5,279 research outputs found
Oral history interview with Eunice Embry, Ruth Ford, Mary Cutter, Helen Etling, and Millard Fowler
No full textEunice Embry, Ruth Ford, Mary Cutter, Helen Etling, and Millard Fowler were interviewed as part of the Women in the Dust Bowl Oral History Project on May 30, 2001
"Helen Fowler and Leonora on brink of Halemaumau"
No full textPhotograph of Leonora Frances Curtin and Helen Fowler standing on a rock ledge at Halemaumau, Hawai
"Babs, Mr. Hatch posing as a hero, Helen Fowler"
No full textPhotograph of Leonora Frances Curtin, Mr. Hatch and Helen Fowler standing by a railing on board the S.S. City of Los Angele
Mrs. McGee and Helen Fowler at Los Flores Ranch, San Juan Capistrano-Oct. 1925
No full textPhotograph of Mrs. McGee and Helen Fowler on lawn chairs outside Los Flores Ranch hous
Betty Galt, Helen Fowler, Carolin Pickard, Leonora Curtin. On our way from Tesuque
No full textPhotograph of Betty Galt, Helen Fowler, Carolin Pickard, and Leonora Frances Curtin on horseback in a New Mexico landscap
Betty Galt, Helen Fowler, Carolin Pickard, Leonora Curtin. Tesuque, 13 Aug.
No full textPhotograph of Betty Galt, Helen Fowler, Carolin Pickard, and Leonora Frances Curtin on horseback in a Tesuque, New Mexico landscap
Alfred B. Fowler and Elizabeth C. Ryan's wedding invitation sent to Helen Start
No full textAn invitation and envelope sent to Helen Start of Smyrna, Delaware, to attend the wedding of Alfred B. Fowler and Elizabeth C. Ryan on April 15, 1914, in Atlantic City, New Jersey
Alfred B. Fowler and Elizabeth C. Ryan's wedding invitation sent to Helen Start
No full textAn invitation and envelope sent to Helen Start of Smyrna, Delaware, to attend the wedding of Alfred B. Fowler and Elizabeth C. Ryan on April 15, 1914, in Atlantic City, New Jersey
Más allá del organicismo. Los Jardines de Helen Fowler para la casa O’Gorman (1947-56).
No full textModern landscape architecture has figures such as Roberto Burle Marx or Luis Barragán as relevant refer-ences in Latin America.
However, the work of women who worked on landscape architecture in the same time and context, such as Mina Klabin, Katarima Kramis
or Helen Fowler, has been less approached. Developed at their husbands’ shadows, their works are often presented as a complement to
theirs, rather than as a work by itself, thus their contributions has never been fully considered. The understudied gardens designed for the
O’Gorman house by painter and botanist Helen Fowler are especially significant. Designed from an exhaus-tive knowledge of the terrain
and the local Mexican flora, which the author studied with perseverance, Fowler’s work proposes an alternative to the way of inhabiting
the basaltic landscapes found in El Pedregal de San Ángel, on the outskirts of Ciudad de Mexico. Starting from an organic relationship
between home and garden, where the boundaries between the two are dissolved, Fowler’s work aims to go beyond the mere phys-ical
continuity. Instead of domesticating the territory through a landscape tailored to humans, the exacerba-tion of its exuberance, and even
its own threatening aggressiveness, is proposed as a method of displacement of experience that, opening the way to new narratives that
link the symbolic with the sensible, are able to build a new type of relationship with our environment.El paisajismo moderno ha encontrado en figuras como Roberto Burle Marx o Luis Barragán referentes muy relevantes en Latinoamérica. Sin embargo, mucho menos se ha abordado el trabajo de mujeres que también se iniciaron en el paisajismo moderno en este mismo contexto como Mina Klabin, Katarima Kramis o Helen Fowler. Desarrollados a la sombra de sus maridos arquitectos, los trabajos que ellas realizaron aparecen a menudo presentados como un complemento del de ellos, más que como una obra en sí misma, habiéndose considerado escasamente sus aportaciones. En este sentido, los poco estudiados jardines diseñados para la casa O’Gorman por la pintora y botanista Helen Fowler son especialmente significativos. Elaborados desde un conocimiento exhaustivo del terreno y de la flora local mejicana, que la autora estudió con perseverancia, el trabajo de Fowler plantea una alternativa a la manera de habitar los paisajes basálticos encontrados en El Pedregal de San Ángel, a las afueras de Ciudad de México. Partiendo de una relación habitativa orgánica entre casa y jardín, donde los límites entre ambos quedan disueltos, el trabajo de Fowler pretende dar un paso más allá tratando de trascender la mera continuidad en lo físico. De este modo, en lugar de domesticar el territorio a través de un paisaje hecho a la medida humana, la exacerbación de su exuberancia, e incluso de su propia y amenazante agresividad, se plantea como un método de desplazamiento de la experiencia que, abriendo la vía a nuevas narrativas que vinculan lo simbólico con lo sensible, sean capaces de construir un nuevo tipo de relaciones con nuestro medio
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