 2 3 4

Fig. 1: The sunken flower bed at Abby Aldrich Rockefeller Garden highlights Farrand’s idiosyncratic style

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Judith B. Tankard, Beatrix Farrand: Private Gardens, Public Landscapes (New York: Monacelli Press, 2009), 9.

Tankard, Beatrix Farrand, 10.

Tankard, Beatrix Farrand, 9.

Tankard, Beatrix Farrand, 9.

Louise A. Monzingo and Linda Jewell, ed., Women in Landscape Architecture: Essays on History and Practise (North Carolina: McFar& Company Inc., 2012), 1.

Vera Norwood, Made From This Earth: American Women and Nature (North Carolina: University of North Carolina Press, 2009), xix.

Norwood, Made From This Earth, 114.

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Fig. 3: Sketch for Moon Gate, Beartix Farrand (1929)

Fig. 4: The Moon Gate

Fig. 2: Plan for Abby Aldrich Rockefeller Garden

Abby Aldrich Rockefeller Garden Abby Aldrich Rockefeller, wife of Rockefeller heir John Rockefeller Jr., commissioned in 1926 the garden that is now seen by many as Farrand’s single greatest piece of design.8 Located in Seal Harbor, Maine the Abby Aldrich Rockefeller Garden combines all Farrand’s trademark landscape elements: native flora, woodland surrounds, colourful flower borders and attention to architectural detailing.

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Tankard, Beatrix Farrand, 117.

Abby Aldrich Rockefeller Garden The inspiration for this garden, along with most of the sculptural feature pieces, came from the Rockefellers’ own trips to China, Japan and Korea.9 The resulting design was a playful comparison of naturalistic and formal, and of Eastern and Western garden philosophies. Fig. 6 shows one of the many Chinese entrance gates.

The garden is dominated by the main axis leading from the South Gate, better known as the Spirit Path (see Fig. 5). This walkway is dotted with tomb figures and sits distinctly separate from the rest of the garden.10 Farrard separates the rest of the grounds because they incorporate flowers, which are not recognised as part of a traditional garden in China and Korea, and so the Spirit Path is kept distinctly naturalistic.11 The seemingly disparate Eastern and Western design elements are blended together by Farrard’s incorporation of the shade created by the surrounding spruce woodland, as well as her heavy use of moss to unify the appearance and atmosphere of the garden.

The rock pool (Fig. 7) shows Farrands use of moss and shade to blend garden areas together.

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Fig. 5: The Spirit Path

Tankard, Beatrix Farrand, 118.

Monzingo and Jewell, Women in Landscape Architecture, 13.

Tankard, Beatrix Farrand, 118.

Fig. 6: The Chinese-inspired South Gate

Fig. 7: The rock pool

Bibliography Monzingo, Louise A. and Linda Jewell (ed.). Women in Landscape Architecture: Essays on History and Practise. North Carolina: McFarland & Company Inc., 2012.

Norwood, Vera. Made From This Earth: American Women and Nature. North Carolina: University of North Carolina Press, 2009.

Tankard, Judith. Beatrix Farrand: Private Gardens, Public Landscapes. New York: Monacelli Press, 2009.

Figure list Fig. 1, 2, 4, 5, 7: Tankard, Judith. Beatrix Farrand: Private Gardens, Public Landscapes. New York: Monacelli Press, 2009. Pages 119 123.

Fig. 3: Farrand, Beatrix. Sketch for the Moon Gate, pencil on paper, 1929. Accessed October 19, 2017. https://www.pinterest.com.au/ pin/26106872815655140/.

Fig. 6: Photographer unknown. Accessed October 19, 2017. https:// branchingblog.com/2014/08/15/mrs-rockefellers-garden-on-mountdesert-island/.