<?xml version='1.0' encoding='UTF-8'?><xml><records><record><source-app name="HighWire" version="7.x">Drupal-HighWire</source-app><ref-type name="Journal Article">17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Bucher, Annemarie</style></author></authors><secondary-authors></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">G 59: A Manifesto for an Ambivalent Modernism</style></title><secondary-title><style face="normal" font="default" size="100%">Landscape Journal</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2007</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2007-09-21 01:00:00</style></date></pub-dates></dates><pages><style  face="normal" font="default" size="100%">236-251</style></pages><doi><style  face="normal" font="default" size="100%">10.3368/lj.26.2.236</style></doi><volume><style face="normal" font="default" size="100%">26</style></volume><issue><style face="normal" font="default" size="100%">2</style></issue><abstract><style  face="normal" font="default" size="100%">The first Swiss Horticulture Exhibition, known as G 59, took place on Lake Zürich in 1959. Despite its horticultural label, G 59 was intended to demonstrate that landscape architecture was a modern profession with defined boundaries, a strong theoretical foundation, and recognizable contemporary aesthetics. However, G 59 was also a contested field between professional landscape architects and gardening trade organizations. In an effort to distance themselves from the more service-oriented discipline, landscape designers established a rapprochement with contemporary art and theory, specifically, Concrete Art and Tachism. This paper investigates the reorientation of Swiss landscape architecture from a profession with roots in horticulture to one with theoretical and aesthetic claims. G 59 can be seen not only as a venue for and an expression of this reorientation, but also as a manifesto through which landscape architects communicated their beliefs to design colleagues and the wider public.</style></abstract></record></records></xml>