Carol Grove – författare

Generously illustrated, definitive guide to the built world of MissouriA nineteenth-century traveler once described Missouri as “neither east nor west nor north nor south.” It is a place of topographical transitions, delineated on the east by the Mississippi River and bisected by the Missouri River, encompassing a landscape of plains, bottomland, forests, and mountains, and home to iconic figures of American history—Laura Ingalls Wilder, Mark Twain, Scott Joplin, Jesse James, and Harry Truman, among them—as well as explorers, settlers, enslaved persons, immigrants, migrant workers, and, to this day, people starting new lives. Missouri has an equally rich mix of architectural styles and influences. The “Show Me State” volume in the award-winning Buildings of the United States series includes substantive guides to the major urban centers of St. Louis and Kansas City, surveys everything from Native American villages and petroglyphs to farms and small-town streetscapes, and highlights such landmarks of modern design as Adler and Sullivan’s Wainwright Building, Eero Saarinen’s iconic Gateway Arch, and Moshe Safdie’s Kauffman Center.

When Sidney J. Hare (1860–1938) and S. Herbert Hare (1888–1960) launched their Kansas City firm in 1910, they founded what would become the most influential landscape architecture and planning practice in the Midwest. Over time, their work became increasingly far-ranging, in both its geographical scope and its project types. Between 1924 and 1955, Hare & Hare commissions included fifty-four cemeteries in fifteen states; numerous city and state parks (seventeen in Missouri alone); more than fifteen subdivisions in Salt Lake City; the Denver neighborhood of Belcaro Park; the picturesque grounds of the Christian Science Sanatorium in Chestnut Hill, Massachusetts; and the University of Texas at Austin among fifty-one college and university campuses.In Hare & Hare: Landscape Architects and City Planners Carol Grove and Cydney Millstein document the extraordinary achievements of this little-known firm and weave them into a narrative that spans from the birth of the late nineteenth-century “modern cemetery movement” to midcentury modernism. Through the figures of Sidney, a “homespun” amateur geologist who built a rustic family retreat called Harecliff, and his son Herbert, an urbane Harvard-trained landscape architect who traveled Europe and lived in a modern apartment building, Grove and Millstein chronicle the growth of the field from its amorphous Victorian beginnings to its coalescence as a profession during the first half of the twentieth century. Hare & Hare provides a unique and valuable parallel to studies of prominent East and West Coast landscape architecture firms—one that expands the reader’s understanding of the history of American landscape architecture practice.