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New to living and gardening in Philadelphia, Sharon White begins a journey through the landscape of the city, past and present, in Vanished Gardens. In prose now as precise and considered as the paths in a parterre, now as flowing and lyrical as an Olmsted vista, White explores Philadelphia's gardens as a part of the city's ecosystem and animates the lives of individual gardeners and naturalists working in the area around her home. In one section of the book, White tours the gardens of colonial botanist John Bartram; his wife, Ann; and their son, writer and naturalist William. Other chapters focus on Deborah Logan, who kept a record of her life on a large farm in the late eighteenth century, and Mary Gibson Henry, twentieth-century botanist, plant collector, and namesake of the lily Hymenocallis henryae. Throughout White weaves passages from diaries, letters, and memoirs from significant Philadephia gardeners into her own striking prose, transforming each place she examines into a palimpsest of the underlying earth and the human landscapes layered over it. White gives a surprising portrait of the resilience and richness of the natural world in Philadelphia and of the ways that gardening can connect nature to urban space. She shows that although gardens may vanish forever, the meaning and solace inherent in the act of gardening are always waiting to be discovered anew.
The modernist garden, which flourished in France between the 1910s and the 1930s, vividly mirrored the geometries and cubist aesthetics familiar to the decorative and fine arts of the period. Created by architects and artists, these gardens were often conceived as tableaux in which plants played a role only as pigment or texture. This handsomely illustrated book by Dorothée Imbert presents for the first time - in word and image - a comprehensive study of these arresting architectonic gardens.
When Elizabeth Lawrence's A Southern Garden was first published in 1942, it was the only book to address the needs of gardeners in Zones 7 and 8—an area that ranges from Richmond to San Antonio and on up the West Coast to Seattle. Although many books are now available for this region, gardeners frequently return to A Southern Garden for inspiration. More than eighty years later, Lawrence's information is still fresh, her style of writing still delightful. She not only gives practical advice but manages to convey what it is about gardening that draws so many people to it. This new edition of A Southern Garden will be treasured by all who love gardens and good writing.
On Guerrilla Gardening is an activist's call to arms to all citizens - green-fingered, green-thinking or curious - to join the revolution of guerrilla gardening: transforming public space into oases of colour and life. The enemy: neglect, apathy and the disintegration of community spirit. The arsenal: daring, a packet of seeds and a passionate commitment to social change. When Richard Reynolds first embarked on guerrilla gardening, growing flowers by moonlight outside his tower block, he had no idea it was part of a growing global movement committed to cultivating the potential in the land regardless of all obstacles. Charting the battles fought across thirty different countries and the revolutionary history of this subculture, On Guerrilla Gardening is an inspirational take on gardening in the 21st century.
Riyadh has set its sights on becoming a world city befitting the twenty-first century. To that end it has embarked on a massive construction drive evidenced in the proliferation of proposals for high-end districts, giga-developments and elaborate infrastructures. An urban vision seemingly dedicated to attracting global capital. Yet such a narrative can be misleading. A ‘humanization programme’, initiated during the tenure of its former mayor Abdulaziz bin Ayyaf, has complemented the city’s rapid rise by providing spaces catering for the everyday needs of its inhabitants. Yasser Elsheshtawy, in this richly illustrated book, targets these people-centred settings. It is a compelling counter-narrative interweaving critical theoretical insights, personal observations, and serendipitous encounters. He deftly demonstrates how Riyadh thrives through the actions of its people. As the world moves towards an urban model that is resilient and humane, the humanizing efforts of an Arab city are worthy of our attention. Riyadh’s premise is perhaps best captured in the cover image depicting the desert riverbed of Wadi Sulai, filled with rainwater, making its way towards the Saudi capital. Along its banks there will be dedicated public pathways and urban parks. It is a vision of an urbanity where both the spectacular and the everyday coexist. A city that is not just dedicated to the few, but one that serves the many.
The first four decades of this century provided the average American with the best magazines published in this country, as well as our most distinguished garden writing. The first national medium of mass communication, these journals had a formative influence on American culture. Many of their garden articles were by authors we recognize today as singularly fascinating voices: Louise Beebe Wilder, Grace Tabor, Fletcher Steele, Wilhelm Miller, and Mrs. Francis King. But some of the best were by amateurs who wrote about their gardens with wonderful enthusiasm and intelligence while earning their livings in other professions -- as artists, librarians, drama critics, dieticians, college professors, and clergymen.
In the 19th century Hungary witnessed unprecedented social, economic and cultural development. The country became an equal partner within the Dual Monarchy when the Austro-Hungarian Compromise of 1867 was concluded. Architecture and all forms of design flourished as never before. A distinctly Central European taste emerged, in which the artistic presence of the German-speaking lands was augmented by the influence of France and England. As this process unfolded, attempts were made to find a uniquely Hungarian form, based on motifs borrowed from peasant art as well as real (or fictitious) historical antecedents. "Motherland and Progress" – the motto of 19th-century Hungarian reformers – reflected the programme embraced by the country in its drive to define its identity and shape its future.
Barry Gifford has been writing gritty, American tales for the past forty years. His novels, stories, poetry, and films have helped shape the American neo-noir genre. The New York Times Book Review says that he "can sum up in a few words the cruelty, horror, and crushing banality that shape an entire life.” Andrei Codrescu calls Gifford “a great comic realist,” while Pedro Almodóvar likens him to the surrealist filmmaker Luis Buñuel, and Jonathan Lethem describes his style as “William Faulkner by way of B-movie film noir, porn paperbacks, and Sun Records rockabilly.” In The Roy Stories Gifford brings his signature style to a collection of tales following the character of Roy, who has made appearances in a number of Gifford’s previous story collections. Roy lives a mystical kind of life, skinning crocodiles in Southern Florida at age nine in the 1940s and playing in the back alleys of Chicago in the 1950s. This deep-feeling boy observes every detail in his surroundings with a sense of dark humor and an openness that will clutch readers tightly by the heart and lead them on a historical journey.