In a career spanning nearly sixty years, Ruth Shellhorn (1909–2006) helped shape Southern California’s iconic modernist aesthetic. This is the first full-length treatment of Shellhorn, who created close to four hundred landscape designs, collaborated with some of the region’s most celebrated architects, and left her mark on a wide array of places, including college campuses and Disneyland’s Main Street. Kelly Comras tells the story of Shellhorn’s life and career before focusing on twelve projects that explore her approach to design and aesthetic philosophy in greater detail. The book’s project studies include designs for Bullock’s department stores and Fashion Square shopping centers; school campuses, including a multiyear master plan for the University of California at Riverside; a major Los Angeles County coastal planning project; the western headquarters for Prudential Insurance; residential estates and gardens; and her collaboration on the original plan for Disneyland. Shellhorn received formal training at Oregon State and Cornell Universities and was influenced by such contemporaries as Florence Yoch, Beatrix Farrand, Welton Becket, and Ralph Dalton Cornell. As president of the Southern California chapter of ASLA, she became a champion of her profession, working tirelessly to achieve state licensure for landscape architects. In her own practice, she collaborated closely with architects to address landscape concerns at the earliest stages of building design, retained long-term control over the maintenance of completed projects, and considered the importance of the region’s natural environment at a time of intense development throughout Southern California. Shellhorn set a standard of creativity, productivity, and respect for the native landscape that defused gender stereotypes—and earned her the admiration of landscape designers then and now.

The first biography of this important landscape architect, James Rose examines the work of one of the most radical figures in the history of mid-century modernist American landscape design. An artist who explored his profession with words and built works, Rose fearlessly critiqued the developing patterns of land use he witnessed during a period of rapid suburban development. The alternatives he offered in his designs for hundreds of gardens were based on innovative and iconoclastic environmental and philosophic principles, some of which have become mainstream today. A classmate of Garrett Eckbo and Dan Kiley at Harvard, Rose was expelled in 1937 for refusing to design landscapes in the Beaux-Arts method. In 1940, the year before he received his first commission, Rose also published the last of his influential articles for Architectural Record, a series of essays written with Eckbo and Kiley that would become a manifesto for developing a modernist landscape architecture. Over the next four decades, Rose articulated his philosophy in four major books. His writings foreshadowed many principles since embraced by the profession, including the concept of sustainability and the wisdom of accommodating growth and change. James Rose includes new scholarship on many important works, including the Dickenson Garden in Pasadena and the Averett House in Columbus, Georgia, as well as unpublished correspondence. Throughout his career Rose refined his conservation ethic, finding opportunities to create landscapes for contemplation, self-discovery, and pleasure. At a time when issues of economy and environmentalism are even more pressing, Rose's writings and projects are both relevant and revelatory.

(From table of contents)The architecture of an icon /Janna Ireland --Plates --Paul R. Williams: beyond style /Ingalill Wahlroos-Ritter --Plates --Afterword /Barbara Bestor --Image locations.

A propulsive and “entertaining” (The Wall Street Journal) history chronicling the conception and creation of the iconic Disneyland theme park, as told like never before by popular historian Richard Snow. One day in the early 1950s, Walt Disney stood looking over 240 acres of farmland in Anaheim, California, and imagined building a park where people “could live among Mickey Mouse and Snow White in a world still powered by steam and fire for a day or a week or (if the visitor is slightly mad) forever.” Despite his wealth and fame, exactly no one wanted Disney to build such a park. Not his brother Roy, who ran the company’s finances; not the bankers; and not his wife, Lillian. Amusement parks at that time, such as Coney Island, were a generally despised business, sagging and sordid remnants of bygone days. Disney was told that he would only be heading toward financial ruin. But Walt persevered, initially financing the park against his own life insurance policy and later with sponsorship from ABC and the sale of thousands and thousands of Davy Crockett coonskin caps. Disney assembled a talented team of engineers, architects, artists, animators, landscapers, and even a retired admiral to transform his ideas into a soaring yet soothing wonderland of a park. The catch was that they had only a year and a day in which to build it. On July 17, 1955, Disneyland opened its gates…and the first day was a disaster. Disney was nearly suicidal with grief that he had failed on a grand scale. But the curious masses kept coming, and the rest is entertainment history. Eight hundred million visitors have flocked to the park since then. In Disney’s Land, “Snow brings a historian’s eye and a child’s delight, not to mention superb writing, to the telling of this fascinating narrative” (Ken Burns) that “will entertain Disneyphiles and readers of popular American history” (Publishers Weekly).

Although historians have begun to recognize the accomplishments of Disney Studio’s female animators, the women who contributed to the early success of Disneyland remain, for the most part, unacknowledged. Indeed, in celebrating the park’s ten-year anniversary in 1965, Walt Disney thanked “all the boys . . . who’ve been a part of this thing,” even though hundreds of women had also been instrumental in designing, building and operating Disneyland since before its grand opening in July 1955. Seeking to reclaim women’s place in the early history of Disneyland, The Women Who Made Early Disneyland highlights the female Disney employees and contract workers who helped make the park one of the most popular U.S. destinations during its first ten years. Some, like artist Mary Blair, Imagineers Harriet Burns and Alice Davis, “Slue Foot Sue” Betty Taylor, and Disneyland’s first “ambassador,” Julie Reihm, eventually became Disney “legends.” Others remain less well known, including landscape architect Ruth Shellhorn, parade choreographer Miriam Nelson, Aunt Jemima’s Kitchen hostess Alyene Lewis, and Tiny Kline, who at age seventy-one became the first Tinker Bell to fly over Disneyland. This one-of-a-kind book examines the lives and achievements of the women who made early Disneyland.

The Imagineers, those men and women who helped Walt Disney bring his creations to life, have achieved legendary status among theme park enthusiasts. It’s Kind Of A Cute Story is the life story of one of the most beloved Imagineers, Rolly Crump. Covering his long and varied career, including designing some of Disney’s most famous attractions and working directly with Walt himself, Rolly’s stories weave into a lighthearted yet riveting narrative of his life and accomplishments. Packed with over 200 photos, many of which have never been seen before, It’s Kind Of A Cute Story is a tribute to the life and work of a true original.

While the success of Disneyland is largely credited to Walt and Roy Disney, there was a third, mostly forgotten dynamo instrumental to the development of the park--fast-talking Texan C. V. Wood. Three Years in Wonderland presents the never-before-told, full story of "the happiest place on earth." Using information from over one hundred unpublished interviews, Todd James Pierce lays down the arc of Disneyland's development from an idea to a paragon of entertainment. In the early 1950s, the Disney brothers hired Wood and his team to develop a feasibility study for an amusement park Walt wanted to build in southern California. "Woody" quickly became a central figure. In 1954, Roy Disney hired him as Disneyland's first official employee, its first general manager, and appointed him vice president of Disneyland, Inc., where his authority was exceeded only by Walt. A brilliant project manager, Wood was also a con man of sorts. Previously, he had forged his university diploma. A smooth-talker drawn to Hollywood, the first general manager of Disneyland valued money over art. As relations soured between Wood and the Disney brothers, Wood found creative ways to increase his income, leveraging his position for personal fame. Eventually, tensions at the Disney park reached a boiling point, with Walt demanding he be fired. In compelling detail, Three Years in Wonderland lays out the struggles and rewards of building the world's first cinematic theme park and convincing the American public that a $17 million amusement park was the ideal place for a family vacation. The early experience of Walt Disney, Roy Disney, and C. V. Wood is one of the most captivating untold stories in the history of Hollywood. Pierce interviewed dozens of individuals who enjoyed long careers at the Walt Disney Company as well as dozens of individuals who--like C. V. Wood--helped develop the park but then left the company for good once the park was finished. Through much research and many interviews, Three Years in Wonderland offers readers a rare opportunity to stand shoulder-to-shoulder with the men and women who built the best-known theme park in the world.

Modernity was critically important to the formation and evolution of landscape architecture, yet its histories in the discipline are still being written. This book looks closely at the work and influences of some of the least studied figures of the era: established and less well-known female landscape architects who pursued modernist ideals in their designs. The women discussed in this volume belong to the pioneering first two generations of professional landscape architects and were outstanding in the field. They not only developed notable practices but some also became leaders in landscape architectural education as the first professors in the discipline, or prolific lecturers and authors. As early professionals who navigated the world of a male-dominated intellectual and menial work force they were exponents of modernity. In addition, many personalities discussed in this volume were either figures of transition between tradition and modernism (like Silvia Crowe, Maria Teresa Parpagliolo), or they fully embraced and furthered the modernist agenda (like Rosa Kliass, Cornelia Oberlander). The chapters offer new perspectives and contribute to the development of a more balanced and integrated landscape architectural historiography of the twentieth century. Contributions come from practitioners and academics who discuss women based in USA, Canada, Brazil, New Zealand, South Africa, the former USSR, Sweden, Britain, Germany, Austria, France and Italy. Ideal reading for those studying landscape history, women’s studies and cultural geography.

While many fields struggle to specify feminine contributions, the work of women has always played a fundamental role in American landscape architecture. Women claim responsibility for many landscape types now taken for granted, including community gardens, playgrounds, and streetscapes. This collection of essays by leaders in the discipline addresses the ways that gender has influenced the history, design practice and perception of landscapes. It highlights women's relation to landscape architecture, presents the professional efforts of women in the landscape realm, examines both the perception and experience of landscapes by women, and speculates on ways to re-imagine gender and the landscape.