A pattern language

1167

ACKNOWLEDGMENTS

Jim Axley helped more than anyone on the very difficult development of the structural patterns, in the last part of the language. And earlier, Sandy Hirshen, collaborating with us during the Peru project, had begun to develop our attitude to construction techniques.

Harlean Richardson has worked tremendously hard on the detailed design of the book itself. And we have had wonderful secretarial help over the years from Helen Green, who typed many many versions of the patterns, and from Mary Louise Rogers who helped in many ways coordinating the work and providing support.

Another invaluable kind of help we have had was that given by people who believed in what we were trying to do, gave us an opportunity to work on it, and to do projects for them which incorporated these ideas. Ken Simmons, who allowed us to develop our very first pattern language in a professional job, Johannes Olivegren, John Eberhard, Bob Harris, Don Conway, Fried Wittman, Hewitt Ryan, and Edgar Kaufmann all helped us in this way. What they gave us in confidence, and emotional support, and friendship, and, often, in money that supported the work, cannot be counted.

Even more specifically, we want to thank Dick Wakefield, Coryl Jones, and Clyde Dorsett at the National Institute for Mental Health. The evolution of the pattern language was supported for the four most important years by a sequence of grants from the Center for the Study of Metropolitan Problems of the National Institute for Mental Health—and it would have been quite impossible for us to do the work if it had not been for those grants.

Finally, we owe a great deal to Oxford University Press, especially to James Raimes, our editor, who first

116 8

ACKNOWLEDGMENTS

agreed to try and publish all three books, in a series, and also to James Huws-Davies and Byron Hollinshead. All three of them supported the publication of this book, and the other books, before they had even seen them: and once again, gave us enormous energy to do the work, by putting their confidence in us at a time when we badly needed it. During the production of the book, we have often created severe difficulties for Oxford; but they have stood by us throughout.

It is only because all of our friends have helped us as they did that it has actually been possible.

1169

t

PHOTO ACKNOWLEDGMENTS

Many of the pictures we have selected for this book come from secondary and tertiary sources. In every case we have tried to locate the original photographer and make the appropriate acknowledgment. In some cases., however, the sources are too obscure, and we have simply been unable to track them down. In these cases, we regret that our acknowledgments are incomplete and hope that we have not offended anyone.

10	H. Armstrong Roberts	174	Gilbert H. Grosvenor
16	Andreas Feininger	192	Edwin Smith
26	Emil Egli and	222	Martin Hurlimann
	Hans Richard Muller	231	Andre George
29	Clifford Yeich	236	Martin Hurlimann
33	Gutkind	266	Anne-Marie Rubin
36	Claude Monet	276	Marc Foucalt
51	Henri Cartier-Bresson	28^	Ivy De Wolfe
58	Walter Sanders	285	R. Blijstra
70	Herman Kreider	298	Henri Cartier-Bresson
80	Sam Falk	301	Andre George
99	Joanne Leonard	3°4	V. S. Pritchett
!3J	Edward Weston	3i5	Henri Cartier-Bresson
J35	Iain Macmillan	3i9	Henri Cartier-Bresson
139	Fred Plaut	322	Iain Macmillan
168	Bernard Rudofsky	353	Martin Hurlimann
1170

376	Ken Heyman	737	Orhan Ozguner
Co00Or	Robert Doisneau	740	Marian O. Hooker
389	Edwin Smith	746	Erik Lundberg
412	Alfred Eisenstaedt	769	Henri Cartier-Bresson
436	Andre Kertesz	794	Berthe Morisot
444	Ralph Crane	805	A. F. Sieveking
45i	Eugene Atget	822	R. Rodale
454	V. S. Pritchett	857	C. H. Baer
457	Andre Kertesz	872	Pierre Bonnard
473	Charles E. Rotkin	876	G. Nagel
492	Bernard Rudofsky	889	Henri Matisse
CnOCO	Wu Pin	897	Dorothy and
524	Tonk Schneiders		Richard Pratt
531	Eugene Atget	962	Alan Fletcher
540	Erik Lundberg	970	Erik Lundberg
569	Martin Hurlimann	989	Clifford Yeich
580	Bernard Rudofsky	1027	Erik Lundberg
OnOOUr	Francois Enaud	1046	Carl Anthony
589	Bernard Rudofsky	1050	Winslow Homer
596	Herbert Hagemann	1053	Edwin Smith
599	Lazzardo Donati	1056	Avraham Wachman
641	Pierre Bonnard	1064	Ivy De Wolfe
651	Russell Lee	1088	Bruno Taut
656	Joanne Leonard	1105	Izis Bidermanas
664	Joanne Leonard	1118	Andre Kertesz
696	Ken Heyman	1121	Pfister
707	Dorien Leigh	1128	Roderick Cameron
729	Ernest Rathnau	1135	Marc Foucault
733	Aniela Jaffe	1164	J. Szarhouski

I I 71

r

TOWNS

two of the most distinctive communities in the greater Bay Area, are both almost completely isolated. Sausalito is surrounded by hills and water; Point Richmond by water and industrial land. Communities which are cut off to some extent are free to develop their own character.

Further support for our argument comes from ecology. In nature, the differentiation of a species into subspecies is largely due to the process of geographic speciation, the genetic changes which take place during a period of spatial isolation (see, for example, Ernst Mayr, Animal Species and Evolution, Cambridge, 1963, Chapter 18: “The Ecology of Speciation,” pp. 556-85). It has been observed in a multitude of ecological studies that members of the same species develop distinguishable traits when separated from other members of the species by physical boundaries like a mountain ridge, a valley, a river, a dry strip of land, a cliff, or a significant change in climate or vegetation. In just the same way, differentiation between subcultures in a city will be able to take place most easily when the flow of those elements which account for cultural variety—values, style, information, and so on—is at least partially restricted between neighboring subcultures.

Therefore:

Separate neighboring subcultures with a swath of land at least 200 feet wide. Let this boundary be natural—wilderness, farmland, water—or man-made—railroads, major roads, parks, schools, some housing. Along the seam be-