Discovering the landscape: lost landscapes of Michael Brown

In this post Amber Roberts, recipient of MERL’s landscape academic engagement bursary talks about her work on our Michael Brown collection (Landscape Institute collections).

Michael Brown’s work is unfortunately little known to today’s landscape architects. Thanks to a generous research bursary from MERL I have been able to delve into his archive and begin to uncover Brown’s idiosyncratic approach, his lost landscapes and his lost research.

Michael Brown Collection (AR BRO)

Brown (1923-1996) was an Edinburgh-born architect and landscape architect whose career had an international scope and strong links to key designers of the mid-twentieth century, such as Ian McHarg, Dan Kiley and Basil Spence. Brown’s projects covered all scales of landscape architecture and are of particular interest due to his commitment to integrating the theories and practices of landscape and architecture that resulted in a body of work that was both inventive and pragmatic. Brown stated:

The art and aesthetic delight of landscape must emerge out of solving down to earth problems elegantly and simply.

With this focus on the solution of ‘down to earth problems’, his work navigated the complex tensions of the profession that existed both then and now by advocating an objective, theoretical and interdisciplinary approach.

If spaces between buildings are to be used to their best advantage it is essential that methods of analysis and comparison be evolved which will enable the designer to analyse the functions and uses of external spaces very rigorously.

This approach is particularly evident in his work at Livingstone Road, London (1962 and later awarded a Civic Trust Award 1968) developed with the architects George, Drew and Dunn Partnership, a project that is due to be lost to a £300m regeneration project. By undertaking a disciplined survey and analysis of the site Brown identified key issues and opportunities that ranged from the particular microclimate of the site to cut and fill balance and pedestrian movement lines. Brown interwove this analysis with the ‘Court House Concept’ of his tutor McHarg to develop a series of spaces that were given careful detailing landform and levels to create a range of soft spaces.

Great West House, Michael Brown Collection (AR BRO)

Beyond the layout of the courtyard system of open space, Brown sought to foster a sense of ownership for the spaces among the new residents. This was a key approach of Brown’s that he had begun to develop during his early British work with SPAN Housing. Brown himself became a resident of Fieldend and member of the Resident’s Association for the upkeep of the landscape within the estate. The courtyards at Livingstone Road were each given a distinct character and function that was embellished with sculptures and wall panels and Brown actively promoted a resident’s association for the scheme.

Overall Brown had a deeply personal and idiosyncratic approach to landscape,  his publications and designs offered exemplary solutions responding to complex issues from housing and motorway design to the design of public squares. Each of which combined his joint skills in architecture, urban design and landscape. Brown’s breadth of projects are testament to his rich and varied experience merging together disparate ideas and skills.  This research on Brown will be presented with Lead Researcher Dr Luca Csepely-Knorr at the Society of Architectural Historians Conference in Glasgow next month.

Find out more about Amber’s work or our Landscape Institute.

Discovering the Landscape: Book now for a place on FOLAR’s Landscape Education study day

Landscape Architecture and Management Education in the UK: past present and future

Delegates at the 2016 FOLAR study day browsing a pop-up exhibition of landscape library and archive material in the MERL Reading Room

Delegates at the 2016 FOLAR study day browsing a pop-up exhibition of landscape library and archive material in the MERL Reading Room

What?

This year’s FOLAR (Friends of the Landscape Library and Archive at Reading) Seminar deals with the origins and history of landscape architecture and management education in the UK, past, present and the future.

Who?

Speakers will include Guy Baxter, the University of Reading Archivist, on the history of the first landscape architecture course in the UK, that at Reading (1930-1959). Then Jan Woudstra will survey the origins and growth of landscape courses nationally. Richard Bisgrove will outline the story of the BSc Landscape Management at Reading (1986-2010). Finally Robert Holden (formerly University of Greenwich) will review current trends, speculate about the future and in particular look to the past to see lessons that can be applied today. The chair will be John Stuart-Murray of the University of Edinburgh.

The FOLAR AGM is from 10.30am-12.00pm, and all (members and non members) are welcome from 10am onwards, lunch will 12-12.30pm and the afternoon seminar will run from 12.30pm-4pm. Duplicate books from the LI collection will be on sale.

When?

Saturday 1 April 2017

10.30-4

Where?

MERL (Museum of English Rural Life), Redlands Road, Reading, RG1 5EX

Booking?

Please complete this FOLAR booking form and return it by email to info@folar.uk or by post to the address on the form.

Cost: for FOLAR members £15 incl. lunch (a £35 payment on the day would include FOLAR membership renewal).

For non members the cost of the seminar incl. lunch is £25.

PLEASE BOOK EARLY FOR THIS EVENT as we have a limit on numbers – 50 maximum.

We look forward to seeing you there!

Poultry Show, Telford

Written by Caroline Gould, Deputy University Archivist

The MERL attended the Poultry Club of Great Britain National Show at the weekend (19-20 November 2016). It was held at the International Centre, Telford. The MERL took a display of items from the David Scrivener Collection, an expert on poultry.

David Scrivener Collection

David Scrivener Collection

It was the first time The MERL had attended the show. Guy Baxter, David Plant and Caroline Gould spoke to over 180 members of the Poultry Club and general public over the weekend.  We had some fascinating conversations. It was a wonderful experience. I was totally amazed by seeing all the different breeds of poultry in one place and couldn’t stop myself taking pictures.

Prize poultry

Prize poultry

 

The Poultry Club of Great Britain agreed at their AGM to provide a £25,000 grant to the Museum of English Rural Life to catalogue, digitise and conserve the David Scrivener Collection of slides, postcards, prints and books. The grant will also pay for activities of public and academic engagement. We wish to thank the Poultry Club for their generous grant and we are very enthusiastic about the forthcoming project. We will keep you informed of our progress.

 

Poultry at show

Poultry at show

eggs

 

Childrens entries at the show

Children’s entries at the show

Archives featured in the Galleries

Written by Caroline Gould, Deputy University Archivist

Sheep Dipping

Sheep Dipping

The new galleries were opened on 19 October 2016, after a £3million redevelopment programme with £1.8 million from the Heritage Lottery Fund (HLF).  Prior to the redevelopment, the galleries contained a large number of objects with little interpretation. We were keen to include archives, archival film and photographs through the new displays aiming to revitalise the way visitors engage with the Museum’s extraordinary collections.

In February 2014, we started researching the archives and photographs to identify items for possible inclusion in the galleries. Our strategy on how to include archives in the galleries developed over time.  However, we found five main ways to feature archives.

We have included photographs in the galleries to aid interpretation of the objects and themes. In Gallery 2, ‘A Year on the Farm’, the largest photograph measures 2280m x 2500m, it shows sheep dipping in progress (John Tarlton Collection).  Our sheep dip object is placed in front of the photograph.

We have used archives in cases on a limited basis. The cases are likely to remain quite fixed. This is a challenge if we wish to permanently preserve the archives. The cases are not environmentally controlled and prolonged opening of volumes for display will, in time, damage the item. We therefore will need to

Blacksmith account book of Wiltshire 1934-1939

Blacksmith account book of Wiltshire 1934-1939

monitor the archives selected carefully. However, having said all this the items we have selected look great. I am particularly pleased with the blacksmith account book of Wiltshire 1934-1939 in the wagon walk.

In three galleries we have created 18 drawers under cases which feature archives and books. The items will change every 4-6 months. This provides an opportunity to display more of the collections which have previously only been consulted in the Reading Room. Visitors will be able to browse these collections and hopefully see new items when they next visit. Currently in Gallery 3, ‘Town and Country’, we have a drawer in the ‘Grow your Own’ section. This displays a minute book and report from ‘The Women’s Farm and Garden Association’ which details the setting up

Minute book and report from ‘The Women’s Farm and Garden Association’

Minute book and report from ‘The Women’s Farm and Garden Association’

the Women’s National Land Service Corps, which later became the Women’s Land Army, dated 23 May 1916.

There are some wonderful gaming interactives in the new galleries; lambing time appears to be the favourite at the moment.  Two interactives feature over 790 photographs from The MERL collections. ‘Then and Now’ is located in Gallery 3 it allows visitors to explore our photographs for the local area. We have included current photographs for Caversham, Wokingham and Hambledon. Gallery 4 features the ‘Voices and Views’ interactive, for each county we have included 10 photographs and some sound clips. Another interactive in Gallery 3, features the evacuee archive; it allows visitors to explore the stories of eleven individuals: nine evacuees, one teacher and one host son. Included in the display are contemporary photographs, letters and diaries.

The MERL holds over 1500 archival films, including films of the Ministry of Agriculture Film Library, National Dairy Council and Ransomes, Sims and Jefferies promotional films.  In Gallery 6 ‘Forces for Change’ we have a screen to show ten archival films, edited to seven minutes each. The current selection includes two compilations from Screen Archive South East and the Wessex Film and Sound Archive. The Britain on Film Rural Life programme has funded four events in West Sussex, Hampshire, Kent and Berkshire. The project is funded by The British Film institute. The compilation films at The MERL will be screened until the end of the year.

We created six photo albums featuring twenty photographs or documents. Gallery 2 ‘A year on the Far

‘Making Rural England’ photograph album featuring crafts and the home.

‘Making Rural England’ photograph album featuring crafts and the home.

m’ shows farming through the seasons, while three photo albums in Gallery 3 ‘Town and Country’ complement the featured objects: the horse, the steam engine and the Land Rover. Additionally in Gallery 5 ‘Making Rural England’, two photo albums feature crafts and the home.

We have worked on selection of these items for over two years. It is now wonderful to visit the galleries and see visitors enjoying the displays.  A special thanks to Caroline Benson, Photographic Assistant without whom the above would have been impossible.

Shaping the Land – why is the first of our new galleries all about trees?

Written by Guy Baxter, Archivist

The introductory text

The introductory text

The first space that visitors to the new MERL galleries enter is deceptively simple. It contains one object (a timber carriage), one large picture (an oak tree) and one literary quotation. Thanks to the projected animation and immersive soundscape, visitors can also see and hear the seasons change in the woods.

The gallery was conceived to give visitors the idea of being out in the countryside – after all, the Museum is in the middle of a large town. This is where we hint at the idea of there having been a “natural” environment, before people came along and started “shaping the land”. The theme of woodland reminds us that a greater proportion of England would have been wooded in pre-historic times, and so our ancestors would have faced the massive task of clearing trees in order to grow crops and graze animals.

But the gallery also carries a number of smaller and more subtle messages. Let’s start with the oak tree. Not only is this a powerful symbol of England – it appears on the “English” version of the pound coin after all – but the image chosen is the first photograph ever taken of an oak, by William Henry Fox

The Fox Talbot tree and the timber carriage

The Fox Talbot tree and the timber carriage

Talbot. Of course, his connection to Reading is well known given that he produced The Pencil of Nature, the world’s first photographic book, in the town. His oak tree is shown in the winter, standing strong against the ravages of time. Longevity is another trait of oak trees that suits the context of the gallery: the “timeframe” here is one of centuries not years.

The second idea that we introduce is seasonality. This is done through our animation which effectively shows all four seasons in one day – not such a rare occurrence in England! The animation, made by the Netherlands-based firm ShoSho, shows a woodland and also some land beyond that has been cleared – but with a lone oak in the background as well. In this gallery we introduce the changing seasons in nature partly as a prelude to the next section, A Year on the Farm, which examines how the seasons relate to the food that we grow and eat.

The animals that occasionally appear in the animation include a gall wasp. This was partly inspired by Dr George McGavin’s amazing documentary on oak trees in which he notes not only the symbiosis between the gall wasp and the tree but also the subsequent use of oak gall in the production of ink. So much of what is in our library and archive – indeed so much of our recorded history and knowledge – owes a debt to that relationship between insect and tree.

In front of the animation stands the timber carriage – a large and constant reminder of man’s interaction with the land. The carriage itself, also known as a ‘timber jill’, was used for hauling timber by

Photograph of a timber carriage in use

Photograph of a timber carriage in use

the Hunt Brothers of Waterside Works, a firm of millwrights in Soham, Cambridgeshire. The donor, Mr Tom Hunt, requested that they be recorded as ‘in memory of Thomas B. Hunt, Millwright, of Waterside Works, Soham, Cambs.’ This was his father, who died in 1954 at the age of 95 and was working almost up to the last. It was given to the MERL in 1955 – the year that we opened to the public for the first time – so it’s appropriate that it should be “object number 1 in gallery number 1” as we re-open.

We have also displayed a photograph, from the Miss Wight Collection, to show a similar carriage in use. The photograph was taken around 1935 in Aconbury Woods, Herefordshire.

The quotation, chosen by Dr Paddy Bullard in the Department of English and American Literature, is from the Victorian poet Gerard Manley Hopkins. It comes from his poem Pied Beauty. We also considered another of Hopkins’s poems, Binsey Poplars in which he mourns the felling of trees in 1879;

The quotation and the images of leaves

The quotation and the images of leaves

and we looked at using a section from A Shropshire Lad by A. E. Houseman (verse 31) which describes the same wind blowing through the trees that blew on the Romans many centuries before.

Finally, we added some images of leaves – manipulated by our photographer Laura Bennetto to reflect the style of Fox Talbot’s early leaf photographs. The actual images were provided by the Dr Alastair Culham at the University Herbarium and show the following native English varieties: oak, elm, ash, beech, willow, hawthorn, hazel, elder and apple. The leaf motif has also been used to decorate the new areas of glass in the Museum’s introductory area.

This has been a really fascinating gallery to work on and – because of its seeming simplicity – also quite a challenge. We took inspiration from many places and, made some fascinating discoveries along the way – not least David Hockney’s brilliant Yorkshire Wolds film. It has also been a really collaborative effort and one that has, we hope brought out the best of our creative, technical and curatorial skills.

War Child

The MERL is very excited to announce the publication of War Child, an online ‘mixed-media book’ which explores our Evacuee Archive from a fascinating new angle.  In this visually stunning work, Teresa Murjas, Associate Professor in the Department of Film, Theatre & Television at the University of Reading, and alumnus and film-maker James Rattee have woven together an intricate tapestry of content focusing on the story of how the archive came into being and how it continues to shape the life of its creator, Martin Parsons.

war child2 sm
The inspiration for this unique project came from Teresa’s initial meeting with Martin in 2013 when he was speaking about the Evacuee Archive at a meeting for scholars interested in the University’s Collection Based Research programme:

 I became particularly curious about the Evacuee Archive through my meetings with Martin. His willingness to talk to me lies at the centre of the project. My interest about how the archive came into being was generated in discussion with him. The project attempts to tell a story of the archive’s growth through focusing on a series of edited audio fragments from our dialogue and on imagery that investigates and reflects on a small collection of significant objects. These key elements act as ‘guides’ on a sometimes light-hearted journey of exploration into a few of the possible reasons why this archive exists, and the relationships and attachments associated with it. This is why the title of the project incorporates the phrase ‘meditating on an archive’. It might also be possible to argue that the new material we have collected and drawn together as part of the project is an extension of the archive held at MERL, or perhaps that it creates a new gateway to it.

warchild-boatsmThe British Government scheme to evacuate children from cities during the Second World War began in September 1939. Children, usually without their parents, were sent to areas of Britain that were considered safer from bombing and the effects of war, these were often rural areas.  Our collection contains written memoirs, oral history interviews and research material relating to former evacuees and war-children.

In his career as a historian of Second World War child evacuation and lecturer at the University of Reading, Martin accumulated a wealth of research materials and documents which he generously donated to the Museum helping to make our Evacuee Archive the largest resource of its kind outside London’s Imperial War Museum.  While ‘War Child’ displays many of these records and artefacts in an accessible and unique format, the real power of the project is combining the materials collected with audio files, which exhibit its creator’s extensive knowledge of the collection and its origins.  As Martin’s daughter, Hannah, explains in an audio clip from ‘Meeting Five’ of War Child, her father is the archive and it is a rare treat for this kind of memory to be captured alongside the physical collection.

Understanding and exploring this aspect of our archive was however, a natural process for the creators of War Child:

A lot of my research and teaching focuses on the work of arts practitioners whose interests lie in communicating the experiences, memories and stories of children affected by war. ‘War war child - masksmchild’ builds on that research and teaching, in that it seeks to both point towards and respond to, what is a very important conflict-related resource for researchers, whatever their age and background – namely the Evacuee Archive. Seeking to understand and explain how war continues to affect children remains an ongoing and urgent necessity. Consulting and contributing to this ever-expanding archive can form part of that process.

When exploring the War Child site, I personally found Martin’s discussion of the evacuee luggage label of particular interest.  Not only does Martin describe how these labels were a symbol of the immense logistical feat achieved during the War, he also emphasises the dehumanising effect they had on the evacuated children.  Significantly, these labels were often kept as prized possessions and have become an evacuee’s own version of a military medal, with people proudly displaying their labels on Remembrance Day for the march past at the cenotaph.  Meanwhile, for Teresa, one of the most interesting artefacts from the collection is actually one that is missing:

 war child- dollsmI am really interested in the section about the doll. Arguably, I got disproportionately excited about the doll in the archive that cannot be found! No one really knows where it has gone, or when it went. Working through our disappointment, but also our, in retrospect, persistent questions about what it was like, what it would be like to find it and so on, could probably be a bit wearing for Martin at times, I think, and he was extremely patient. Nevertheless, those discussions feel very rich and complex now, because there was this strong sense of investigation about them, on everyone’s part. For me, that section feels in some important way as though it is at the centre of the work.

While War Child is a fantastic companion piece to our Evacuee Archive, it is also an illuminating archive in and of itself; a significant chapter of the story, containing records and memories of the experiences of those most closely involved in developing the collection and bringing it to MERL where it can be preserved for and shared with generations to come.

It would be great if people felt motivated to re-visit War Child over time. It contains a lot of material, and coming back to that in stages, as we have, can shed new light.

Written by Louise Cowan, Trainee Liaison Librarian

Discovering the Landscape: Preparation, progress and preservation – 3 years on

Plans, papers, press cuttings and publications…. we have spent a busy three years working on the Landscape Institute collections here at MERL.

Alongside continuing to work on the collections to make them available, we are now looking to encourage use, awareness and engagement with our rich and varied landscape heritage collections.

What have we achieved?

Our progress from unpacking, to processing, cataloguing and display

Our progress from unpacking, to processing, cataloguing and display

Archives

Over 200m linear metres of archive material have been sorted and made available for researchers.  This vast amount of invaluable material includes press cuttings, minutes, membership lists, financial papers, Institute publications, a slide library and an album containing the Institute’s royal seal, logo and name badge (now on display at the LI’s headquarters).  The associated archive collections include the business records of significant landscape architects including founder member of the Institute Geoffrey Jellicoe.

Peter Shepheard sketchbook on display in 'Discovering the Landscape' exhibition at the University Library

This Peter Shepheard sketchbook was on display in our ‘Discovering the Landscape’ exhibition (Jan-June 2016)

Library

Thousands of books have been processed with 2500 so far added to stock and available to readers on site at MERL.  A selection of rare books have been added to collections held in our stores.  All of the journal titles received have now been sorted and listed.  Very soon we will be working to fully integrate the LI books into the MERL Library.

Selection of Shell Guide's received from the LI which have been added to our existing collection

Selection of Shell Guide’s received from the LI which have been added to our existing collection

Volunteers

Volunteers: thank you – we couldn’t have done it without you!

In the period 2013-2016 volunteers working on LI collections have contributed an impressive 10,000 hours to the project.  This includes tasks such as: book bib checking, book labelling, listing, indexing and digitising slides.

Volunteers Ron and Jan have been working on digitising slides and were featured on our Tumblr

Volunteers Ron and Jan have been working on digitising slides and were featured on our Tumblr

Events and engagement

Events that showcased out LI collections have included a seminar series (Spring 2015), a joint MERL and LI Annual Lecture with James Corner (October 2015) and a treasures exhibition (Jan-June 2016).  Throughout the project we have been sharing highlights and news from the collections with you via our social media channels, twitter, Facebook, Tumblr, Pinterest and this blog.

We also work closely with FOLAR (the Friends of the Landscape Library & Archive at Reading) and have hosted their study days, such as about Brenda Colvin and New Towns and Gordon Patterson.

James Corner speaking at MERL and Landscape Institute Annual Lecture, University of Reading's Great Hall, 22 October 2015

James Corner speaking at MERL and Landscape Institute Annual Lecture, University of Reading’s Great Hall, 22 October 2015

For more information about our LI collections you can visit this dedicated webpage or contact us via our Reading Room service on merl@reading.ac.uk.

Claire Wooldridge, Project Librarian

 

Discovering the Landscape: landscape research bursaries available

This year, thanks to generous funding from the Landscape Institute, we are pleased to offer bursaries to encourage use and engagement with our varied and fascinating landscape collections.  Read more about our Landscape Institute collection here, including the collections of Geoffrey Jellicoe, Sylvia Crowe and Brenda Colvin.  See a full list of our collections here.

Details below, please apply by email to merl@reading.ac.uk

From AR COL A/6/5, Folder relating to Little Peacocks Garden, Filkins [Brenda Colvin's home from 1960s]

From AR COL A/6/5, Folder relating to Little Peacocks Garden, Filkins [Brenda Colvin’s home from 1960s]

Student travel bursaries

The purpose of the student travel bursaries is to enable students to access collections held at Reading related to landscape, including landscape design, management and architecture.

We are offering 2 bursaries of £150 each.

Applications will be by email to merl@reading.ac.uk (please put “Landscape Bursary” in the subject line) will be invited from any student in part or full-time higher education.

Interested applicants should submit a CV, and a short statement (max 400 words) outlining their interest in and current work on landscape, stating how the bursary would be spent and how it would be beneficial to their studies.  Applicants should identify those materials in the archive that would be of most benefit to them.

Plate from 'The art and practice of landscape gardening', by Henry Ernest Milner, MERL LIBRARY RESERVE FOLIO--4756-MIL

Plate from ‘The art and practice of landscape gardening’, by Henry Ernest Milner, MERL LIBRARY RESERVE FOLIO–4756-MIL

Academic engagement bursary

The purpose of this award is to encourage academic engagement with collections held at Reading related to landscape, including landscape design, management and architecture.

Successful proposals will attract a stipend of £1,000. The funding can be used to offset teaching and administration costs, travel and other research-related expenses. Appropriate facilities are provided and the successful applicant will be encouraged to participate in the academic programmes of the Museum.

The intention for this award is to create an opportunity for a researcher to develop and disseminate new work in the broad arena of landscape.

Applications will be by email to merl@reading.ac.uk  (please put “Landscape Bursary” in the subject line).  Interested applicants should submit a CV and a statement (max 800 words) outlining their interest in, and current work on, landscape.

AR JEL DO1 S2/20

Geoffrey Jellicoe collection, AR JEL DO1 S2/20

Timetable

Academic engagement bursary:

1 September 2016 – applications open

31 October 2016 – applications close

30 November 2016 – successful candidates announced

Any work will need to be carried out and monies claimed by 31 July 2017.

Student travel bursaries:

1 September 2016 – applications open

28 February 2017 – applications close

31 March 2017 – successful candidates announced

Any work will need to be carried out and monies claimed by 31 July 2017.

 

For informal enquiries please email c.l.wooldridge@reading.ac.uk

We look forward to receiving your applications!

Discovering the Landscape: From London traffic to an Italian Prisoner of War camp

Book Production War Economy Standard stamp

Book Production War Economy Standard stamp

Over the course of a large scale cataloguing project, many hundreds of items pass through your hands.  Since acquiring the library and archive of the Landscape Institute in late 2013, we have made nearly 2500 books available to readers here at MERL.  Added to this figure are metres of journals and pamphlets – and this is to say nothing of the huge amount of varied and fascinating archival material that has been catalogued and made to available to readers so far (more on this next time).

Town Planning and Road Traffic by H. Alker Tripp (London, Edward Arnold & Co.,1942)

Within this wealth of material it is inevitable that some items catch your eye or stick in your memory more than others.  Striking cover designs, exquisitely illustrated plates, or an unexpected personal relevance are often those that stay with you.

Surprises keep things interesting!  Sometimes that faded cover, with its generic title, gives way to a book with a fascinating story or provenance – often raising more questions than you can answer – which transform the item you hold in your hands from every day to truly unique.

 

 

Town planning and road traffic, by H. Alker Tripp.

London: Edward Arnold & Co., 1942.

Title page with inscriptions in pencil relating to a prisoner of war camp

Title page with inscriptions in pencil relating to a prisoner of war camp

Sir Herbert Alker Tripp (1883-1954) was a senior English police official, who for much of his career, worked to find ways to address London traffic problems.  Blackouts and the blitz following the outbreak of WWII led to an even more complicated traffic situation in London.  In 1942 Tripp’s Town Planning and Road Traffic was published.  Tripp looked ahead to post-war reconstruction of urban areas and made pioneering suggestions about big new roads that could connect towns: motorways.

As with all of our LI books, Town Planning has an LI book plate pasted down on the inside cover.  It also has a small label which tells us that the book was donated to the LI library by Maria Shephard.

Bookplate showing previous life of the book as part of the LI library, donated to them by Maria Shephard (Tripp, Town Planning, 1942)

Bookplate showing previous life of the book as part of the LI library, donated to them by Maria Shephard (Tripp, Town Planning, 1942)

Maria Teresa Parpagliolo Shephard (1903-1974) was an Italian landscape and garden designer.  A member of the Landscape Institute (frequently contributing to their journal) and involved in the setting up of IFLA, Parpagliolo worked and travelled across Europe as a pioneer of European landscape design.  Parpagliolo trained with Percy Cane in the early 1930s and worked on a string of high profile projects including the Regatta Restaurant Garden at the Festival of Britain in 1951.

In 1946, Parpagliolo married Ronald Shephard, the “‘town major’ of the British military in Rome, whom she met during Rome’s liberation by the Allied Forces. She followed him back to England in 1946” (Dümpelmann, 2010).

Landscape architects gifting their books to the LI library after their deaths is not unusual in itself.

Pencil inscriptions and an ink stamp on the title page relating to a ‘Camp Leader’ at a ‘Campo Concentramento 82’ – however – are not something I have seen before.

Curiouser and curiouser.  Pasted on to the back of the title page is a label confirming that the book was sent to ‘The Camp Leader’ via the ‘Prisoner of War Post’.  According to the I Campi Fascisti project, Campo Concentramento 82 was a prisoner of war camp in Laterina, near Arrezzo, where the Italian fascist state held thousands of British, Greek, New Zealander, South African and Greek prisoners of war during WWII.

Prisoner of War Post label

Prisoner of War Post label

A further notable feature of the title is the ‘Book Production War Economy Standard’ stamp printed onto the back of the title page (you can see this at the top of the post).  We have a small number of other books within our collections which also feature this intriguing marking.

The book production war economy agreement the schedule with an introduction and notes on interpretation. 1942. MARK LONGMAN LIBRARY--070.5-PUB

The book production war economy agreement the schedule with an introduction and notes on interpretation. 1942. MARK LONGMAN LIBRARY–070.5-PUB

 

 

We have all heard of rationing during WWII, but did you know that even paper was rationed?  From 1940-49 paper was rationed, with publishing companies having to cut back on their use of paper by 60%.  In 1942 ‘The Book Production War Economy Agreement’ between the Ministry of Supply and the Publishers Association introduced strict guidelines which covered, for example, print size, words per page and blank pages.  Published in 1942, Tripp’s Town Planning could have been one of the first titles to published under this scheme.  It does contain one large fold out plate.  Despite these restrictions, demand for books grew during WWII.

 

 

Why was this title sent to a prisoner of war camp leader via the prisoner of war post?  Perhaps in the context of needing to rebuild urban areas after the war.  How did Maria Parpagliolo have this book?  Could a member of her family, or her husband, have been connected with the camp?  Perhaps she purchased it as a reference book and the provenance is incidental.  This fascinating book gives us a tantalising insight into this historical period – but raises more questions than answers!

Fold out plan at the back of Tripp, Town Planning, 1942

Fold out plan at the back of Tripp, Town Planning, 1942

Please contact us (using the form below or at merl@reading.ac.uk) if you have any further information.

For more on Maria Parpagliolo, Sonja Dümpelmann has published several articles and a book (such as Dümpelmann, S. (2010). The landscape architect Maria Teresa Parpagliolo Shephard in Britain: her international career 1946–1974, Studies in the History of Gardens & Designed Landscapes, 30:1, 94-113, DOI: 10.1080/14601170903217045).

For more on publishing in war time, Valerie Holman’s Print for Victory is a great start.

Claire Wooldridge, Project Librarian

Discovering the Landscape: Dublin of the Future (1922)

Plan of Dublin from Abercrombie's 1922 'Dublin of the future'

Plan of Dublin from Abercrombie’s 1922 ‘Dublin of the future’

This post highlights Dublin of the future: new town plan by Patrick Abercrombie, Sydney Kelly and Arthur Kelly (University of Liverpool Press, 1922) – a title from our MERL Library Landscape Institute collections with intriguing context and provenance.

Patrick Abercrombie (1879-1957) was a town planner active in the interwar period.  He played a leading role in planning for the redevelopment of a number of urban areas, such as London and Plymouth.  Abercrombie retained a love of traditional landscapes and historic towns.  His 1926 article ‘The preservation of rural England‘ published in the Town Planning Review led to the foundation of the Council for the Preservation of Rural England (CPRE – of which we hold an archival collection.

Plan of Dublin from Abercrombie's 1922 'Dublin of the future'

Plan of Dublin from Abercrombie’s 1922 ‘Dublin of the future’

Plan of Dublin from Abercrombie's 1922 'Dublin of the future'

Plan of Dublin from Abercrombie’s 1922 ‘Dublin of the future’

The foreword of Dublin of the future gives us an impression of the impact contemporary events were having on the day to day life of the time.  The Civics Institute of Ireland launched a competition in 1914 to encourage plans for a ‘greater Dublin’, to stimulate innovative ideas for how the city might be developed and address its housing shortage.  The competition was won by Abercrombie, Sydney and Kelly.  The outbreak of World War I in 1914 marked the beginning of several turbulent years for the city.  In 1922, Abercrombie returned to his plans for Dublin:

The members of the Institute feel that with the recent change in National circumstances a new epoch has begun, and that the present is a most opportune time to arouse the interest of the Citizens, hence it is that the design and report prepared… in the year 1916, now appears.

T. W. Sharp signature on our copy of 'Dublin of the future'

T. W. Sharp signature on our copy of ‘Dublin of the future’

Interestingly, the copy of Dublin for the future we received from the Landscape Institute has been inscribed with the signature ‘T. W. Sharp’ on the front endpaper (left).

It seems a fair assumption that this signature belongs to Thomas (Wilfred) Sharp (1901-1978).

Thomas Sharp was a town planner and writer, who we can imagine was was inspired by Abercrombie’s work.  Sharp shared Abercrombie’s enthusiasm for the landscape and its protection (he was President of the Landscape Institute, 1949-1951).  Coming into his own as a town planner following World War II (working on towns such as Oxford, Exeter and Salisbury) that this is likely to be Sharp’s copy of Dublin is a very rewarding aspect of the provenance of the book.

Upon first opening the book – the reader is presented with a striking and unusual frontispiece (below).

'The last hour of the night' frontispiece illustrated by Harry Clarke

‘The last hour of the night’ frontispiece illustrated by Harry Clarke

On first inspection – you could almost wonder why this illustration is used as a frontispiece in a publication largely about the technicalities of town planning. Harry Clarke (1889-1931) was born in Dublin and worked as a book illustrator and stained-glass artist.  Clarke was also a prominent figure in the Arts and Crafts movement in Ireland.

Clarke’s The last hour of the night makes plain to the reader the damage incurred by the city during the preceding years of war and battles for independence.  It is a haunting image that alludes to the challenge faced by Abercrombie and his team to rebuild, redevelop and reinvigorate the city.

Few towns have suffered a change, physical and psychological,  during these intervening years of war, trade boom and subsequent depression: but Dublin has added the double tragedy of war and civil war within her gates.

(Dublin of the future, p. ix). 

You can see Dublin of the future in full here.

Find our more about our Landscape Institute collections here.

Questions?  Then please get in touch with us at merl@reading.ac.uk

Claire Wooldridge: Project Librarian (Landscape Institute)