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<\/p>\n Compared with the cosmetic transformation, it is often the way to enlarge the temperament of the venue itself, which is memorable. They blur the boundaries of space, hide complicated decorations and artificial traces, and always achieve countless classics, forming their own long-term landscape that can stand the test of time.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 01<\/span> Andrea Cochran Landscape Architecture<\/span><\/p>\n <\/p>\n <\/p>\n Oliver Ranch is a former sheep ranch that now serves as a private reserve for site-specific work by artists such as Richard Serra, Bruce Nauman and Martin Puryear. ACLA has been able to participate in the evolution of this incredible cultural resource\u2013by first designing a landscape for the artist in residence studio, designed by Jim Jennings, and more recently, creating a landscape setting for internationally acclaimed artist Doug Hall\u2019s first permanent outdoor installation.<\/p>\n <\/p>\n <\/p>\n Doug Hall\u2019s \u2018Wittgenstein\u2019s Garden\u2019 is a contemplative space set beneath oak trees, angled custom concrete benches arranged within a field of decomposed granite provide a quiet place where visitors can experience the landscape while listening to excerpts from Wittgenstein\u2019s Tractatus Logico-Philosophicus spoken by children from San Francisco Girls Chorus, under the direction of Valerie Sainte-Agathe.<\/p>\n Planting design aims to blur the boundary between the native oak woodland and the developed areas around the main house.<\/p>\n <\/p>\n <\/p>\n A stairway composed of a series of parallel cor-ten risers set into the earth connects to an artist in residence studio, a solution both subtle enough to compliment the building but strong enough to stand as a sculptural element in the landscape.<\/p>\n On an adjacent hill, the artist in residence studio sits between native oak trees. In 2000, the client asked Cochran to create a connection between the main house and the new studio, designed by Jim Jennings. This structure is composed of two subtly divergent concrete walls that slice into the hillside. The walls are incised with a pattern by artist David Rabinowitch and the structure serves as a strong sculptural landscape feature.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 02<\/span> LAOS Landschaps Architectuur<\/span><\/p>\n <\/p>\n <\/p>\n Metropolitan Park -10 hectares of sustainable works of art<\/strong><\/p>\n The inspiration of mountains, pastures and pastures makes the park a unique experience. Together with the artist jeroen, we designed a park to let them feel a dynamic and permeable art.<\/p>\n <\/p>\n <\/p>\n Order and dynamics<\/strong><\/p>\n The design method of determining the shape and height of the hills in the parks of big cities integrates a certain degree of coincidence into the design. This will create tension between the logical order of the program and the dynamics of the landscape layout itself. As a result, the park is simple, but it is simple. Everywhere in the park, it provides a special experience.<\/p>\n <\/p>\n <\/p>\n Highlight the height difference<\/strong><\/p>\n The two paths through the park make the parks in big cities shine in their own way. The structure of the roaming path will move with the height, so that you can roam on the terrain. The bicycle lane intersects the park at exactly one level. Therefore, when you walk on a bicycle lane or bicycle lane, you will cross the landscape. These two different paths provide different experiences and emphasize the great changes in the height of the park.<\/p>\n <\/p>\n <\/p>\n Do and experience in big city parks<\/strong><\/p>\n The planning of the park was completed in cooperation with the municipal authorities, according to the wishes of residents and residents. On this basis, we provide space for various sports, games and entertainment places. There are clearly defined functions around the park, including unused places, but they are more experienced. Similarly, the atmosphere, vegetation and openness of these places are also very different, which makes the park provide completely different experiences in different places.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 03<\/span> Andrew van Egmond<\/span><\/p>\n <\/p>\n <\/p>\n This special garden embraces a fascinating home in the poetic landscape of Schoorl.<\/p>\n Linking it with the landscape is an important aspect in this work. The plot is located in the bocage landscape behind the broad dune in Schoorl. 5km further on you can see the sea, but you feel the suggestion of the endless horizon that lies behind the high dune edge. The place is almost non-Dutch. The height of the dune gives the experience of a hillside. In the evening, the light of the sun projects on the high dune over the dark forest facade giving a magical experience as it illuminates every landscape room.<\/p>\n <\/p>\n <\/p>\n This unique building sits on a mound and from the kitchen and the living room you are literally elevated above this landscape. From the house, long lines and scenes in the garden along with the effect of light and dark, steers ones orientation to the surrounding landscape. Looking from the living room, the garden does not stop at the boundary, but continues into the pasture next to it. The only separation is a narrow ditch with Alders here and there. The characteristic Alder forest continues into the neighbouring lot without any fencing present.<\/p>\n <\/p>\n <\/p>\n What makes this garden even more special is that it lies on a subtle landscape transitioning from the higher sandy soils to the lower peat meadows, which are part of the hinterland. On the lower wetter part of the garden you find the Alder forest with its characteristic play of tall slim trunks. This story of the landscape transition is now more visible and experienced more strongly through the design. A prominent diagonal line emphasises the edge of the forest and steers your orientation even more towards the surrounding landscape. This diagonal line in the design makes the garden look even bigger than it already is. And a tight long steel line marks the height difference and the transition from lawn meadow to the forest part. The long wall consists of solid concrete blocks, which seem to float subtly above the forest floor. The refinement in this kind of strong and powerful gesture is crucial. In this case, the refinement lies in letting the total object float and in particular in the characteristic sandblasted graph designed by Studio BLAD. This drawing suggests movement and refers to the movement of sand bodies in the dunes close to the sea. The same graphic can also be found in the wall along the driveway.<\/p>\n <\/p>\n <\/p>\n As said before, the whole house is lifted above the landscape and lies on a mound. The house is almost separate from its environment. This suggestion of detachment has been strengthened by putting the whole house in a field of grasses. The monolith of black steel, black-stained wood and large mirrored windows that catch the sky, lies in a soft cushion of ornamental grass that constantly changes color, texture and volume throughout the season and captures the weather. Filtered light in the evening, dew in the early morning, wind on a turbulent day and frost in the winter are caught in this field of grasses and tell a poetic story that you are part of the landscape.<\/p>\n <\/p>\n <\/p>\n The materials used in this design are firm but refined. The concrete gestures with subtle finishing can age beautifully. The wooden boardwalk will age naturally into the Alder forest. The sharp steel lines define the height differences in the garden and enhance the contrast between nature and architecture. They are black coated, the same color as the steel in the house. In this way the garden responds to the house in a subtle way.<\/p>\n <\/p>\n <\/p>\n A prominent diagonal line emphasises the edge of the forest and steers your orientation even more towards the surrounding landscape. This diagonal line in the design makes the garden look even bigger than it already is. And a tight long steel line marks the height difference and the transition from lawn meadow to the forest part. The long wall consists of solid concrete blocks, which seem to float subtly above the forest floor. The refinement in this kind of strong and powerful gesture is crucial. In this case, the refinement lies in letting the total object float and in particular in the characteristic sandblasted graph designed by Studio BLAD. This drawing suggests movement and refers to the movement of sand bodies in the dunes close to the sea. The same graphic can also be found in the wall along the driveway.<\/p>\n <\/p>\n <\/p>\n The composition of the long, clean lines and large gestures, is in contrast with the lush nature. Tight gestures are loose in space, green flows everywhere, lines cut through the cushions of grass and the play of trunks. The composition of the garden does not detract from the strength of the architecture of the house, allowing the house to stand on it\u2019s own in the landscape.<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n 01<\/span> Oliver Ranch<\/p>\n Read more about: Andrea Cochran Landscape Architecture<\/strong><\/a><\/p>\n <\/p>\n 02<\/span> Park Meerstad<\/p>\n Read more about: LAOS Landschaps Architectuur<\/strong><\/a><\/p>\n <\/p>\n![\"\"](\"https:\/\/i.mooool.com\/img\/2024\/06\/OliverRanch2-scaled.jpg?x-oss-process=style%2Ffull\")
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\nOliver Ranch<\/p>\n
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\nPark Meerstad<\/p>\n
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\nGarden in Schoorl<\/p>\n
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