By Laurie Olin
"Twenty-eight years in the past I went to England for a three-month stopover at and leisure. What i discovered replaced my life."
So starts this memoir through considered one of America's best-known panorama architects, Laurie Olin. Raised in a frontier city in Alaska, expert in Seattle and long island, Olin stumbled on himself upset along with his activity as an city architect and authorized a call for participation to England to take a respite from paintings. What he discovered, in abundance, used to be the serendipity of a human atmosphere outfitted through the years to reply to the land's personal personality and to the folk who lived and labored there. For Olin, the English nation-state was once a palimpsest of the main eloquent and relocating style, but whose manifestation used to be of normal constructions intended to take care of their population and additional their work.
With evocative language and delightful line drawings, the writer takes us again to his creation to the scenes of English state cities, their old universities, meandering waterways, and dramatic cloudscapes racing in from the Atlantic. He limns the geologic histories chanced on in the rock, the near-forgotten histories of place-names, and the new histories of teach strains and automobile routes. evaluating the expansion of establishing within the English geographical region, Olin attracts a few sobering conclusions approximately our sleek way of life and its expanding separation from the landscape.
As a lot a plea for saving the fashionable American panorama because it is a passionate exploration of what makes the English panorama so regularly English, Across the Open Field is "an affectionate ramble via genuine areas of lasting worth."
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Extra info for Across the open field : essays drawn from English landscapes
With gardens one can do the same thing. It means that there's a change in where you go for further exploration. In architecture the modern movement developed. I don't know where the garden can go. I find this statement as foolish and irritating now as I did then. There are serious problems with the notions of style as they have been sloppily applied to landscape and garden design. Fortunately, since the time I made the drawings in this book, a generation of new scholarship and thinking has been applied to the topic, extending our knowledge of the breadth and depth of garden design and its history around the world, more of the per- 18 AS THE TWIG IS BENT sonalities, and the economic, artistic, and social contexts of its production.
A quiet street on the edge of Buckland. As early as 1970 several of these buildings had been converted to residences for people who work in nearby Oxford. This corner of the village was once an active part of Buckland's self-sufficient economy. On the left is the old brewery. The tie rods were added in the nineteenth century to keep it from collapsing. B-eyond are the bay windows of what once was a draper's shop, now converted to the village shop, post office, and grocer's. Next is one of two former greengrocer's shops, recently the home of a retired general.
FACING: s. The village shop, post office, and telephone box, Buckland. Since this drawing was made it has been converted to a residence and the phone box moved across the road. CHAPTER TWO parks and countryside about me. Thus began a series of trips to Oxford and London to purchase books, maps, and guides. The more I read, the more I needed to see. The answer to one question raised others. The more I saw, the more I needed to read. Although the literature and history of architecture are extensive, that of the history of the landscape seemed at first to be quite small.