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Cornelia Hahn Oberlander is one of the most important landscape architects of the twentieth century, yet despite her lasting influence, few outside the field know her name. Her work has been instrumental in the development of the late-twentieth-century design ethic, and her early years working with architectural luminaries such as Louis Kahn and Dan Kiley prepared her to bring a truly modern—and audaciously abstract—sensibility to the landscape design tradition. In Cornelia Hahn Oberlander: Making the Modern Landscape, Susan Herrington draws upon archival research, site analyses, and numerous interviews with Oberlander and her collaborators to offer the first biography of this adventurous and influential landscape architect. Born in 1921, Oberlander fled Nazi Germany at the age of eighteen with her family, going on to become one of the few women to graduate from Harvard University’s Graduate School of Design in the late 1940s. For six decades she has practiced socially responsible and ecologically sensitive planning for public landscapes, including the 1970s design of the Robson Square landscape and its adjoining Provincial Law Courts—one of Vancouver’s most famous spaces. Herrington places Oberlander within a larger social and aesthetic context, chronicling both her personal and professional trajectory and her work in New York, Philadelphia, Vancouver, Seattle, Berlin, Toronto, and Montreal. Oberlander is a progenitor of some of the most significant currents informing landscape architecture today, particularly in the area of ecological focus. In her thorough biography, Herrington draws much-deserved attention to one of the truly important figures in landscape architecture.
Includes entries for maps and atlases.
The intent of this bibliography is to assemble as many references as possible from the social environment for potential users, such as administrators, educators, designers, public interest groups, parent groups, and researchers working in the area of providing environments for children. (Author).
A fictional re-creation of a day in the life of a Rainbow character named Sunflower begins the book, illustrating events that might typically occur at an annual North American Rainbow Gathering. Using interviews with Rainbows, content analysis of media reports, participant observation, and scrutiny of government documents relating to the group, Niman presents a complex picture of the Family and its relationship to mainstream culture - called "Babylon" by the Rainbows. Niman also looks at internal contradictions within the Family and examines members' problematic relationship with Native Americans, whose culture and spiritual beliefs they have appropriated.