The landscape work of Hal Moggridge in the UK is, at once, extremely local and internationally important, despite the fact that his own account of his important career does not indicate any work outside Great Britain, though its introductory chapters briefly reference sites in France, Germany, Italy and San Francisco. Slow Growth. On the Art of Landscape Architecture is, as its subtitle implies, a work on the very foundations of the field which he has practiced since 1970 (from which date he lists the partners, directors and design staff with whom he and Brenda Colvin, with whom he collaborated until her death in 1981, worked until 2015). He uses his extremely varied projects to do two crucial things. He illustrates the important and the subtlety of responding to specific, local issues — in sort, a dedication to the traditions of genius loci, explored through a series of quite different projects. And second, he uses that specific focus to raise larger, general issues that have to do with why, how and in what manner landscape architecture matters to those who use and enjoy it — in short, his own designer’s skills are followed through into a study of its reception by non-designers. He is also much concerned with how landscape designs are approved, or not, by local authorities and the neighbours of the sites involved, on which he has some trenchant if measured judgements. I first encountered Moggridge in person, but also importantly in print, when I asked him to allow the Journal of Garden History (as Studies in the History of Gardens and Designed Landscapes was then called) to publish the landscape survey and analysis of the gardens of Rousham, in Oxfordshire, that the office of Colvin and Moggridge had prepared. It appeared as ‘Kent’s garden at Rousham’ in volume 6/3 (pp. 187–226), with the copyright acknowledged to the Historic Buildings and Monuments Commission for England. Some, but not all of that material, can be found in this book on pages 94–97. His analysis of Rousham comes here in the section devoted to ‘Restoring Eighteenth-Century Designed Landscapes’, where other sites like Blenheim, Croome Court and parklands in Devon and Staffordshire are discussed. What seems to interest him above all in these projects is prospects, what Horace Walpole had celebrated in his History of the Modern Taste in Gardening as ‘Prospect, animated prospect, is the theatre that will always be the most frequented’. Walpole implied, rightly, that prospect had always been a key factor in landscape thinking; but the eighteenth century’s interest in what Alexander Pope called ‘bring[ing] ... the [often distant] country’ into the immediate garden, plus the development of the ditch or ha-ha separating garden and landscape, made ‘prospect’ a decisive design requirement. At Rousham, Moggridge plotted the sight lines, the ways in which its gardens called in the surrounding countryside, or alternatively the ways in which the garden embraced whatever its inhabitants and visitors would see in the Oxfordshire countryside, which becomes an essential feature of the place. His diagrams chart those sights lines from what is, anyway, a small and oddly shaped small garden, because its genius loci lies as much in what is not included in the gardens but can be found in its surroundings; he diagrams the slope, or lie of the land, that provides the platform for those view sheds, and illustrates one of William Kent’s drawings that show the Gothicized mill and the gothic eye catcher on the far hillside.

中文翻译：

---

哈尔莫格里奇景观建筑

Hal Moggridge 在英国的景观作品在当地和国际上都非常重要，尽管事实上他自己对自己重要职业的描述并未表明在英国以外的任何工作，尽管其介绍性章节简要地参考了法国的地点，德国、意大利和旧金山。缓慢增长。正如副标题所暗示的那样，《景观建筑艺术》是他自 1970 年以来一直从事的领域的基础工作（从那天起，他列出了与他和布伦达·科尔文（Brenda Colvin）合作的合伙人、董事和设计人员他一直合作到 1981 年她去世，一直工作到 2015 年）。他利用他极其多样化的项目来做两件至关重要的事情。他说明了回应特定的地方问题的重要性和微妙之处——在某种程度上，对天才地点传统的奉献，通过一系列完全不同的项目进行探索。其次，他利用这个特定的重点来提出更大的、一般性的问题，这些问题与景观建筑对使用和享受它的人的重要性、方式和方式有关——简而言之，他自己的设计师的技能被纳入一项研究它受到非设计师的欢迎。他还非常关心景观设计如何得到地方当局和相关地点的邻居的批准，如果经过慎重判断，他对此有一些敏锐的判断。我第一次亲自见到了莫格里奇，但在印刷中也很重要，当我请他允许《花园历史杂志》（当时称为“花园和设计景观的历史研究”）发表对花园的景观调查和分析时Rousham 位于牛津郡，科尔文和莫格里奇的办公室已经准备好了。它在第 6/3 卷（第 187-226 页）中以“Kent's Garden at Rousham”的形式出现，版权归英格兰历史建筑和纪念碑委员会所有。在本书的第 94-97 页中可以找到一些（但不是全部）材料。他对 Rousham 的分析出现在“恢复 18 世纪设计的景观”部分，其中讨论了布伦海姆、克鲁姆法院以及德文郡和斯塔福德郡的公园等其他地点。在这些项目中，似乎最让他感兴趣的是前景，霍勒斯·沃波尔在他的《园艺现代品味史》中称赞为“前景，充满活力的前景，将永远是最常光顾的剧院”。沃波尔正确地暗示，前景一直是景观思维的关键因素。但是 18 世纪对亚历山大·波普所说的“将 [经常遥远的] 国家”带入附近的花园的兴趣，加上沟渠或哈哈将花园和景观分开的发展，使“前景”成为决定性的设计要求。在 Rousham，Moggridge 绘制了视线，其花园在周围乡村中的呼唤方式，或者花园拥抱居民和游客在牛津郡乡村所看到的任何事物的方式，这成为该地区的基本特征. 他的图表描绘了来自一个小而奇形怪状的小花园的视线，因为它的天才地点同样位于花园中不包括但可以在其周围找到的地方；他绘制了土地的坡度或地势，