Turner notes that the word “landscape” has itself undergone a shift in meaning. In the seventeenth century it was a painter’s term. derived from the Dutch, which referred to a picture which depicted inland scenery (as opposed to seascapes, portraits, etc.) The scenery depicted was usually of ideal, or idealised places. The eighteenth-century “landscape gardeners” took their inspiration from painting particularly the works of Poussin, Salvator Rosa and Claude Lorrain, but sought to realise these ideal Landscapes throught the tangible manipulation of earth, war¡ter and vegetation. Things started to go wrong, as far as the meaning of “landscape Archiecture” was concerned, when a secord sense of the word “landscape”, which Turner calls the Geographer’s Sense, gained ascendancy over the original meaning. In this sense “landscape” has come to mean “a tract of land with its distinguishing characteristics and features, esp. considered as a product of modifying or shaping processes and agents (usually natural)”.
As Turner sees it, the problem with “landscape architect”, if “landscape” is used in the Geografer’s Sense, is that it implies God-like powers to rise mountains, to direct the course of rivers, to control the climate and to dictate the pattern of human seattlement” This aspiration to omnipotence is, he says, “as preposterous as it is sacrilegous as it is tyrannical”.
Ian Thompson, Ecology, Community and Delight (1999)