彼得沃克《极简主义园林设计》原文节选：

Distinct from the specificity of its art world argument relating to a certain group of artists as a certain moment in the 1960’s, minimalism in the landscape seems to me to represent a revival of the analytic interests of the early modernists that parallel in many respects the spirit of classicism. It is the formal reinvention and the quest for primary purity and human meaning that dignify its spiritual strength: an interest in mystery and nonreferential content are thereby linked to the quest of classical thought.
As with the term and idea of classicism, minimalism has entered our fast-paced society and been further defined and redefined by varying artistic and cultural disciplines. In this greater context, minimalism continues to imply an approach that rejects an attempt to intellectually, technically, or industrially overcome the forces of nature. It suggests a conceptual order and the reality of changing natural systems with geometry, narrative, rhythm, gesture, and other devices that can imbue space with a sense of unique place that lives in memory.


《景观设计学》绪论最后一段：
For the moment, it seems, we have lost touch. Perhaps, before we can progress, we must look back. We must regain the old instincts, relearn the old truths. We must return to the fundamental wisdom of the gopher building a home and village and the beaver engineering a dam. We must apply the planning approach of the farmer working from day to day in the fields, fully aware of nature’s forces, forms, and features, respecting and responding to them, adapting them to a purpose. We must develop a deeper understanding of our physical and spiritual ties to the earth. We must rediscover nature.

《图解人类景观》最后一段：
For the first time in history, the shape of the world tat is unfolding expresses collective materialism rather than prescribed religion. In the advanced countries, the individual is evolving his own personal beliefs within his own home. The greatest threat to his existence may not be commercialism, or war, or pollution, or noise, or consumption of capital resources, or even the threat of extinction from without, but rather the blindness that follows sheer lack of appreciation and the consequent destruction of those values in history that together are symbolic of a single great idea.

丹•克雷的哲学：
The process of addition and expansion, renovation and reinvention is never done. To build is to keep imagining fresh possibilities; if we stopped, the place would be static. Then, we would move out to new, unexplored quarters, like a butterfly emerging from its chrysalis – not because the insect has grown too large for its larval envelop, but because to stay in that envelope would be to seal off new experiences. I am always searching for the purest connection to that which holds us all together – we can call it spirit or mystery; it can be embodied by descri ptions of the universe or of religion; it takes the form of sacred geometries and infinitesimal ecologies. There is an evolving, ever-changing, many-faceted order that binds everything into harmonious parts of the greater whole.


麦克哈格《设计结合自然》结语：
Our eyes do not divide us from the world, but unite us with it. Let this be known to be true. Let us then abandon the simplicity of separation and give unity its due. Let us abandon the self-mutilation which ahs been our way and give expression to the potential harmony of man-nature. The world is abundant, we require only a deference born of understanding to fulfill man’s promise. Man is that uniquely conscious creature who can perceive and express. He must become the steward of the biosphere. To do this he must design with nature.

哈格里夫斯关于“后现代主义”的高论：

Modernism and post modernism are cultural attitudes rather than design styles. Within that attitude which came to be called modernism, Modern Art had many styles ranging from impressionistic to cubist to abstract expressionism (and there are styles within these styles). The same can be said for modern architecture—deStijl , futuristic, international, brutalistic and high-tech —all are modernist styles. While landscape architecture probably had fewer styles within modernism, he two predominant styles—asymmetrically geometric and fluidly amorphous —revolve around an internal organization system, sharing with architecture and sculpture an idealized and invented space.

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Post modernism seems to be a direct reversal of modernistic philosophy and its attendant idealization. “It knows about shortages. It knows about inflation and devaluation. It is aware of the increased costs of objects. And so it quotes, scavenges , ransacks , recycles the past. Its method is synthesis rather than analysis. It is style-free and free-style. Playful and full of doubt, it denies nothing. Tolerant of ambiguity , contradiction, complexity, incoherence, it is eccentrically inclusive. It mimics life, accepts awkwardness and crudity , takes an amateur stance. Structured by time rather than form, concerned with context instead of style, it uses memory, research, confession, fiction — with irony, whimsy , and disbelief.” Levin’s descri ptions of modernism and post modernism are clearly about cultural attitudes rather than specific styles.

看来没有人感兴趣的，郁闷！

i try to understand ,keep going.

Modernism and post modernism are cultural attitudes rather than design styles. Within that attitude which came to be called modernism, Modern Art had many styles ranging from impressionistic to cubist to abstract expressionism (and there are styles within these styles).

主要是想要电子版的英文原著，最好网上能出现，我们正在为毕业设计煞费苦心呢！

楼主有原著的电子版吗 发一下来了

有电子版本吗？

电子版？晕哦！

一是做起来很吃力，
二是侵犯人家版权不敢做。
我本来想和手上有经典外文书籍的朋友交换下影印本。

看来各位都是用来做毕业外文文献之用了。
最近有一本景观设计专业英语，上面原著文献不少，引文出处也注得很详细。
也许有帮助。