1. Garrett Eckbo, Landscape for Living (New York: Duell, Sloan and Pearce, 1950). Eckbo's thoughts closely paralleled the work of John Brinckerhoff Jackson, the founder of Landscape magazine in 1951. Influenced by the French Annales school of geographers, Jackson saw landscape as the product of human activity as well as a visual display: "a composition of man-made or man-modified spaces to serve as infrastructure or background for our collective existence" ("The Word Itself," in Defining the Vernacular Landscape [New Haven: Yale University Press, 1984], 8). Jackson rarely spoke of the work of professionally trained landscape architects; instead he focused his acute eye on the vernacular landscape: more pervasive, thus more indicative, of a broader segment of the population. To Jackson, a vernacular landscape was also beautiful and often held more than formal beauty: "The older I grow and the longer I look at landscapes and seek to understand them, the more convinced I am that their beauty is not simply an aspect but their very essence and that that beauty derives from the human presence. . . . The beauty that we see in the vernacular landscape is the image of our common humanity: hard work, stubborn hope, and mutual forbearance striving to be loved. I believe that a landscape which makes these qualities manifest is one that can be called beautiful" (preface, ibid., xii).

As a designer, Eckbo described at length the tools, intentions, and making of the landscape as well as the everyday and ecological matrix in which the landscape architect worked. These lay at the very root of his argument for a landscape for modern living. [BACK]

2. In this context a "modernist" manner reflects formal ideas shared with, or adapted from, parallel movements in painting, sculpture, and architecture. One indicator of the dissemination of modern landscape ideas is their widespread publication in popular journals. An example is Sunset magazine's Landscaping for Modern Living (Menlo Park, Calif.: Lane Publishing, 1956), with its portfolio of work that displays close affinities to the designs of Eckbo, Robert Royston, and Thomas Church, among others. [BACK]

3. "My father [Axel Eckbo] was one of five brothers and a sister, a family, and he was the nicest and the least competent of all of them. He lost all his money, before they left Norway, in bad investments. After I was born, we went to Chicago where he apparently thought there were some opportunities. In Chicago, he lost all my mother's money in bad investments." (Garrett Eckbo, Landscape Architecture: The Profession in California, 1935-1940, and Telesis , interviews conducted by Suzanne B. Riess, 1991 [Berkeley, Calif.: Regional Oral History Project, 1993], 1-2).

Eckbo's mother, Theodora Munn, was from Cooperstown, in upstate New York, and had met her husband while traveling in Norway. They lived there for seven years: "She became pregnant, and for some reason decided to come back to the States so I would be born here, which was probably fortunate" (ibid., 1). [BACK]

4. "He had a big house on a hill and a Rolls Royce and a chauffeur and three horses and stuff like that. . . . He was the kind of a man who would always get rich no matter where he was or what happened to him" (ibid., 2-3). Eckbo would stay in Norway about six months, learn of the stock market crash while there, and return to California with a new sense of dedication. A denial by his uncle to provide funding for school, unless his academic standing improved, led Eckbo to junior college. In later years, at Berkeley and Harvard, Uncle Eivind would provide some financial support for his studies (conversation with the authors, Berkeley, 31 May 1996). [BACK]

5. An Interview with Garrett Eckbo , January 1981, conducted by Michael Laurie, ed. Karen Madsen (Watertown, Mass.: Hubbard Educational Trust, 1990), 2. [BACK]

6. Little of the Olmsted scheme had been implemented, and even less of it remains today, principally the curving and divided Piedmont Avenue on the eastern side of the campus.

An international competition in 1897 had solicited a more monumental campus plan, won by the French Beaux-Arts architect Émile Bénard. The design's formal axis descended the hillside, crossed by a secondary axis, and flanked by green spaces seemingly more in the English than the French tradition. Bénard declined the invitation to realize his scheme (his wife, it is said, had no interest in encountering bears firsthand); John Galen Howard (1864-1931), the fourth-place prize winner (with engineer Samuel Cauldwell), became campus planner and later dean of the school of architecture. [BACK]

7. Born in 1880, Gregg was a New Englander who had worked in the office of the Olmsted Brothers on their project for the 1904 Louisiana Purchase Exposition held in St. Louis—like the 1893 Columbian Exposition in Chicago, planned with the precepts of Beaux-Arts classicism. For a comprehensive history of the landscape architecture department see Michael Laurie, with David Streatfield, 75 Years of Landscape Architecture at Berkeley: An Informal History. Part I: The First 50 Years (Berkeley: Department of Landscape Architecture, University of California, 1988), 4-5.

"Miss Jones was not only the logical person to teach plant materials, but was the only one at the time trained in the work." Katherine Jones was born in Wisconsin in 1860, and came to California when she was twenty, majored in botany and biology, and graduated in 1896. She taught in the department for several decades (ibid., 5-6).

Curriculum of University of California College Bulletin , ca. 1914, cited in Laurie, 75 Years , 10. [BACK]

8. Laurie, 75 Years , 27-28. [BACK]

9. Helen Hunt Jackson, Ramona (New York: Grosset and Dunlap, 1884). Harold Kirker explains: "For the Californians were uncertainly discovering that they had a past of their own. As one of them put it: 'Give me neither Romanesque nor Gothic; much less Italian Renaissance, and least of all English Colonial—this is California—Give me Mission'" (as quoted in Felix Rey, "A Tribute to Mission Style," Architect and Engineer [October 1924]: 78). More succinctly: "An immigrant society is always culturally conservative" ( California's Architectural Frontier: Style and Tradition in the Nineteenth Century [Santa Barbara: Peregrine Smith, 1973], 130). [BACK]

10. See Marc Treib, "Aspects of Regionality and the Modern(ist) Garden in California," in Regional Garden Design in the United States , ed. Therese O'Malley and Marc Treib (Washington, D.C.: Dumbarton Oaks, 1995), 5-42. [BACK]

11. Marion Hollins—client, developer and celebrated golfer—may have truncated the designers' ambitions. Daniel Gregory notes: "No tree could be removed to make way for the golf course without her personal permission. She established small parks along the creek beds and in the heavily forested sections . . . [and] drew up a list of protective restrictions which, according to the advertising brochure of 1930, 'will go with the land, assuring maintenance to the purchaser of the character of the surroundings as to trees, shrubs and individuality'" ("Pasatiempo," in John Chase. A Sidewalk Companion to Santa Cruz Architecture [Santa Cruz: Paper Visions Press, 1979], 295-96).

Wurster shared Church's interest in the Mediterranean region as a source for California architecture and landscape design, although both were touched by the modernist current that moved west. For a discussion of the parallels between their two careers, see Dorothée Imbert, "Of Gardens and Houses as Places to Live: Thomas Church and William Wurster," and Marc Treib, "A Feeling for Function," both in An Everyday Modernism: The Houses of William Wurster , ed. Marc Treib (Berkeley: University of California Press, 1995), 114-37 and 12-83, respectively. [BACK]

12. An Interview with Garrett Eckbo , 2. [BACK]

13. January, 1935, Berkeley student project. Eckbo papers, College of Environmental Design Documents Collection, University of California at Berkeley (hereafter, Eckbo papers, Documents Collection). Eckbo explains that the name of the country club was fabricated, "got rocks" being the contemporary slang term for the wealthy. This may be the only golf course he ever designed (conversation with the authors, Berkeley, 25 February 1996). [BACK]

14. An Interview with Garrett Eckbo , 3. The perspective drawing is dated 18 April 1934 (Project Archives, Department of Landscape Architecture, University of California at Berkeley). The design draws more inspiration from the landscape architect than from the king who was his patron. The project should more accurately be termed "in the manner of André le Nôtre." Unlike Eckbo, his classmate Dan Kiley to this very day regards le Nôtre as his "hero."

Three splayed paths, roads, or allées converge on (or conversely, radiate from) a single point; known in French as the patte-d'oie (goose foot). The planning device was used in garden as well as urban planning: the best known examples are Versailles, outside Paris, and the Piazza del Popolo, in Rome. [BACK]

15. The plan is dated 19 June 1935 (Eckbo papers, Documents Collection). [BACK]

16. "As far as can be ascertained, practically every landscape architect (within the membership of the ASLA ) who is not otherwise employed in private practice and who has had sufficient experience to warrant his acceptance of definite designing responsibilities, is now employed in Government work. This proportion of the heretofore unemployed membership approx- soft

imates 90 per cent" (A.D.T., "Notes of Federal Activities Relating to Landscape Architecture," Landscape Architecture [October 1934]: 41). [BACK]

17. Eckbo worked under the senior landscape architect J. A. Gooch. "His other duties included advising customers on planting and maintenance for a range of microclimates from mountains to beaches and deserts" (Melanie Simo, "The Education of a Modern landscape Designer," Pacific Horticulture [Summer 1988]: 26). Conversation with the author, 7 January 1996, and letter to the authors, 28 May 1996. How many of the sites Eckbo actually saw before designing, and how many were realized, remain open to question. [BACK]

18. Conversation with the authors, 25 February 1996. In 1939 Sunset magazine sponsored a house and garden designed for a representative group of 300 members of the Berkeley Women's City Club. The architect, Clarence Mayhew, produced a house design that became even more bland after a review meeting held en masse with the putative clients ("Sunset and 300 Western Women Build a Home," Sunset , March 1939, 20-21; "300 Western Women Start Planning Sunset House," Sunset [April 1939]: 48-49, and May 1939, 34-35).

The garden, by H. L. and Adele Vaughan, was planned as a "distinctive" and "always presentable" design that offered sun with a spot of shade, space for the dog, a pleasant view from the kitchen, and brick terraces off the living and breakfast rooms—all to be maintained with minimal care. In character, the garden was not unlike those planned by Eckbo during his year in Los Angeles: each function of the design has its space, and a sense of informality prevails ("Come Into the Garden: 300 Western Women Present the Garden Plan for Sunset House," Sunset , June 1939, 36-37).

The house was further revised due to economics ("Sunset House: Revised to Meet the Budget," Sunset , October 1939, 27). [BACK]

19. Eckbo recalls that the clients usually wanted one of each fruit—"Southern California exuberance," as he called it (letter to the authors, 28 May 1996). [BACK]

20. Conversation with the authors, Berkeley, 25 February 1996. [BACK]

21. An Interview with Garrett Eckbo , 3. [BACK]

22. "Arline came east to spend the summer with her parents in White Plains [New York], having graduated from San Francisco State College. . . . Just before the new year began at Harvard, we were married—in a minister's living room in New York City—and went happily off to Cambridge" (letter to the authors, 28 May 1996).

Arline Williams was born in Pittsburgh, Pennsylvania, where her father worked for the General Cable company. She was the oldest of four children, followed by Edward and Albert, and then Carol. A reassignment by the firm caused the family's removal to the Bay Area in 1929, where Arline studied English first at the University of California at Berkeley and then at San Francisco State University. She graduated in winter 1937, after Eckbo had begun his graduate study at Harvard.

The Eckbo's daughter Marilyn (Kweskin) was born in 1941. Alison (Peper) three years later. There are now six grandchildren (conversations with the authors, Berkeley, 10 May 1996, and 31 May 1996). [BACK]

23. Eugene Bressler, "Chronological summary, history of the Department of Landscape Architecture" (Cambridge, Mass.: Department of Landscape Architecture, Harvard University, 1970), 8. I am grateful to Mary F. Daniels, Special Collections Librarian of the Loeb Library at Harvard, for providing me with a copy of this publication. [BACK]

24. Henry Vincent Hubbard and Theodora Kimball, Introduction to the Study of Landscape Design (New York: Macmillan, 1917), 30-31. The book had four reprintings in the next two decades and revised editions in 1929 and 1938. [BACK]

25. Eckbo, Landscape for Living , 12- 19; Garrett Eckbo, "Outdoors and In: Gardens as Living Space," Magazine of Art 34, no. 5 (October 1941): 425. [BACK]

26. Reuben Rainey, "'Organic Form in the Humanized Landscape': Garrett Eckbo's Landscape for Living," in Modern Landscape Architecture , ed. Treib, 180-205. [BACK]

27. Reacting to the conclusion of the book's preface, Eckbo wrote: "Theory and practice [are] both essential—inspired designers are bunk" (viii); he later added, responding to the discussion of taste: "Who cares? Nuts to ye great artist—individual ego rampant" (29). He also took umbrage at the soothing naturalistic balm of the Olmsted park: "Olmsted takes for granted that towns must be hard & hustling" (18), an opinion he did not share. Against the subhead "Choice of Style": "He completely takes for granted that we must make this, that we can use these now; 20th century U.S.A.; My God!" (60). Eckbo's comments taper off after the first third of the book, perhaps owing to fatigue, perhaps to the authors' reduced number of aesthetic and philosophical pronouncements and greater examination of the materials with which landscapes are made. I am grateful to Garrett Eckbo for allowing me access to his copy of Hubbard and Kimball's text. [BACK]

28. In 1935, "The President and Overseers of Harvard University establish the Graduate School of Design, uniting Schools of Architecture, Landscape Architecture, and City Planning under one Faculty and Dean. Reasons for the reorganization include combining the financial resources and 'providing an enhanced association among students in the allied fields'" (Bressler, "Chronological summary," 8). Joseph Hudnut, preface to Walter Gropius, The New Architecture and the Bauhaus , trans. P. Morton Shand (London: Faber and Faber, n.d.), 7. [BACK]

29. Eckbo, Landscape for Living , 6. He introduced chapter 9, "Spacing for Living—People on the Land," thus: "People live ON the earth, ON the land, but IN the three-dimensional air-space, the atmospheric volume, immediately above this land surface" (ibid., 61). [BACK]

30. Walter Gropius, "Is There a Science of Design?" (1947), in Scope of Total Architecture (New York: Harper and Row, 1955), 20; and also the chapter "Scope of Total Architecture," 171. [BACK]

31. Christopher Tunnard, Gardens in the Modern Landscape (1938; revised ed., London: Architectural Press, 1948), 88. When this revised edition was published, Tunnard had relocated to the United States and turned almost exclusively to broader issues of city planning, but the book retained its currency and was highly regarded well into the 1960s. For a comparison of the content of the two editions, see Lance Neckar, "Strident Modernism / Ambivalent Reconsiderations: Christopher Tunnard's Gardens in the Modern Landscape," Journal of Garden History 10 (1990): 237-46. And for an overview of Tunnard's ideas and career, see Lance Neckar, "Christopher Tunnard: The Garden in the Modern Landscape," in Modern Landscape Architecture , ed. Treib, 145-58. [BACK]

32. Christopher Tunnard, "Modern Gardens for Modern Houses: Reflections on Current Trends in Landscape Design," in Modern Landscape Architecture , ed. Treib, 162. [BACK]

33. Project for a Country Estate, 1937 (Eckbo papers, Documents Collection). In 1939, after Eckbo's graduation, the landscape architecture curriculum was revised, because "the profession's most significant future lies in the area of public work and of large scale physical planning" (Bressler, Chronological summary," 9). [BACK]

34. The watercolor board for the project is dated 1 November 1937; the planting plan, 16 November (Eckbo papers, Documents Collection).

35. Freeform Park, site plan (ibid.). [BACK]

34. The watercolor board for the project is dated 1 November 1937; the planting plan, 16 November (Eckbo papers, Documents Collection).

35. Freeform Park, site plan (ibid.). [BACK]

36. Gropius had written that "whereas building is merely a matter of methods and materials, architecture implies the mastery of space" ( The New Architecture and the Bauhaus , 20). Space, with a concomitant reduction in mass, was a preoccupation of modernist architects. This message recurred in Eckbo's published writings almost from the beginning, for example: "Space, in the present context, means the layer of air above the surface of the earth in which people live, work, and play" (Garrett Eckbo, "Landscape Design in the USA ," Architectural Review [January 1949]: 25). Even late in life. Eckbo holds that space links architecture and landscape with engineering in a single quest: "The Professions too will need to reorganize. The planning arts, the spatial design arts (architecture, engineering, landscape architecture, interior design), the object/furniture/utilities arts, the communication/performing arts will all need consolidation, reorganization, and reinvigoration" ("Pilgrim's Progress," in Modern Landscape Architecture , ed. Treib, 219). See also note 29. [BACK]

37. James C. Rose, "Freedom in the Garden: A Contemporary Approach in Landscape Design," Pencil Points (October 1938): 639. [BACK]

38. Henry-Russell Hitchcock and Philip Johnson, The International Style (1932; reprint, New York: W.W. Norton, 1966). In Lao Tzu's words, "Adapt the nothing therein to the purpose in hand, and you will have the use of the cart. Knead clay in order to make a vessel. Adapt the nothing therein to the purpose in hand, and you will have the use of the vessel. Cut out doors and windows in order to make a room. Adapt the nothing therein to the purpose in hand, and you will have the use of the room" (Lao Tzu, Tao Te Ching , trans. D.C. Lau [Baltimore: Penguin Books, 1963], 67). [BACK]

39. Garrett Eckbo, "Sculpture & Landscape Design," Magazine of Art 31, no. 4 (April 1938]: 202. [BACK]

40. Alfred Barr, Cubism and Abstract Art (New York: Museum of Modern Art, 1936), 13. [BACK]

41. Although this lacuna was endemic across modernist design—attested by its omission from the Bauhaus curriculum—Barr sought an appropriate setting for the paintings and sculpture in his collection. New York's Museum of Modern Art opened its new building by Philip L. Goodwin and Edward D. Stone in May 1939, and its first sculpture garden. Barr attempted to introduce some aspect of modern art into the garden's design. Working quickly in collaboration with Barr, John McAndrew, then curator of Architecture and Design, devised a scheme with thin walls—both straight and waving planes to define space—within and against which the sculpture was displayed. The existing (although altered) garden court was constructed in 1953 to designs by Philip Johnson and followed a more pristine and sophisticated tone. See Mirka Benes * , "Inventing a Modern Sculpture Garden in 1939 at the Museum of Modern Art, New York," Landscape Journal (Spring 1994): 1-20. [BACK]

42. Fletcher Steele, "New Pioneering in Garden Design," Landscape Architecture (April 1930): 158-77. Dorothée Imbert discusses the impact of the modernist French garden designers in "A Model for Modernism: The Work and Influence of Pierre-Émile Legrain," in Modern Landscape Architecture , ed. Treib, 92-107. A comparison of Eckbo's sketch and its photographic source appears as figures 11-10 and 11-11. For a complete discussion of French garden design in the first half of the twentieth century, see Dorothée Imbert, The Modernist Garden in France (New Haven: Yale University Press, 1993). The Works of Garrett Eckbo: Landscape for Living , ed. Warren T. Byrd, Jr., Proceedings of the Second Annual Symposium on Landscape Architecture, 11 February 1984 (Charlottesville: Division of Landscape Architecture, University of Virginia, 1987), 8.

Eckbo was probably unaware of the yatsuhashi (zigzag bridge) found in Japanese gardens. The overlay of planks at angled intersections may reflect the belief that evil spirits move only in straight lines; its bent path coerces visitors to continually modify their view. [BACK]

43. Eckbo, "Sculpture & Landscape Design," 206. Both Rose and Eckbo would mine Cubism and Abstract Art to illustrate their own writing. Dan Kiley used a similar movement in his project for the "cherry sweep" at Waverly Oaks, where the visitor descends the earthen spiral to approach a pool set at its center. See Margaret Olthof Goldsmith, Designs for Outdoor Living (New York: George W. Stewart, 1941), 282-87. [BACK]

44. While his designs were less influential after the mid-1960s, James C. Rose's early writings exerted a large impact on young professionals, students, and architects. Dan Kiley's long and distinguished career continues to this day, engaged more in practice than writing. See Gregg Bleam, "Modern and Classical Themes in the Work of Dan Kiley," in Modern Landscape Architecture , ed. Treib, 220-39; Landscape Design: Works of Dan Kiley; Process Architecture # 33 (October 1982); Dan Kiley: Landscape Design II: In Step with Nature, Process Architecture # 108 (February 1993); Calvin Tomkins, "The Garden Artist," New Yorker , 16 October 1995, 136-47. [BACK]

45. Garrett Eckbo, Daniel U. Kiley, James C. Rose, "Landscape Design in the Primeval Environment," Architectural Record (May 1939): 79. The accompanying articles ran in the August 1939 and February 1940 issues. [BACK]

46. James C. Rose, "Gardens," California Arts and Architecture (May 1940): 20. [BACK]

47. Gropius, The New Architecture and the Bauhaus , 18. [BACK]

48. Tunnard, Gardens in the Modern Landscape , 62. [BACK]

49. James C. Rose, "Why Not Try Science?," Pencil Points (December 1939): 777-79. In his designs for "Modular Gardens" ( Progressive Architecture [September 1947]: 76-80), Rose presented a series of structures that could be used in a variety of settings; as well as a plant list charted by height and season. [BACK]

50. Eckbo, Landscape for Living , 1-3. For the quotation from Christopher Cauldwell ( Illusion and Reality [New York: International Publishers, 1947]), Eckbo gives no specific page. [BACK]

51. For a further discussion of the role of the arts in the development of modernist landscape architecture see Imbert, "A Model for Modernism," 92-107, and Marc Treib, "Axioms for a Modern Landscape Architecture," in Modern Landscape Architecture , ed. Treib, 36-67. [BACK]

52. Joan Miró, Je travaille comme un jardinier (Paris: Société Internationale d'Art du XX° Siècle, 1964), 42. See also James Thrall Soby, Joan Miró (New York: Museum of Modern Art, 1959). [BACK]

53. Garrett Eckbo, "Small Gardens in the City," Pencil Points (September 1937). A note at the bottom of a drawing established the design period: "Made by Garrett Eckbo at Harvard University at ten scale from April 11 to May 12, 1937—so help me, so help me, so help me" (Eckbo papers, Documents Collection). [BACK]

54. Eckbo, "Pilgrim's Progress," 208-9. [BACK]

55. This deformation of a commonly held lot line became an Eckbo tool in later residential community work, softening the edge between adjacent properties. [BACK]

56. Eckbo, "Pilgrim's Progress," 209. [BACK]

57. Eckbo, Landscape for Living , 175. [BACK]

58. Ibid. The preliminary site plan is dated 22 March 1938, ink drawings followed in June (Eckbo papers, Documents Collection). Text from "Detail Plans, Lots 4-12-20," dated 7 June 1938. Original drawing missing, film negative in the Eckbo papers, Documents Collection. [BACK]

59. Conversation with the authors, Berkeley, 25 February 1996. [BACK]

60. The text paraphrases Eckbo's own description and gives the design prominence and legibility (Goldsmith, Designs for Outdoor Living , 114-18). [BACK]

61. "Landscape Gardening II: Community Planting," Architectural Forum (March 1946): 141. [BACK]

62. Eckbo papers, Documents Collection. [BACK]

63. "In retrospect, it is obvious that I over-designed that job. All of the action was intended to be on the inside of the building. On the outside it was a blank shell, however freeform. Geddes [primarily an industrial designer] had an architect running the job. Eventually, they brought in an elderly landscape architect colleague, who planted some mature elms around the building. It was an interesting exer- soft

cise in the study of pure form. We are grateful to General Motors for that opportunity" (Garrett Eckbo, letter to the authors, 28 May 1996). [BACK]

64. John Steinbeck, The Grapes of Wrath (1939; reprint, New York: Penguin Books, 1967), 44. [BACK]

65. Eckbo describes the office as having "30 engineers, 20 architects and 3 landscape architects. Burton Cairns and Vernon DeMars were District Architects, Herbert Hallsteen, District Engineer (our boss). John Steinbeck's The Grapes of Wrath was our Bible" (letter to the authors, 28 May 1996). [BACK]

66. Michael C. Steiner, "Regionalism in the Great Depression," The Geographical Review 73 , no. 4 (October 1983): 433. And Steinbeck, The Grapes of Wrath , 113-15. [BACK]

67. Arno Cammerer, in Albert H. Good, Park and Recreation Structures (Washington, D.C.: Department of the Interior, National Park Service, 1938), vii. [BACK]

68. Steiner, "Regionalism in the Great Depression," 435. Eckbo wrote, "There was never really a 'regional or traditional expression' specified. Budget and functional limits were strict. The few buildings were strictly functional" (letter to the authors, 28 May 1996). [BACK]

69. For a critical biography of Lange, which includes discussion for her work with the Farm Security Administration, see Therese Thau Heyman, Sandra S. Phillips, John Szarkowski, Dorothea Lange: American Photographs (San Francisco: San Francisco Museum of Modern Art; Chronicle Books, 1994). [BACK]

70. Task , no. 6 (winter 1944-45). Eckbo was also the West Coast correspondent for the magazine, which was based in Cambridge, Massachusetts. [BACK]

71. Peter Reed, "Enlisting Modernism," in World War II and the American Dream , ed. Donald Albrecht (Washington, D.C.: National Building Museum; Cambridge, Mass.: MIT Press, 1995), 11 [BACK]

72. Eckbo describes Burton Cairns: "I think he was one of the wiser people [in Telesis]. He didn't have quite the flair that Vernon [DeMars] has, the sort of, you can call it design flair, design identity. Which is not necessarily very important, except to designers to argue about. But he was very solid socially. A very good citizen" (Eckbo, Landscape Architecture , 47). [BACK]

73. "1949: The total number of homes built since January 1946 reaches five-point-one million" (Heather Burnham and Joel Davidson, "Chronology," in World War II and the American Dream , ed. Albrecht, xli). [BACK]

74. Edward Williams was born in Pittsburgh in 1914, but the family moved to the San Francisco Bay area in 1929. He was Eckbo's classmate at the University of California at Berkeley, graduating in 1935. After graduation he worked for the noted, if older-generation, landscape architects Butler Sturtevant and E. L. Kiler in Palo Alto. His interests always seemed to have been broadscale, and he served as a consultant to the San Mateo County Recreation and Planning Commissions. "A skillful designer, Williams had placed second in the national competition that sent Eckbo to Harvard. But as the firm grew, Williams assumed more responsibilities in management and planning. For his partners and younger associates, he remained a stabilizing influence - a rock of integrity in a fluid, changing world" (Peter Walker and Melanie Simo, Invisible Gardens [Cambridge, Mass.: MIT Press, 1994], 133). He died in 1984. [BACK]

75. Royston took an active role in the planning of the Ladera community on the San Francisco peninsula (Robert Royston, "Point of View / Robert Royston," Landscape Architecture [November-December 1986]: 66); and Robert Royston, "A Brief History," Landscape Australia (Summer 1986): 34-36. [BACK]

76. "A Professional Adventure in Use of Outdoor Space," Architect and Engineer (September 1946), 11. [BACK]

77. See Esther McCoy, Modern California Houses: Case Study Houses 1945-1962 (New York: Reinhold, 1962); and Elizabeth A. T. Smith, curator, Howard Singerman, ed., Blueprints for Modern Living: History and Legacy of the Case Study Houses (Los Angeles: Museum of Contemporary Art; Cambridge, Mass.: MIT Press, 1989). [BACK]

78. Simo, "The Education of a Modern Landscape Designer," 26. For a sense of the previous decade, see also David Gebhard and Harriette von Breton, L.A. in the Thirties, 1931-1941 (Salt Lake City: Peregrine Smith, 1975). Also Esther McCoy, The Second Generation (Salt Lake City: Gibbs Smith, 1984). [BACK]

79. Eckbo, Landscape Architecture , 75. See also letter to the authors, 12 January 1996. They moved several times between the years 1946 and 1952, when they settled in their home in Wonderland Park (conversation with the authors, Berkeley, 31 May 1996). [BACK]

80. Michael Laurie, "The Modern California Garden," Pacific Horticulture (Summer 1993): 23. Although Eckbo's vocabulary was drastically different from his British colleague's, the play between architectural structure and planting was not unlike that of the Edwin Lutyens-Gertrude Jekyll collaborations. Lutyens, as architect, usually established the walls, primary spaces, and the designs of features such as pergolas. Jekyll designed the often complex plantings—herbaceous borders, for example—that effaced the precise edges of the architecture, added seasonal variety, a sense of life, and an intermediary material between stone and the human body. Characteristic projects include the Deanery Garden (1899), Lindisfarne Castle (1903-1907), and Hestercombe (1904-1909). For discussion of the Jekyll-Lutyens "partnership," see Jane Brown, Gardens of a Golden Afternoon (London: Penguin Books, 1982). [BACK]

81. Wassily Kandinsky, On the Spiritual in Art , trans. M.T.H . Sadler (1914; reprint, New York: Dover Publications, 1977), 32, 49. [BACK]

82. Ibid., 30-31. [BACK]

83. Paul Klee, Pedagogical Sketchbook , trans. Sibyl Moholy-Nagy (1925; New York: Frederick Praeger, 1977), 59. [BACK]

84. The project was not realized. Wistfully (and with tongue in cheek) Eckbo bemoans: "My one crack at a large estate design and it didn't get built" (conversation with the authors, Berkeley, 18 May 1996). [BACK]

85. Klee, Pedagogical Sketchbook , 53. [BACK]

86. Garrett Eckbo, The Art of Home Landscaping (New York: McGraw-Hill, 1956), 261, 265, 266. [BACK]

87. Goldsmith, Designs for Outdoor Living , 201. John Cheever, "The Swimmer," in The Stories of John Cheever (New York: Ballantine Books, 1982), 714. [BACK]

88. Thomas Church quotes the sixteenth-century English philosopher Francis Bacon, "Of Gardens": "Pooles marre all, and make the garden unwholsome and full of Flies, and Frogs" ( Gardens Are for People [New York: Reinhold, 1955], 217). [BACK]

89. For a discussion of the Thomas Church-Lawrence Halprin design for the Donnell garden, see Treib, "Aspects of Regionality and the Modern(ist) Garden in California." [BACK]

90. Eckbo, "Landscape Design in the USA ," 25. [BACK]

91. Eckbo, The Art of Home Landscaping , 197; Eckbo, Landscape for Living , 152. [BACK]

92. See Treib, "Axioms for a Modern Landscape Architecture," 47-53. [BACK]

93. Connections among the members of the northern California artistic community were quite strong from the late 1930s on. These social bonds were furthered by the efforts of the San Francisco Museum of Art to include active programs in architecture, landscape architecture, and design with those of painting, prints, and sculpture. In 1937 the first international survey of contemporary landscape architecture was held at the museum, followed by similar exhibitions in 1948 and 1958. During the 1940s and 1950s the Eckbo, Royston and Williams offices worked with several artists, the principal one being Claire Falkenstein. Thomas Church's collaboration with Adaline Kent for the pool sculpture for the Donnell garden is well documented; in 1938 Church had also worked with Florence Allston Swift on a garden project for the "Exhibition of Mural Conceptualism" at the museum. See David Streatfield, California Gardens: Creating a New Eden (New York: Abbeville Press, 1994), 190-201. [BACK]

94. Eckbo, "Landscape Design in the USA ," 25. This thinking continues the idea of the "structural" use of plants described above, and it was given renewed attention in Landscape for Living , published the following year. Garrett Eckbo, "The Esthetics of Planting," in Landscape Design (San Francisco: San Francisco Museum of Art, 1948), 17. [BACK]

95. Eckbo, "The Esthetics of Planting," 17-18. [BACK]

96. Eckbo, Landscape for Living , 149. See also Eckbo, The Art of Home Landscaping , 42, 127-41. [BACK]

97. This rooting in practice did not escape the notice of one reviewer: "Even though this book is almost exclusively concerned with theory, it is the theory of a doer, of the essentially creative person" (Robert W. Kennedy, review of Landscape for Living, Architectural Record [August 1950]: 28). [BACK]

98. About twelve families at first, up to sixty families over time (conversation with the authors, Berkeley, 31 May 1996). The date of the garden is difficult to fix precisely. Documents suggest that the project had been in Eckbo's mind since the middle of the decade, but that its realization took about five years. The contractual agreement between the landscape architect and ALCOA , dated 4 March 1959, referred to a letter of 16 October 1956 from Eckbo to ALCOA 's agents Ketchum, MacLeod and Grove; Eckbo office records show a retainer received on 2 November 1956, when the design of the project probably began in earnest.

Three sheets of the construction drawings for the garden—which appear to be a set of six sheets—bear the date of 30 May 1957; the fountain drawing, 25 November 1958. A document from the Los Angeles Department of Building and Safety dated 20 January 1959—marked "This is not a building permit," and listing additional drawings required for permission to build—suggests that the design was nearly ready for construction; the fountain drawings may not have accompanied the first, or any other, submission.

The realized garden first appeared in the April 1960 issues of several publications. From slides (dated November 1959) taken by Eckbo during a promotional photo shoot, we estimate late 1959 as the date of the garden's "completion" ( ALCOA Garden File, Eckbo papers, Documents Collection). [BACK]

99. When asked why ALCOA had selected him as designer, Eckbo replied—ironically, and with a chuckle: "I guess because I was so 'famous'" (conversation with the authors, Berkeley, 9 May 1996). [BACK]

100. Aluminum was the most publicized material in the ALCOA Forecast Garden but not necessarily the most unusual. In the construction drawings, Eckbo called for "a new pebbly concrete" that contained equal parts of Lomita gravel; crushed red sewer tile, and beach pebbles. He also used sections of tile sewer pipe, set vertically in concrete slabs, as planters for succulents (construction drawings, Plot Plan, 30 May 1957, ALCOA Garden File, Eckbo papers, Documents Collection).

ALCOA also sponsored an aluminum house at the 1960 Triennale in Milan, Italy, although the company was hardly alone in marketing its products through futuristic projects. Monsanto Chemical Company, for example, sponsored a plastic house in 1955, later relocated to Disneyland in Anaheim, California, and rechristened the Disneyland Monsanto House of the Future. [BACK]

101. A film introducing the garden was shown on ABC television on 21 June [1960?]. Printed announcement and 4 March 1959 letter of agreement between Aluminum Company of America and Garrett Eckbo are in ALCOA Garden File, Eckbo papers, Documents Collection. [BACK]

102. FORECAST L.A.NDSCAPE , n.d., n.p. (Eckbo papers, Documents Collection). [BACK]

103. "The Shape of Shade to Come," House and Garden , April 1960, 155. In a retrospective explanatory note accompanying a photograph, Eckbo reflected on the garden's design: "I liked it. But there has been no aluminum renaissance in American gardens—outside of California, only profound conservatism" (Eckbo to Marc Treib, ca. Autumn 1992).

Today (May 1996) little remains of the aluminum elements of the garden except one wall of the north arbor, now painted a dull brown. Over the years, at the hands of successive owners, a curiously shaped swimming pool and floral planting have appeared; the fountain has been removed; the trees planted in the mid-1950s grew to overwhelm the space. The space, however, keeps some of its original character, and the principal paved surfaces— now uplifted by tree roots—are still in place.

Eckbo has consulted with at least two later owners, after visits to the site at their request. His comments were directed only toward pruning, maintenance, and planting—he did not mention the ideas that took root on that site 40 years ago (letters from Garrett Eckbo to Owner #1, 26 November 1987, and Owners #2, 25 June 1989). [BACK]

104. The partnership was dissolved in 1958 and divided into the southern branch, Eckbo, Dean and Williams, and the northern branch, Royston, Hanamato and Mayes. [BACK]

105. An Interview with Garrett Eckbo , 12. [BACK]

106. Lawrence Halprin, "The Last 40 Years: A personal Overview of Landscape Architecture in America," Space Design , Special Issue 1984; Gardens: Wonderland of Contrivance and Illusion , 5 (English translation). The Brazilian artist's landscapes should be distinguished from the painterly gardens of the English landscape grand tradition. There, garden makers employed the framing and compositional devices of artists who composed views of landscapes. The weakness of many modern (and postmodern) garden designers is that they reapplied a two-dimensional design (a plan) to the garden with little three-dimensional, that is, spatial development. See Treib, "Axioms for a Modern Landscape Architecture." For an extended discussion of the garden as visual object ( tableau-jardin ) and its limitations, see Imbert, The Modernist Garden in France . [BACK]

107. The firm was incorporated in 1968; Eckbo left EDAW in 1973 ("after an 18 months' controversy over organizational policies and procedures"), and "returned to a small private practice scale" ( An Interview with Garrett Eckbo , 20, 15). [BACK]

108. See Ian McHarg, Design with Nature (Garden City, N.Y.: Doubleday, 1966). [BACK]

109. Cited by J. William Thompson, "Standard-Bearer of Modernism," Landscape Architecture (February 1990): 89, 90. [BACK]

1. Garrett Eckbo, "North vs. South," Arts and Architecture I, no. 4 (1982): 40. [BACK]

2. William Wurster, cited by Greg Hise, "Building Design as Social Art: The Public Architecture of William Wurster, 1935-1950," in An Everyday Modernism: The Houses of William Wurster , ed. Marc Treib (San Francisco: Museum of Modern Art; Berkeley: University of California Press, 1995), 145. [BACK]

3. Christopher Tunnard, "Modern Gardens for Modern Houses," Landscape Architecture 32, no. 2 (January 1942): 60. [BACK]

4. "A Model Block of Suburban Homes," thesis, Harvard University, 15 February 1938 (typescript, I, courtesy Garrett Eckbo). Eckbo's intention to represent the "World of Day-after-Tomorrow" was a direct reference to the 1939 New York World's Fair "Tomorrowtown." An exhibition at New York's Museum of Modern Art had triggered a polemic on "Tomorrowtown's" lack of modernity, comparing it to the Stuttgart Werkbund of 1927. The captions of one exhibition panel read "New York World's Fair 1937 Designs . . . Today Looking toward Yesterday?" and "Stuttgart-Weissenhof Werkbund Exposition 1927 . . . Yesterday Looking toward Tomorrow?" Eckbo included a reproduction of this panel in his scrapbook for Contempoville. See Henry-Russell Hitchcock's letter to the editors of American Architect and Architecture 151, no. 12 (December 1937): 16, 102. [BACK]

5. See Detail Plans Lots 4-12-20, Contempoville, Los Angeles World Fair 1945 (Eckbo papers, College of Environmental Design Documents Collection, University of California at Berkeley [hereafter cited as Eckbo papers, Documents Collection]). [BACK]

6. Garrett Eckbo, "Hypothetical Superblock Park, 1938," in Landscape for Living , 178. [BACK]

7. Garrett Eckbo, "Outdoors and In: Gardens as Living Space." Magazine of Art 34, no. 8 (October 1941): 427. [BACK]

8. "I was prepared to design the whole landscape, but I didn't have this other vision, or understanding. I was still undisciplined" ( Landscape Architecture: The Profession in California, 1935-1940, and Telesis . Interviews conducted by Suzanne B. Riess, 1991 [Berkeley, Calif.: Regional Oral History Project, 1993], 28-29). [BACK]

9. Gutheim also instigated the opportunity for Eckbo to work on the landscape plan for Norman Bel Geddes's General Motors Pavilion at the 1939 New York World's Fair (drawings dated November 1938). While in Washington, the landscape architect also collaborated with architects Kastner and Berla on the Federal Building at the 1939 San Francisco fair, designing its south court. Isometric drawing dated 16 October 1938 (Eckbo's own notebooks and Eckbo papers, Documents Collection). Dan Kiley replaced Eckbo in Washington, he recalls, allowing him to meet Louis I. Kahn and Eero Saarinen and helping launch his career (conversation with the authors, Berkeley, 22 April 1996). [BACK]

10. See Garrett Eckbo, "Housing and Recreation." Arts and Architecture 63, no. 1 (January 1946): 34, and "Landscape Gardening II: Community Planting." Architectural Forum 86 (March 1946): 141. [BACK]

11. From Marie De L. Welch, "The Nomad Harvesters," in This Is Our Own (New York: Macmillan, 1940), 56. [BACK]

12. Frederic Delano, an advocate for Chicago's great advisory plan and later chairman of the committee for New York's comprehensive plan, fed his nephew's interest in planning. Frederic Delano directed the National Resources Committee, the first national planning agency, during the New Deal. See "The Urban Pattern," in Works Progress Administration American Guide Series, New York Panorama (New York: Random House, 1938), 412-13; and Paul Conkin, Tomorrow a New World: The New Deal Community Program (1959; reprint, New York: Da Capo Press, 1976), 66. [BACK]

13. Conkin, Tomorrow a New World , 38. [BACK]

14. Franklin D. Roosevelt, cited in Conkin, Tomorrow a New World , 84. [BACK]

15. "Such a romantic attitude is all too apparent among the American designers, who fail to see that the 'old swimming hole' needs lifeguards and pure water . . . or that the farm boy may be quite as interested in aviation or theatricals as his city cousin. On the other hand, there is the danger that—once recognizing these needs—the building or landscape designer (because of his own urban background and experience) will uncritically apply urban design standards to a rural problem" (Garrett Eckbo, Daniel U. Kiley, and James C. Rose, "Landscape Design in the Rural Environment," Architectural Record [August 1939]: 68). [BACK]

16. Press-Herald , Portland, Maine, 24 May 1936, cited in Conkin, Tomorrow a New World , 153. [BACK]

17. See Carey McWilliams, Factories in the Field (Boston: Little, Brown, 1939), 294-95. [BACK]

18. The State Relief Administration ( SERA ) first commissioned Paul Taylor to study the social conditions of the human river of agricultural laborers that flowed into California during the winter 1934-35. In 1935 Taylor invited photographer Dorothea Lange to join his team, thus marking the beginning of a long-lasting collaboration. Their report on the squalid state of life migrants had to endure is said to have influenced the federal government to enter this arena of emergency relief. See Sandra Phillips, "Dorothea Lange: An American Photographer," in Dorothea Lange: American Photographs , ed. Therese Thau Heyman, Sandra Phillips, John Szarkowski (San Francisco: San Francisco Museum of Modern Art and Chronicle Books, 1994), 22. [BACK]

19. McWilliams estimated the FSA attempted to provide assistance for 45,500 refugees in April 1938 ( Factories in the Field , 308). [BACK]

20. Talbot Hamlin, "Farm Security Administration: An Appraisal." Pencil Points (November 1941): 720. [BACK]

21. Alfred Roth, "Co-operative Farm Community," in Die Neue Architektur , 61-70. Roth selected Richard Neutra's 1935 experimental school in Los Angeles as the other representative of "new" American architecture (105-14). [BACK]

22. Garrett Eckbo, letter to the authors, 28 May 1996. [BACK]

23. Hamlin, "Farm Security Administration," 710. [BACK]

24. Garrett Eckbo, "Site Planning," Architectural Forum 76, no. 5 (May 1942): 263. [BACK]

25. See Eckbo, "Outdoors and In," 422; Garrett Eckbo, "Space and People," Architectural Record (January 1950): 72. [BACK]

26. "It is interesting to note how quickly social integration has followed physical integration in the new towns by TVA , FSA , and in the greenbelt towns of the former Resettlement Administration. . . . The recent western projects of the Farm Security Administration—while of course designed for the landless migrants—clearly indicate the physical advantages of a concentration of housing facilities" (Eckbo, Kiley, and Rose, "Landscape Design in the Rural Environment," 71-72). [BACK]

27. Albert Good, "Overnight and Organized Camp Facilities," in Park and Recreation Structures (Part III), I. [BACK]

28. For examples of National Park Service large organized camps see "Camp Layout" in Park and Recreation Structures (Part III), 114-19 (Eckbo, Kiley, and Rose, "Landscape Design in the Rural Environment," 74). [BACK]

29. Eckbo, Kiley, and Rose, "Landscape Design in the Rural Environment," 74. [BACK]

30. McWilliams, Factories in the Field , 324-25. [BACK]

31. See Elizabeth Mock, Built in USA since 1932 (New York: The Museum of Modern Art, 1945), 60-61; Hamlin, "Farm Security Administration," 712-14. [BACK]

32. Hamlin, "Farm Security Administration," 713. [BACK]

33. Mock, Built in USA, 61. [BACK]

34. Vernon DeMars, "Social Planning for Western Agriculture," Task , no. 2 (1941): 9. [BACK]

35. A phenomenon expressed within the process of hiring also, as McWilliams pointed out: "The established pattern has been somewhat as follows: to bring in successive minority groups; to exploit them until the advantages of exploitation have been exhausted; and then to expel them in favor of more readily exploitable material. In this manner the Chinese, the Japanese, the Filipinos, and the Mexicans have, as it were, been run through the hopper. . . . The latest army being recruited [was] from the stricken dust-bowl areas, from Oklahoma, Texas, Arkansas. . . . They came in without expense to the growers; they were excellent workers; they brought their families; they were so impoverished that they would work for whatever wage was offered" ( Factories in the Field , 305-6). [BACK]

36. "There was never a 'regional or traditional' expression specified. Budgets and functional limits were strict. The few buildings were strictly functional. Most expressive or 'far out' were the two-story row house units which Burt [Cairns] and Vernon [DeMars] developed. They were like a touch of European modern in the western landscape" (Garrett Eckbo, letter to the authors, 28 May 1996). [BACK]

37. See Weslaco file, Farm Security Administration (Eckbo papers, Documents Collection), and Eckbo, "Space and People," 72. [BACK]

38. A principle Eckbo described as being inspired by Mies's architectural plans. See the caption to his garden for Mr. and Mrs. John Reid, Eckbo, "Space and People," 70. [BACK]

39. Eckbo, "Site Planning," 266. [BACK]

40. Hamlin, "Farm Security Administration," 711. [BACK]

41. Garrett Eckbo, "Permanent Row Housing in Taft, California, 1941," in Landscape for Living , 206-7. [BACK]

42. Eckbo, "Site Planning," 267. [BACK]

43. Eckbo, "Outdoors and In," 425-26. [BACK]

44. Eckbo, "Landscape Gardening II," 143. [BACK]

45. Eckbo, "Site Planning," 266. [BACK]

46. Garrett Eckbo, "Community Recreation Space in Ceres, Central Valley, California, 1940," in Landscape for Living , 179. [BACK]

47. According to the FSA camps "constitution," residents served as the legislative and judiciary bodies, the manager acted as the executive, and all "worked together in an ideal microcosmic democracy" (Walter Stein, "A New Deal Experiment with Guided Democracy: The FSA Migrant Camps in California," Historical Papers [Toronto: Canadian Historical Association, 1970], 140). [BACK]

48. Conkin, Tomorrow a New World , 186. An opinion also supported by McWilliams: "Although admittedly inadequate, the camps which have thus far been established are highly important institutions and foreshadow the appearance of a new rural social order in California" ( Factories in the Field , 300). [BACK]

49. See Stein, "A New Deal Experiment," 136. [BACK]

50. Eckbo, Kiley, and Rose, "Landscape Design in the Rural Environment," 70. [BACK]

51. See Cletus Daniel, Bitter Harvest: A History of California Farmworkers, 1870-1941 (1981; reprint, Berkeley: University of California Press, 1982), 270. Furthermore, to avoid political liability, agencies such as the WPA ruled as of 1935, that men could be released from work relief to report for work in the fields, regardless of the probable lower wage scale on the farm (Los Angeles Chamber of Commerce, Report of Special Labor Committee, 22 November 1935, cited in Daniel, Bitter Harvest , 272, 338 n. 18; McWilliams, Factories in the Field , 286-96). [BACK]

52. "Before WW II camps residents were . . . Okies and Arkies. After they were black and chicano. (I went to see.)" (Garrett Eckbo, letter to the authors, 6 June 1996). [BACK]

53. Daniel, Bitter Harvest , 284. [BACK]

54. See Catherine Bauer, "Outline of War Housing," Task , no. 4 (1943): 5. [BACK]

55. Eliel and Eero Saarinen, with Robert Swanson, designed 476 rental units for Center Line, Michigan, in 1941. See "5 House Types, One and Two Story, One to Three Bedrooms," Architectural Forum 75, no. 10 (October 1941): 229-31 and "Center Line, Michigan: 476 Permanent Units—Rental," Architectural Forum 76, no. 5 (May 1942): 281-84. In May 1942 Gropius and Breuer completed the 250 homes of Aluminum Terrace in New Kensington. See Isabel Bayley "New Kensington Saga," Task no. 5 (Spring 1944): 28-36. For Buckminster Fuller's "Dymaxion Deployment Unit"—a galvanized steel demountable tent—see "Building for Defense . . . 1,000 Houses a Day at $1,200 Each," Architectural Forum 74, no. 6 (June 1941): 425-29. On Wurster's defense housing at Vallejo and Sacramento, see Hise, "Building Design as Social Art," 138-63. [BACK]

56. Catherine Bauer, transcript of Town Meeting of the Air , in "War-time Housing in Defense Area," Architect and Engineer (October 1942): 33. [BACK]

57. See Lane Ryo Hirabayashi and James A. Hirabayashi, "Behind Barbed Wire," in The View from Within: Japanese American Art from the Internment Camps, 1942-45 (Los Angeles: Japanese American National Museum, UCLA Wight Art Gallery, UCLA Asian American Studies Center, 1992), 52. [BACK]

58. Garrett Eckbo, "Trailer Housing Patterns in San Diego and Vallejo, California, 1942," in Landscape for Living , 204-5. [BACK]

59. Eckbo, "Space and People," 75. [BACK]

60. Eckbo, "Site Planning," 265. [BACK]

61. Garrett Eckbo, "Farm Security Administration Projects," Arts and Architecture I, no. 4 (1982): 42. [BACK]

62. "Principles embodied in the drawings." See text accompanying plans for Flexible Co-op (Eckbo papers, Documents Collection). [BACK]

63. Your Home in Ladera , Peninsula Housing Association brochure, 1947. Cited in Stephen White, Building in the Garden: The Architecture of Joseph Allen Stein in India and California (Oxford: Oxford University Press, 1993), 92. [BACK]

64. Your Home in Ladera , 5, 12. [BACK]

65. For the revised version of Ladera see "The Ladera Project," Arts and Architecture (July 1951). [BACK]

66. "Mutual Housing Association: A Project for Five Hundred Families in Crestwood Hills," Arts and Architecture 65 (September 1948): 30. [BACK]

67. Garrett Eckbo, General Tree Plan (Community Homes), June 1948 (Eckbo papers, Documents Collection). [BACK]

68. Garrett Eckbo, "Co-operative Housing in the San Fernando Valley, Los Angeles, California, 1945-49," in Landscape for Living , 218-21. [BACK]

69. See Gregory Ain's comments in "Designs for Postwar Living," Arts and Architecture 60 (August 1943): 27. [BACK]

70. This description of Ain's Mar Vista designs equally applies to his planning for the houses of Community Homes. See "One Hundred Houses," 41. [BACK]

71. Eckbo, Landscape for Living , 221. [BACK]

72. See "If you are thinking of organizing a co-operative community. . . . " in "Facts and Figures," House and Garden , February 1951, 110. [BACK]

73. Eckbo, "Site Planning," 265. [BACK]

74. Vernon DeMars, "Co-operative Housing—An Appraisal," Progressive Architecture 32, no. 2 (February 1951): 64. [BACK]

75. Gregory Ain, cited by Esther McCoy in The Second Generation , 121. [BACK]

76. DeMars, "Co-operative Housing," 77. [BACK]

77. Gregory Ain, jury comment on "Designs for Postwar Living," 27. For Park Planned Homes, he instead sought to counter the rising costs of materials and construction with precut elements and jigs, such as those used to predrill holes in studs for wiring. He based the house plans on standard 12'x16' modules—a 12' module required only a single rafter size—and opted for longitudinal roof framing to eliminate beams over windows. Thus fenestration could extend fully to the ceiling. [BACK]

78. Eckbo commended Richard Neutra for assigning blame for the lackluster urban and suburban developments to this "trinity." See Eckbo's review, "Richard Neutra on Building: Mystery and Realities of the Site," Landscape Architecture 42, no. 1 (October 1951): 41. [BACK]

79. "One Hundred Houses," Arts and Architecture 65 (May 1948): 38, 40. [BACK]

80. See Arts and Architecture 65 (September 1948): n.p. [BACK]

81. "One Hundred Houses," 40. [BACK]

82. Ain, "Designs for Postwar Living," 25. [BACK]

83. Garrett Eckbo, "Cooperatives," Arts and Architecture I, no. 4 (1982): 42. [BACK]

84. Eckbo, "Co-operative Housing," 225. [BACK]

85. "A Landscape Architect Creates New Dimensions in Landscaping with Aluminum," Landscaping (May 1960): 15. [BACK]

86. Eckbo, "Co-operative Housing," 225. [BACK]

87. For the typical garden plans, see Eckbo, "Co-operative Housing," 226. The above-mentioned garden is described by Virginia Scallon in "Now Is The Time and This Is The House . . . To Build," The Californian , July 1947, 49. [BACK]

88. Eckbo, "Cooperatives," 42. [BACK]

89. See "Mutual Housing Association," 32. [BACK]

90. Conversation with the authors, Berkeley, 31 May 1996. [BACK]

91. Eckbo, "North vs. South," 40. [BACK]

92. Eckbo, "Space and People," 74. [BACK]

93. See Herbert Muschamp, "Can New Urbanism Find Room for the Old?" New York Times , 2 June 1996, 27. [BACK]