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Mount Wutai, China’s earliest Buddhist center, dating to the Han Dynasty’s first century (206 BCE–220 CE), boasts over a hundred monasteries, numerous monuments, and ruins, drawing global pilgrims and travelers. Over its long history, as the geographical focus of imperial support shifted, the ideological underpinnings for structuring the monastic habitation on Mount Wutai also underwent a transformation, consequently altering the pilgrimage paths, monasteries, and mountain gates. However, there remains a paucity of understanding regarding these changes. This paper aims to map out the representative dynamic pilgrimage routines influenced by geo-capital shifts and to reveal the changeable Buddhist ideology of monasticism on Mount Wutai. Through archival studies on ancient transcripts and maps, the interpretation selects the three most significant periods in the development of Buddhism in Mount Wutai: the Northern Wei (386–534 CE), the Sui Tang (581–907 CE), and the Qing Dynasty (1630–1912 CE). The article indicates that Mount Wutai’s monastic strategies have transformed significantly, progressing from free monasticism to the Mañjuśrī maṇḍala mode and ultimately adopting a predominant Tibetan Buddhist character. These changes were driven by shifting Buddhist ideologies and heritage, with pilgrimages and monastic construction responding to these shifts.

When, in 1800, Humphry Repton (1752–1818) fell out with his partner, the architect John Nash (1752–1835), after a dispute over the fact that Repton's contribution was not properly acknowledged and rewarded, Repton also withdrew his architect son, John Adey, who had been working in Nash's office. By this time, however, Nash had befriended his former partner's clients and absorbed his principles of design, which, besides to private estates, he applied to urban schemes and parks, aided in this by Repton's other son, George Stanley, who had joined Nash in 1802 and remained till 1818. Reptonian principles would also be applied for the improvements to transform St James's Park, London, into a modern public park. This paper investigates the design of the park in the context of provisions for the general public, and with respect to the overall concept as a pleasure ground as well as design detail, applied particularly to the shrubberies. The latter were to feature as an innovation in Prince von Pückler Muskau's Hints on Landscape Gardening (published in German in 1834) as being planted according to 'Mr Nash's method'. In historiography, this early prototype of a public park and its design influences have hitherto been overlooked but deserve critical review.

When Edward Kemp was born in 1817, the world of landscape gardening was still dominated by Humphry Repton, who had written the key works, which had also popularized the term 'landscape gardening' and provided a theoretical basis. In the years that followed, John Claudius Loudon provided some standard works for landscape gardening, including The Suburban Gardener (London, 1838), which translated the design principles into a wider range of properties, and catered for the middle as well as upper classes. The emerging profession also saw a considerable widening of its field of work in which designers were engaged not only in the design of country seats but also with public parks, cemeteries, housing, schools and other institutions. Kemp was very much part of this movement and he participated in the increasing number of design competitions, but not all his entries were successful. One instance when he contributed a design – the competition for Queen's Park, Manchester – became a celebrated case that focused the debate around public park design. The debate clearly set out some of the parameters of the profession, which from this point onward was divided into two camps: the Paxton School (in which Kemp played a prominent role) and the Marnock School. This paper explores the contemporary debates and design principles that distinguished these schools and looks at how this debate played a critical role in the development of the landscape profession.

Despite being one of the most influential women landscape designers of the post-war era, the work of Elisabeth Beazley (1923–2018) has been largely overlooked. Unlike other contemporary women landscape architects, such as Sylvia Crowe, Brenda Colvin and even Jaqueline Tyrwhitt, who were trained horticulturalists, Beazley was foremost a trained architect with an understated 'interest in landscape'. Despite this she contributed substantially to the profession's literature, providing some of the key textbooks used throughout the second half of the twentieth century, as well as creating a better understanding of the importance of the relationship between architecture and landscape, and providing practical support for landscape managers in planning, visitor management and detailing to achieve the best outcome. This article reviews Beazley's most significant written output, which asserts the principles behind her thinking and practice, and examines the project that best embodies and exemplifies those principles today, and which serves as her greatest legacy in the landscape.

While Hampton Court Palace was occupied by the royal family, fruit cultivation formed an integral part of horticulture. This paper reveals that it was not only integral to the gardens but also had an important symbolic function. The collection of fruit at Hampton Court was a leading reference collection, new trends were set here, new varieties were cultivated and new techniques of cultivation were developed. While it was generally recognized as such, it was compromised during a reorganization of the functions of the gardens of the various royal palaces around London in 1842. Until then, fruit culture at Hampton Court was justly celebrated, and this case study investigates for the first time how over a three hundred-year period societal change affected and shaped new fashions of consumption and cultivation. As such this paper alters our thinking about the role fruit had within society and how it was an indicator of social and political change.

Before the Second World War landscape architect Christopher Tunnard was the first author on Modernism in Landscape in the English language, but later became alarmed by the destructive forces of Post-war reconstruction. Between the 1950s and the 1970s he was in the forefront of the movement to save the city, becoming an acclaimed author sympathetic to preservation. Ironically it was the Modernist ethos that he had so fervently advocated before the war that was the justification for the dismemberment of great cities by officials, engineers and planners. This was not the first time that Tunnard had to re-evaluate his principles, as he had done so in the 1930s in rejecting Arts-and-Crafts in favour of Modernism. This book tracks his changing ideology, by reference to his writings, his colleagues and his work. Christopher Tunnard is one of the most influential figures in Landscape Architecture and his journey is one that still resonates in the discipline today. His leading role in first embracing the tenets of Modernism and then moving away from to embrace a more conservationist approach can be seen in the success and impact on the profession of those with whom he worked and taught. The Landscape Profession in Britain and the USA. Part 1: Biography Britain. America. Part 2: Landscape and Urbanism A Technique for the 20 th Century. Landscape Design. Civic Art and Design. From Wisley to World with a View: the Metamorphosis of a Landscape Architect. David Jacques is a landscape historian and conservationist, having been the first Inspector of Historic Parks and Gardens at English Heritage and involved in many conservation projects. He was a Visiting Professor to De Montfort University and Programme Director for the graduate courses in Landscape Conservation and Change at the Architectural Association in London. He is a widely published author on garden history. Jan Woudstra is Reader in Landscape History and Theory at the Department of Landscape, University of Sheffield and a leading expert in Modernism in landscape. He has written numerous publications on Modernist landscape architecture and garden history, with a wealth of experience in landscape consultancy, research and teaching on the Landscape Conservation and Change course at the Architectural Association in London.

Despite being one of the most productive landscape gardeners of the nineteenth century, little is known about Robert Marnock (1800–89). He first emerged as a fully fledged practitioner when he won the design for, and subsequently became curator of, the Sheffield Botanical Gardens in 1834. This paper investigates the period immediately before this date, which he spent at Bretton Hall, Yorkshire. Here, under Diana Beaumont, its notorious owner, Marnock was able to broaden his perspective outside the kitchen garden, becoming head gardener in 1829, which position enabled him to acquire further skills. He brought these to practice for Beaumont's son who inherited the estate after her death in 1831. Evidence emerges of Marnock's milieu, as well as his practical skills and demeanour, that enabled him to occupy key positions in nineteenth-century horticulture.

Reviews \"Occasional paper from the RHS Lindley Library, vol. 9 : the history of garden history,\" edited by Brent Elliott (RHS, 2012).

Imbert's monograph on modernist landscape designer Jean Canneel-Claes is reviewed (University of Pittsburgh Press, 2009).