An introduction to the study of landscape design

Front matter

THE UNIVERSITY

OF ILLINOIS

LIBRARY

Preface

We mean this book to present a general conception of landscape design which may enable a designer better to determine for himself the relations of the objects and ideas with which he is dealing, and better to prepare and use in a decisive way, in the individual problems of his profession, the natural aptitudes and acquired knowledge which are the tools of his trade. The book may also serve as a general introduction to the subject for those whose interest in it is purely that of appreciation and enjoyment of landscape designs and of natural landscapes.

The rapid growth of landscape architecture as an independent profession has been very recent. Nearly all the trained men in the field are giving their energies to active practice rather than to theorizing or to writing. It is natural, therefore, that the bulk of the detailed printed information on construction and planting which the landscape architect uses should have originated in the older fields of architecture and engineering and horticulture, that the discussions of general esthetics should have little specific reference to the problems of the landscape architect, and that, while there have been many books on special problems and special aspects of the field, there should have appeared up to this time no book, treating generally of landscape design, adequate to the modern development of the subject and of the profession.

This book is not a compendium of useful information as to the practicalities of landscape construction, though such a book is much needed ; nor is it primarily a book of pictures of completed work to which the designer may go to see how problems similar to his own have been met before. It is emphatically not a book of rules which are supposed automatically to produce good design if religiously followed; there are no such rules, and no esthetic theory is final. We make no attempt at any original contribution to the subject of general viii PREFACE

esthetics ; we merely take an esthetic theory which seems — to us at least — consistent and capable of general application, and use it as the basis of an organization of the subject matter of the field of landscape design.

In the light of this theory, we discuss the various materials of which landscape compositions are made, and then, to make this discussion more definite and directly useful, we treat at some length certain examples of the problems of the modern landscape designer ; considering briefly also, in the appendix, how the landscape architect may handle some parts of his professional practice, and giving a series of plans of actually constructed work.

We have chosen the illustrations primarily to show points in the discussion which cannot so well be expressed in words ; also, as far as we were able, consistently with their other uses, we have tried to have the pictures in themselves good examples of composition in various modes. We have been content to forego, in many instances, the use of pictures of subjects already well covered In other books, for Instance gates, garden furniture, steps, fountains and so on.

Since we intend this book to be useful also as a textbook, we have made the subject-index unusually full.

We include a list of references to the more important literature of landscape architecture. Taken together with the footnotes, this gives the reader an opportunity further to pursue aspects of the subject not treated at length in this book, or to find a statement of them in the clearest or most authoritative form.

We are well aware that no designer was ever made by the study of theory alone, and that most of the essential fire of emotion in appreciation and design is forever untransmutable into written words, but there still should be a place for a theoretical conception of the subject, even in the minds of the most inspired designers, and we are writing this book in the hope of adding something to the clarity of this conception.

H. V. H.

T. K.

Cambridge, Massachusetts June, 1917.

Chapter I Paces

1-5

Introduction ...........

Definition of landscape architecture, I — Its province, i — Its development as a separate profession, 2 — Its requirements of the practitioner, 3 — His preparation, 4 — His opportunities and rewards, 5.

CHAPTER II iTheory of Landscape Design ........ 6-23

Landscape design defined, 6 — Esthetic and economic aspects, 6 — Psychological basis of esthetic theory of design, 7 — Sensation, perception, intellection, 7 — Pleasure, 8 — Sources of pleasure in sensation, 8 — In perception and imagination, 9 — In intellection, 10 — Experience, emotion, and association, 12 — Esthetic analysis in design, 16 — Unity, 16 — Logical, 17 — Ethical, 17 — Economic, 18 — Esthetic, 19 — Esthetic expression and impression, ig — Definition of beauty, 19

— Types, 21 — Ideals, 21 — Taste and style, 22 — Landscape character, 22 — Landscape effect, 22.

CHAPTER III Taste, Ideals, Style, and Character in Landscape Design . . 24-31 Taste, individual and community, 24 — Development of taste, 25

— " Schools " and tradition, 25 — Teaching and taste, 26 — Criticism, 26 — Self-criticism in design, 27 — Choice of ideals, 27 — Perfection, 28 — Imagination and genius, 28 — Style: Individual style, 28 — Historic styles, 29 — Humanized and naturalistic styles, 30 — Interpretation of landscape character, 31.

CHAPTER IV Styles of Landscape Design ........ 32-61 Origin and names of historic styles, 32 — Categories of styles, 33

— Examples of historic styles of landscape design, 35 — The Moorish style in Spain, 35 — The Moghul style in India, 36 — The styles of

CONTENTS the Italian Renaissance and Baroque villas, 39 — The style of Le Notre, 42 — The Romantic landscape style, 45 — The English formal style of the Tudors, 47 — The English cottage style, 49 — The New England colonial style, 50 — The modern German formal style, 51 — The Japanese styles, 54 — The modern American landscape style, 57 — Study of styles, 59 — Choice of style, 60.

CHAPTER V Landscape Characters ......... 62-75

The physical origin of landscape characters, 62 — Characters as parallel to styles, 63 — Examples of landscape characters, 64 — The prairie, 64 — The barren or tundra, 65 — Sand dunes, 66 — The Sequoia grove, 66 — The Sierra mountain meadow, 67 — The bushy pasture, 68 — English pastoral landscape, 69 — Design in landscape characters, 70 — Landscape characters in relation to economic use and maintenance, 72 — Value and preservation of characteristic scenery, 74 — Man's need of free landscape, 75.

CHAPTER VI /Landscape Effects .......... 76-87 Taste in landscape effects, 76 — Variety of landscape effects, 77

— Literary discussions of landscape effects, 77 — The " beautiful " and the "picturesque," 77 — Their fundamental difference, 77 — Their application in design, 78 — Examples of other effects, 79 — Sublimity, 79 — Desolation, 81 — Melancholy, 81 — Gayety, 82 — Mystery, 82

— Effects from transitory conditions, 83 — Harmony and contrast in effects, 83 — Effects in landscape characters, 84 — Effects in styles, 85

— Design in effects, 86.

CHAPTER VII Landscape Composition ......... 88—129

Composition in landscape and in painting, 88^ Order in composition, objective and subjective, 89 — Segregation of the composition, 90

— Unity and attention, 90 — Attention and training, 91 — Emphasis, contrast, climax, dominance, 91 — Landscape composition within the visual angle, 92 — Unity of larger landscape compositions, 92 — The forms of order in composition, 93 — Repetition, 94 — Harmony, monotony, and variety, 94 — Sequence, 94 — Sequence of continuation or repetition, 94 — Rhythm, 95 — Progression, 96 — Balance, 96

— Symmetrical, 97 — Occult, 97 — -Intensification of emotion from

CONTENTS xi

rASES

repetition, sequence, and balance, 97 — Characteristics of objects in landscape composition, 98 — Shape, 98 — Individuality through shape in landscape composition, 99 — Value of shapes and their arrangement in composition, 100 — Size, scale, and distance, 10 1 — Absolute and relative scale, 101 — Indication of scale in landscape composition, 101

— Effects of perspective, 102 — Texture, 103 — Scale relation of texture to size and shape, 103 — Color, 104 — Color and light, 105 — Hue, intensity, and value in color composition, 106 — Emotional effect of colors, 107 — Color harmony, 107 — Color in landscape composition, no — Light and shade, in — Light and shade unity in landscape composition, 11 1 — Variability of light and shade, 112 — Atmosphere and atmospheric perspective, 113 — As a consideration in landscape composition, 115 — Illusions in composition, 116 — Of material, 118

— Of shape, 119 — Of size, 120 — Of character, 121 — Associational illusions, 121 — Landscape compositions, 122 — Typical kinds of pictorial compositions, 123 — The vista as a typical example, 124

— Pictorial enframement, foregrounds, backgrounds, and planes of distance, 1 26 — Objects in landscape composition according to their design value, 128 — Temporary elements, 129.

CHAPTER VIII Natural Forms of Ground, Rock, and Water as Elements in Design 130-150

The value in design of a knowledge of natural forms, 130 — Hills and mountains: typical forms, 131 — Hill and mountain forms in landscape composition, 132- — Modification of effect of hill by treatment of local details, 133 — Valleys: typical forms, 134 — Choice of viewpoint for completeness of effect of valley, 135 — Plains: typical forms and effects, 136 — Bodies of water : their effects, 136 — Lakes, 137 — Islands, 138 — Shores and beaches, 138 — Streams and stream banks, 140 — Waterfalls, 142 — Rocks in naturalistic design, 143 — Bowlders, 144 — Ledges, 145 — Color and texture of rocks, 146 — ^Rock planting, 147 — Minor modeling of ground surface, 147 — Banks, 148.

CHAPTER IX Planting Design 1 51-188

Plants as material in landscape design, 151 — The time element in planting design, 152 — Relation of planting design and maintenance, 153 — Plant characteristics in landscape design, 153 — Plant forms, 153

— Classes of tree forms and their uses in design, 154 — Form the expression of mode of growth, 155 — Winter tree form, 156 — Form in topiary work, 156 — Plant texture, 157 — Plant color, 159 — Effect of character of leaves on foliage color, i 59 — Range of foliage color, 159 xii CONTENTS

PAGES

— Restricted use of other colors than green, 159 — Effects of foliage color, 160 — Contrast of color in differentiation of units in design, 160

— Foliage color and aerial perspective, 161 — Use of "colored foliage," 161 — Autumn foliage, 161 — Winter color, bark, and fruit, 162 — Color of flower, 162 — Practical difficulties of design in flower color, 162 — Circumstances harmonizing flower colors, 163 — Mass relation in flower color, 163 — Plant character, 164 — Species and character, 164 — Individual plant character, 165 — Character and environment, 165 — ^ Relation of plant character and landscape character, 165 — " Expression " and character, 166 — Association and symbolism, 166

— Plantations, 167 — -Inclosing plantations, 167 — Outline, modeling, and treatment of informal inclosing plantations, 168 — Hedges, 170

— Low hedges and edgings, 171 — Specimen trees and shrubs, 171 — Tree and shrub groups, 173 — Composition of groups, 174 — Shrub beds, 175 — Herbaceous beds and borders, 176 — Flower beds as parts of a garden inclosed, 177 — Arrangement of plants in relation to form of bed and form of plants, 177 — Arrangement of plants in relation to time of bloom, 178 — Arrangement of plants in relation to color, 179 — ■ Grouping of plants according to character, 179 — Planting as surface decoration, 179 — Carpet bedding and parterres, 180 — Ground cover, 182 — Turf, 182 — Planting in relation to topography, 183 — Waterside planting, 185 — Planting in relation to architectural structures, 186 — Planting as enframement, 186 — Planting as transition between ground and structure, 187 — Planting as decoration of structures, 188.

CHAPTER X I Design of Structures in Relation to Landscape .... 189-230

Buildings in relation to landscape, 189 — Buildings subordinate to natural character, 189 — Buildings dominating landscape, 190 — Form relations of buildings and landscape surroundings, 192 — Building groups, 194 — Texture relation^, 194 — Color relations, 195 — Shelters and pavilions, 196 — Terraces, 198 — Parapets, 199 — Retaining walls, 200 — Terrace banks, 200 — Steps, 201 — In formal design, 201 — In naturalistic design, 203 — Walls and fences, 204 — Walls: materials and decoration, 205 — Fences, lattices, and grilles, 207 — Gateways and gates, 209 — Statuary, 210 — Its value among decorative objects in design, 211 — Its setting in landscape composition, 212 — Architectural and sculptural water features, 213 — Grottoes and wall fountains, 213 — Cascades, 214 — Water-ramps, 214 — Free-standing fountains, 215 — Pools and basins, 215 — Bridges, 216 — Their forms and materials, 217 — Roads and paths, 218 — Roads in naturalistic landscape, 219 — Form of roads, 220 — Road intersections, 221 — Views of and from roads, 222 — Planting and roads, 223 —

CONTENTS xiii

PAGSS

Paths^ in _najuxali*uc- design, 224 — Form of paths, 224 — Roads in formal design, 225 — Paths in formal design, 226 — Materials of roads and paths, 227.

CHAPTER XI Types of Landscape Designs ........ 231-323 Landscape designs according to typical uses, 231

Part L The Garden, 233-246 — Definition and use of the word "garden," 233 — Esthetic characteristics of a garden, 234 — Inclosure, 234 — Plants in the garden, 235 — Unity of effect of whole garden, 236 — A garden recognizably a work of design, 236 — Formal and non-formal arrangements, 237 — Ways of giving a garden distinctiveness, 237 — Choice of stvle, 239 — Composition of the garden, 239 — Its compositional elements, 239 — Inclosure materials, 240

— Retaining walls and banks, 240 — High boundaries: their composition and decoration, 241 — The house as part of the garden boundary, 242 — Garden "floor" materials, 242 — Typical compositional arrangements of the garden floor, 243 — Objects marking points of interest in the garden composition, 244 — Suitability of different objects to this purpose, 245.

Part II. The Estate, 247-274 — The estate as expressing the owner's desires, 247 — Physical elements of the estate, 249 — The house, 250 — Effect of interior arrangements on house form, 251 — House form as affected by choice of style, 253 — Location and orientation of house, 253 — The house terrace, 257 — The forecourt, 258

— The garden as a unit of the estate, 259 — Pleasure buildings, 261 — House service areas, 263 — Estate service buildings and areas, 263 — The greenhouse, 264 — Reserve and vegetable gardens, 265 — Tennis courts and areas for other recreations, 266 — The open lawn, 267 — Tree-shaded areas, 268 — Natural character units, 268 — ^ Access, 269

— Approach roads, 269 — J'aths^ 2 7 I — The design of the whole estate, 272 — Choice of site lor an estate, 273 — Apportionment of estate area into the units required, 274.

Part III. Land Subdivision for Residential Purposes, 275— 294 — Land subdivision as a business venture, 275 — Items of expense to the developer, 275 — Salable assets produced by development, 276 — Room, 276 — Proximity to town, 277 — Convenience, 277 Social desirability, 277 —Amenity, 277 — Beauty, 277 — " Low-cost " /' and "high-cost" developments, 278 — Professional advice in land subdivision, 280 — ■ Procedure in design, 280 — Choice of type of development in relation to development of city, 280 — The street system : its relation to the city plan, 282 — Alleys, 282 — Characteristic effects of street systems, 283 — Streets in relation to topography, 283 — Subsurface utilities, 284 — Street widths, 284 — Roadways and planting xiv CONTENTS

FACES

Strips, 285^ — Sidewalks, 285 — Lots: sizes, 286 — Width and depth, 286 — Shape, 287 ^Orientation, 288 — Reserved areas, 289 — Restrictions, 291 — Districting, 293.

Part IV. Landscape Parks and Reservations, 295-323 — Man's need of recreation, 295 — Classification of outdoor recreation areas, 296- — Their relation to the city plan: park systems, 297 — The large landscape park, 298 — Site and available landscape character units, 299 — Extent and seclusion, 300 — Park use and landscape units, 301 — Landscape characters best fitted to park use, 301 — Pastoral landscape, 301 — Wooded landscape, 302 — Rocks and ledges, 303 — Brooks and ponds, 303 — Uses properly served by a landscape park, 305 — Access and entrances, 308 — Circulation, 309 — Roads, 309 — Bridle pajhs, 311 — Footbaths, 311 — Inter-relation of roads and patSs, 313 — Buildings properly serving park uses, 314 — Buildings in -relation to the park landscape, 316 — Minor structures: park furniture, 316 — Park boundaries and gates, 318 — Landscape reservations: Municipal and Metropolitan, 318 — Combination with other uses, 320 — State and National parks and reservations, 321 — National planning, 323.

PART I Notes on the Professional Practice of Landscape Architecture in

Professional conduct, 325 — Professional charges, 326^ — Professional reputation, 328 — Advertising and publicity, 329 — Professional announcements, 331 — Public exhibitions, 331 — Competitions, 332 — ^ Landscape architect, client, and contractor, 332 — Cooperation of landscape architect with other practitioners, 333 — Cooperation in city planning, 334^ — ^Organization and equipment of a landscape architect's office, 334 — -Clerical force, 334- — Technical office and field force, 335 — Office reference material, 336.

PART II Notes on Procedure in Design ....... 338-353

The client, 338 — Topographic data, 339 — Design, 340 — Representation of design, 342 — Models, 342 — Pictures and plans, 343

— Written statements, 343 — Verbal directions and explanations, 345

— Series of drawings for a landscape job, 345 — An example of representation of design : presentation of landscape plans, 346 — Superin-

CONTENTS XV tendence: of construction, 351 — Of maintenance, 353 — Note on drawings to accompany Appendix, Part II, 355 — List of plants to accompany planting plan, 357.

SELECTED LIST OF REFERENCES ON LANDSCAPE ARCHITECTURE 361-381

Bibliography, 361 — Periodicals, 362 — General, 362 — History and historic styles, 364 — Theor)' of landscape design and appreciation, 366 — Landscape composition, 368 — Natural forms of ground, rock, and water, 369 — Vegetation: Planting design, 369 — Structures in relation to landscape, 372 — Types of landscape designs, 373 — Professional practice, 381 — Construction and maintenance, 381.

LIST OF ILLUSTRATIONS

DRAWINGS

I. Cypress Alley, Villa Gamberaia

II. Gravetye Manor .....

III. Garden Pool, The Generaliffe .

IV. Terrace Steps, Villa Garzoni (Collodi) V. Fountain on Main Terrace, Versailles

VI. Steps to the Terrace, St. Catherine's Court,

Somerset .....

VII. Cottage on the Thames ....

VIII. Garten am Miiggelsee ....

IX. The Chateau from the end of the Long Canal,

Versailles .....

X. Grand Trianon, Versailles

XI. The Music Pavilion, Petit Trianon, Versailles

XII. The Hameau, Petit Trianon, Versailles

XIII. Gateway to Orange Garden, V^illa Palmieri

XIV. The Inner Court, Villa Falconieri XV. St. Peter's, Rome, from outside the City .

XVI. Diagram : Relation of Enframement and Vista Point .....

XVII. Diagram : Shores subject to Wave-action XVIII. Plan : Wild Garden, Newport, R. I.

XIX. Diagram : Typical Sections in Informal Road Grading .....

XX. A Corner of the Garden, Bradfield, Devon XXI. Diagram : Two Different Types of Herbaceous Planting ....

XXII. Diagram : Relation of Plant Form to Ground Form ....

XXIII. Abandoned Farmhouse

XXIV. English Hillside Farm Buildings XXV. The Temple of Love, Versailles

XXVI. Thatched Shelter .

XXVII. Diagram : Some Typical Forms of Steps XXVIII. Diagram : Typical Plans of Curving Roads

xvii yi. B. LeBoutillier Hubert G. Ripley Benjamin T. Morrison Henry P. While Hubert G. Ripley

Henry P. White A. B. LeBoutillier Redrawn by Henry P

Henry P. White Henry P. White Henry P. White Henry P. White Henry P. White Hubert G. Ripley Henry P. White

White

30 36 40 44

48 50 54

1 1 2

'39 146

■49 158

XVlll

LIST OF ILLUSTRATIONS

XXIX. Diagram : Some Relations of House and

Surroundings ....

XXX. Plan : Formal Relation of House and

Surroundings ....

XXXI. Plan : Relation of House to Views on all

Four Sides .....

XXXII. Plan : Relation of House and Surroundings

to Irregular Site ....

XXXIII. Plan : Land Subdivision Scheme for a Hill-

side Tract .....

XXXIV. Plan : Development of Several Lots on

Hillside Tract ....

XXXV. Plan : Franklin Park, Boston

XXXVI. Topographical Map, Estate near Boston .

XXXVII. Preliminary Plan, Estate near Boston

XXXVIII. Grading Plan, Estate near Boston

XXXIX. Profiles, Estate near Boston .

XL. Planting Plan, Estate near Boston .

H. V. Hubbard .

H. y. Hubbard .

H. V. Hubbard .

H. F. Hubbard .

Elbert Peets .

Courtesy of Boston Park

Department F. A. Castle Henry P. White .

H. F. Hubbard .

" 260

" 280

" 288

TAILPIECES

Gate of Lower Garden, Villa Lante . Henry P. White

Garden Theater, Villa Gori . . . H. V. Hubbard

Gateway to Terrace, Packwood House . Henry P. White

Wall Fountain, Nervi .... Henry P. White

Well-curb, S. Stefano, Bologna . . Henry P. White

In a Modern New England Garden . Henry P. White

*3 61

87 230 294

LIST OF ILLUSTRATIONS (Continued)

PHOTOGRAPHS

In the High Sierras, California

The Taj Mahal ....

Rousseau's Tomb, The Isle of Poplars, Ermenonville A Bridge, Ermenonville The Temple Garden of Sambo-in, at Daigo,

Kioto .....

The Nichols Garden, Salem Naturalistic Lawn, Estate near Boston .

Sequoia Grove ....

A Sierra Mountain Meadow An Upland Pasture ....

The Park, Thoresby House, Wilts Desolation : A Study in Landscape EiFect A Small Fall on the Merced River, Yosemite Vernal Fall, Yosemite Nevada Fall, Yosemite The Meadow Road, Arnold Arboretum After a Frost Storm, Mt. Osceola, N. H.

Snow : A Study in Composition in Line Snow-laden Pines : A Study in Texture Light and Shadow, Villa Lante Monhegan Spruces : A Study in Atmosphere Long View over Meadow in the Park, Muskau New Hampshire Intervale .

View from Tchipite Dome, California .

A Brook in the Sierras, California The "Oxbow," Bear Camp River, N. H.

Waterside Planting, Sion House, Brentford The Spring in the Wild Garden, Estate at Newport, R. I.

Bridge, Stourton, Wilts The Lower Garden, Villa Lante Ihe Garden of "Weld," Brookline, Mass.

H. r. Hubbard .

. Frontispiece

Roland B. Dixon

PLAT«

I

H. y. Hubbard .

H. V. Hubbard .

Guy H. Lee

Mary H. Northend N. L. Stebbins .

♦ 5 6

H. r. Hubbard .

H. F. Hubbard .

Bertrand H. Wentworth

From Collection of Olmsted Brotheri

r lo

H. r. Hubbard .

1 1

H. V. Hubbard .

H. r. Hubbard .

>3

H. r. Hubbard .

•4

George R. King .

H. l\ Hubbard .

Bertrand H. Wentworth

I?

Bertrand H. Wentworth

i8

H. /'. Hubbard .

'9

Bertrand H, Wentworth

H. r. Hubbard .

Thomas W. Sears

H. r. Hubbard .

H. r. Hubbard .

William Homes .

From Collection of Olmsted Brothen

H. V. Hubbard .

z7

From Collection of Olmsted Brothen

H. V. Hubbard .... 29 Courtesy of Charles A. Piatt . 30

XX

LIST OF ILLUSTRATIONS

The Circuit Drive, Franklin Park, Boston Scarborough Pond Bridge, Franklin Park The Tennis Courts, Ellicottdale, Franklin Park Steps in Naturalistic Setting, Franklin Park Overlook Shelter, Franklin Park .

The Town of Baltit, Hunza : A Study of Adaptation of Structures to Topography

Courtesy of Boston Park Department 3 1 Courtesy of Boston Park Department 32 Courtesy of Boston Park Department 3 3 George R. King . . . .34.

George R. King . . . -35

Roland B. Dixon , , .36

AN INTRODUCTION TO THE STUDY OF LANDSCAPE DESIGN

Chapter I Introduction

Definition of Landscape Architecture — Its province — Its development as A separate profession — Its requirements of the practitioner — His preparation — His opportunities and rewards.

"Landscape architecture is primarily a fine art, and as such its most Definition of important function is to create and preserve beauty in the surroundings of Landscape human habitations and in the broader natural scenery of the country ; but it is also concerned with promoting the comfort, convenience, and health of urban populations, which have scanty access to rural scenery, and urgently need to have their hurrying, workaday lives refreshed and calmed by the beautiful and reposeful sights and sounds which nature, aided by the landscape art, can abundantly provide." *

Man obtains from his environment tw^o things which he desires, The Province usefulness and beauty, and all material progress in civilization has °^^^^i"ffil^/^ consisted in his modification of his surroundings to serve these two needs. Very early in his history he shaped the economic changes which he made in the earth's surface so that they gave him also an esthetic satisfaction. This satisfaction was due in great measure to the fact that the changes were obviously man-made ; they bore witness that he had impressed his ideas on the stubborn natural material. Much later in his development — almost, it might be said, in modern times — came the period when man, instead of being isolated and overpowered in the midst of wild nature, found himself cramped and oppressed by the works of his own hands, and sought relief in the esthetic pleasure to be derived from landscape which expresses not man's will but the operation of natural forces.

* From letter of President-Emeritus Charles W. Eliot to the Editors of Landscape Architecture, October, 1910, vol. i, no. i, p. 40.

B I

Development of Landscape Architecture as a Separate Profession

The province of landscape architecture is to guide man's modification of the landscape so that he may get the greatest possible esthetic satisfaction of one or both of these two quite different kinds. The resulting beauty might be, at one end of the scale, that of the formal surroundings of a palace — architecture in natural materials to show man's magnificence — or, at the other extreme, that of a woodland solitude — apparently an age-long natural growth — a place of rest from all the works of man.

In this new province, there must be a new type of designer. In producing the formal setting of a palace, the landscape architect's equipment may indeed difi"er from that of the architect only in his knowledge of plants and what effects can be secured with them; in reproducing or in intelligently preserving a natural woodland, however, the landscape architect must have a knowledge of nature's processes, a familiarity with nature's materials, a sensitiveness to the natural beauty of rock and wood and water, which does not form the professional equipment of any other artist.

When a new profession has come to be recognized, or when an old profession has been separated into several branches, the fundamental cause for this subdivision of field has always been the same : the discovery of so many new facts, or the increase in importance of so many known facts, that one man cannot master them all. With the handling of a newly segregated field of fact will come the acquisition of a new technique, the elaboration of theory in some new direction, even the growth of a new technical language, which also take time to master.

This is what has happened in the case of landscape architecture. Within comparatively recent years, there has come a general recognition of the value to the public of designed and organized cities, and of parks, reservations, and other out-of-door spaces, and a greatly increased interest in private pleasure-grounds of various kinds. There is now an efltective demand for designing skill using as materials ground forms and vegetation, and for designing skill in the arrangement of landscape and architectural forms — streets, parks, buildings, — in larger unities, for public use.

This demand has been met by the rise of a separate profession, because the materials and technique of this new field are not those

INTRODUCTION of the older allied professions of architecture and engineering, and are quite as difficult to master within an ordinary lifetime. And in no field is it possible to design effectively "on general principles" without a detailed personal knowledge of the materials and technique.

Like Architecture, its sister profession in the Fine Arts, Landscape Requirements Architecture requires of its practitioner diverse abilities not often %'J^^^^q^ found in the same person : the esthetic appreciation and creative power of the artist, together with the executive skill of the business man. The landscape architect should know the materials of his art : ground forms, vegetation, and structures in their relation to landscape. He should know on the one hand what results are physically possible of accomplishment with these materials, and on the other hand what kinds of beauty these materials can best produce, and what kinds of beauty were better attained in the materials of some other art. Since, for the most part, the landscape architect cannot produce at will in his design all the forms which he might desire, but must choose from among the forms offered by nature those which will suit his purpose, he cannot be confident that his design is possible of execution unless he possesses an accurate first-hand knowledge of the plant materials and of the ground forms from which he must choose the elements of his composition. Since the beauty of vegetation is that of intricacy, of multiplicity, of growth and change, the landscape architect's experience and power in design will come to be quite different from that of the architect, who deals with definite, rigid forms and balanced masses. Since the fundamental organization of his naturalistic designs, of his preservation and enhancement of natural scenery, will be the real or apparent manifestation of the untrammeled forces of nature, the landscape architect must have humbly studied the forces which carv'e the valleys, and which direct the flow of the streams, and he must be keenly sensitive to the esthetic unity of a mountain or the perfect growth of a ground-covering fern, which may dominate or decorate his nature-inspired work.

The landscape architect cannot carry out his designs with his own hand ; so he must use some means of conveying his ideas to those who are to execute the work. As this work usually extends over a considerable period of time, it is necessary that the landscape archi-