In their native America, Walter Burley Griffin (1876–1937) and his architect wife and partner, Marion Lucy Mahony (1871–1961), until recendy were remembered only as proteges of that nation's most celebrated architect, Frank Lloyd Wright (1867–1959) (albeit Mahony has gained further distinction owing to her considerable graphic talents).1 In Australia, Griffin has consistendy received far greater professional and popular attention stemming from his international competition winning design of Canberra (1911), the federal capital city.2 In fact, interest in and admiration of Griffin's work ‘now exceeds anything he knew in his own lifetime’.3 Ironically, the enduring association of Griffin with Canberra has obscured not only recognition of his larger oeuvre, but also Mahony's crucial role and contribution. Common to both nations is the perception of Griffin as an architect and a town planner.4 This perception is far too restrictive and diverges significandy from fact: Griffin, in complement with and parallel to architecture, was educated in and practised landscape architecture. Together with Mahony, he envisaged comprehensively designed landscape — landscape plus architecture — as a habitable ‘second nature’, one referential to its increasingly more remote, primeval counterpart.5