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and trees with pincushion flower beds and warning signs to keep off the grass.” Instead, she envisioned it as a “large, winding strip of land” with wide pavements on either side, flanked by shade trees that would maximize outdoor activity. The park was to be planted in stages, illustrating
Cautley’s vision for a community that would develop and change over time, rather than one that is fully realized at its outset. This would ultimately allow for greater sustainability. Plant materials were selected for minimal maintenance and for all seasons, with a mind for how they would appear in years to come, and each resident had the option of personalizing his or her garden with different choices of trees, hedges, and shrubs. In her designs, Cautley was sensitive to the need for a greater sense of ownership within the community, as well as an appreciation for what she saw as the rapidly disappearing
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allowing for a large middle expanse to be devoted to community garden plots and public greensward. Some believe that
Cautley should be largely credited for devising this housing configuration, although she is often only mentioned in passing in articles on the work of Stein and Wright. Cautley’s planting plans filled the rear court of each house with sycamores and flowering shrubs, enclosed by low hedgerows that delineated each parcel while still fostering a communal sensibility among neighbors.
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magazine. She envisioned a community with no backyards, but simply small lawns or plots that did not encumber the extended view from the porch of each house out to the large central park, which was accessible only to neighborhood residents. “A park,” Cautley wrote, “is not a rectangular bit of turf
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was beginning to see a need to address the problem of housing. As the advent of the car and more sophisticated infrastructure prompted the move of many middle-class
Americans to bedroom communities outside the more crowded urban areas, many designers and intellectuals saw themselves faced with the
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was built in response to the post-World War I housing shortage, and was intended for families of modest income. The great achievement of
Sunnyside was its 200 ft. by 900 ft. “super-blocks,” with all the houses oriented towards rear courts. Only 28 percent of each block was developed,
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on “How
Blighted Areas in Philadelphia and Boston Might be Transformed” (published in American City, 1943). Throughout this time (from 1937 onwards) she was fighting a severe illness, which ultimately took her life in 1954.
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to take an interest in her. Stein and Wright had already been experimenting with innovative housing design, and when
Cautley joined their office in 1924, they began working on a now well-known housing project in the
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After
Sunnyside Gardens, Cautley went on to work on the Phipps Garden Apartments in Sunnyside (1930), and Hillside Homes (1935), yet her most well known commission with Stein and Wright was at
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Cautley spent her youth in Asia and the
Pacific, where her father was stationed in the Navy, yet was orphaned at twelve, at which point she was sent to live with relatives in
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in 1935, and went on to oversee the construction of ten state parks, including
Kingston and Wentworth parks. At the same time, she taught extensively at
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It was perhaps
Cautley’s interest in these neighborhood spaces, combined with this strong interest in local species, which caused the architects/planners
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who played an influential yet often overlooked part in the conception and development of some early, visionary twentieth-century American communities.
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Guide to the Marjorie Sewell Cautley Papers, 1847-1995. Collection 4908, Division of Rare and Manuscript Collections, Cornell University Library
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After her tenure with Stein and Wright, Cautley accepted the position as landscape consultant to the State of
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specter of unchecked, poorly designed growth. A strong interest arose in the possibilities of the
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Marjorie Sewell Cautley's Honorary Street Sign Acknowledges Her Garden City Landscape Designs
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Garden design; the principles of abstract design as applied to landscape composition
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Garden Design: The Principles of Abstract Design as Applied to Landscape Composition
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Garden design the principles of abstract design as applied to landscape composition
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She was employed shortly after her graduation from Cornell by the architect
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Cornell University Library, Division of Rare and Manuscript Collections.
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as discrete integrations of the townscape with communal landscapes.
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Cornell University College of Agriculture and Life Sciences alumni
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Avery Architectural & Fine Arts Library, Columbia University
479:"Biographical Note, Guide to the Marjorie Sewall Cautley Papers"
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Marjorie Sewell Cautley: Landscape Architect for the Motor Age
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Landscape Architecture, House and Garden, American City
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523:Cautley, Marjorie Sewell; Sewell, Helen (1931).
554:Marjorie Sewell Cautley Archival card catalog.
365:Journal of the American Institute of Planners
93:Sunnyside Gardens; Roosevelt Commons; Radburn
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458:Library of American Landscape History, 2022
59:Cornell University, Landscape Architecture
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262:Learn how and when to remove this message
282:, who was best known for her designs at
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409:Pioneers of American Landscape Design
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506:Cautley, Marjorie Sewell (1935).
512:. New York: Dodd, Mead & Co.
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411:. New York: McGraw-Hill, 2000.
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525:Building a house in Sweden
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368:. In 1935, she published
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211:"Marjorie Sewell Cautley"
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110:Marjorie Sewell Cautley
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420:Landscape Architecture
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