Landscape Architecture (China) Magazine

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Landscape2008/01

总七十二期

2008No.1

CN11-5366/SISSN1673-1530

国内统一连续出版物号：国际标准连续出版物号：

LandscapeArchi tecture 壹

访中国风景园林大师孙筱祥教授An Interview with Professor Sun Xiao-xiang, Master of Chinese Landscape Architect

曹 | 帕罗特工作室Cao | Perrot Studio

2007 第二届最佳私人园地国际设计竞赛The 2007 Best Private Plots

Architecture

Feature

LANDSCAPE ARCHITECTURE 2008/01 024

Cao|Perrot Studio

曹|帕罗特工作室的作品一直与总体环境紧密相关，是景观与艺术的完美结合，为人们创造了梦幻般的

环境。

安迪·曹来自越南，泽维尔·帕罗特来自法国布列塔尼（图01），多元化的文化背景让这对搭档形成

东西合壁的独特设计风格，并很好地迎合国际潮流。他们设计的景观环境和艺术装置为人们带来不同的色

彩和质感体验。

尽管曹和帕罗特不赞成将他们的作品赋予寓意或是进行分类，但每个项目背后的故事通常来自于创造

过程。

曹|帕罗特工作室因在环境艺术装置和景观设计方面采用低科技的技工手法而闻名。他们采用随手可得的

回收材料和简单的植物调色板来营造五彩斑斓、让人回味无穷的户外空间。设计手法是设计师创意自然而直观

的反映。品读曹|帕罗特的作品，你可以寻找到生活的片段回忆，感叹时间的流逝。

安迪·曹在他洛杉矶住所的小后院里，创造了他的首个作品——玻璃花园（1998）（图02）。花园的

创意源自他在越南的童年生活。

“在我十岁的时候，我家从喧哗的越南西贡市

搬到了我祖母的农场。突然间我觉得我被远古符号

包围着：河岸的泥土上分布着一块块麦田，我们把

麦子收割后堆放在一号公路上晒干。”

这里也有现代符号：在越南的农村零星分布着

战争遗留下来、锈迹斑斑的铁甲金属架。曹还记得

盐场那独特景观：白色锥体在阳光的照射下，熠熠

生辉。他在玻璃花园里再现了这些神奇意象。曹把

这些材料进行精心的艺术布局，让景观与艺术融为

一体，令人惊叹。

使用最少量的茂盛亚热带植物和45t的回收玻

璃碎片构成多种色彩，曹能够超越表象，创造舒适

而梦幻般的传统越南景观。来客踏着碎片小道，享

受脱俗的宁静，特别是当月光洒落时，玻璃小丘闪

闪发光，别有情趣。玻璃石子随着一天中太阳光的

强弱变化而变色，营造出独特的变幻环境。

自玻璃花园后，安迪·曹开始投身景观设计行

业。玻璃花园一度成为众多新闻媒体报道关注的重

点，同时也引起洛杉矶麦克斯菲尔德高档流行精品店

主安玛丽·迪布瓦·杜米的注意。杜米委托曹为她在

梅尔罗斯大道的时尚店设计一个橱窗（图03）。

不久，曹认识了酒店老板安德烈·布拉斯。布

拉斯先委托曹在一年时间内，为夏特蒙特酒店周围

3英亩的花园进行景观修缮（图04）。夏特蒙特酒

店已有八十年的历史，它是好莱坞著名的地标。布

拉斯还请曹改善标准酒店的现有景观，并为酒店大

堂设计艺术装置。标准酒店是布拉斯经营的另一家

新潮酒店，位于著名的日落大道上。

玻璃花园推动了玻璃卵石的市场需求，为此，

曹|帕罗特工作室

安迪·曹泽维尔·帕罗特撰文Andy CAO & Xavier PERROT

申亚男章健玲译Translated by SHEN Ya-nan and ZHANG Jian-ling

图01

图02

图03

图04

图01 安迪·曹和泽维尔·帕罗特

Fig.01 Andy Cao and Xavier Perrot

图02 玻璃花园

Fig.02 Glass garden

图03 麦克斯菲尔德橱窗

Fig.03 Maxfield window

图04 夏特蒙特酒店景观改造

Fig.04 Landscape renovation for Chateau Marmont:

专题

风景园林 2008 第一期 025

安迪·曹和他的生意伙伴——来自新西兰的摄影师斯蒂芬·杰伦在洛杉矶开创了他们的第二事业，生产可

用于景观装饰且不伤手的玻璃碎卵石。

他们无意中开发了一种新型景观材料，并引导了景观设计新潮：用可回收的玻璃卵石装饰花园。他们

的消费群体不仅有来自全美的苗圃工和家庭园艺师，还有公司团体和市政机构。这些个人和机构用大量的

玻璃卵石装饰自己设计的屋顶花园、办公大楼和大学校园。

在玻璃花园取得成功后，曹和杰伦得到查尔斯·林白基金会的经费支持，进一步开发回收玻璃新产

品。他们从各种可回收玻璃材料中研制出一系列玻璃瓷砖模型（图05），向人们展示如何将废玻璃从从垃

圾堆里分离出来。

仔细观察，这些瓷砖上还保留着原材料的痕迹：有酒瓶、工业大理石和丢弃的窗户玻璃。这些玻璃瓷

砖是为大尺度建筑或室内装饰而设计，得到多方赞赏。它们陈列在纽约的材料资质库，并获得该机构授予

的媒介奖。

在2001年，安迪·曹为法国肖蒙古堡国际花园展设计了名为“沙漠之海”小花园（图06），这是一处

充满戏剧色彩的户外环境。

越南水木偶、非洲饰品和日本京都龙安寺的枯山水园林成为曹多元化的创作源泉。曹深化了本次花园

展的主题——镶嵌文化（地被装饰）。他把可回收玻璃作为地被，引进人工吹制的玻璃制品——“沙漠气

泡”，并在人们意想不到的地方种上观赏性的多汁植物和仙人掌。另外，曹还用数英里长的马尼拉绳把整

个花园包起来。

在肖蒙，曹认识了他的未来设计搭档泽维尔·帕罗特。

2001年是安迪·曹具有转折性意义的一年。就在这一年，他荣获罗马美国学院风景园林方向的罗马奖

学金。这个荣耀的奖金给曹带来宝贵的礼物----充裕的时间：他可以从容地罗马生活学习一年，自由自在

地进行探索和思考，享尽罗马历史文化的熏陶。

曹与他的新助手兼未来设计搭档泽维尔·帕罗

特一起分享这份奖学金。罗马的这段生活学习经历

给曹带来多方面的影响。他也借鉴了罗马建筑那华

丽壮观的表现手法。随后，曹和帕罗特为学院的夏

季展示会做了名为“红盒子”的环境设计（图07）。

曹和帕罗特从古今罗马那丰富的历史和多彩的

文化吸取创作灵感。

这个工作室屋顶高悬，四面原是白色的墙壁，

现全被刷成中国红。为突出入口，外墙在垂直方向

上种有草皮，草皮还延伸到工作室的地板上。在洛

杉矶，曹的生意伙伴斯蒂芬·杰伦无意间发现了20

片由可回收药瓶制成的玻璃板。这些玻璃板被运到

意大利，作为可动墙体悬挂在工作室内。

天花板上悬挂着越南的熏香。德里克·伯梅尔

谱写的中东乐曲在工作室宽敞的空间里回荡。工作

室还请来了一位罗马足道师，她可以让你暂时远离

世俗负荷，享受冥想的片刻。

艺术装置从工作室内一直延伸到百年学院大楼

的前方庭院：9t从从洛杉矶运来的可回收钴蓝玻璃

卵石取代原有沙砾。在明亮的夜晚，曹和帕罗特邀

请一位哑剧演员来此表演，她宛若一尊直立在喷泉

中央的活雕塑，点缀着整个户外空间。

一年后，曹和帕罗特从意大利回到洛杉矶。

他们开始尝试公共艺术，继续探索新材料，特别是

钓线（单丝）。不久，他们的首个公共艺术作品茧

（2003）便诞生了（图08）。

在金门大桥对面的旧金山湾码头上，几个巨型

“茧”随意摆设。这些巨型“茧”被五彩的单丝钓

线缠绕着，微风一吹，仿似一个个转动的梭子。从

远处看，这些茧就像一个个固定在地上的发热大气

球。

探索景观的短暂特征一直是曹和帕罗特的梦

想。当他们应邀为加州的康纳斯通花园展设计场所

特制装置时，这个梦想终于实现了。康纳斯通花园

展位于加州的葡萄酒乡——索诺玛，它模仿法国肖

蒙古堡国际花园展，是美国首次举办的当代花园

展，具有一定的试验性。

他们为康纳斯通花园展设计了催眠曲花园

（2004）(图09)。花园的预算有一定限制，同时曹

也希望突出越南的手工艺品文化，为此，曹和帕罗

特决定修建花园的全部材料均由越南手工制作，

“茧”采用的单丝钓线具有反光特性，这为曹

和帕罗特带来灵感。他们希望能够设计出一个完全

由这种廉价材料构成的花园。他们前往安迪的故乡

——越南，花了数天时间，对以纺织闻名的农村地

图05 图07

图06 图08

图05 玻璃瓷砖

Fig.05 Glass tiles

图06 沙漠之海小花园中的玻璃泡

Fig.06 The glass bubble at the Desert Sea

图07 红盒子

Fig.07 Red box

图08 茧

Fig.08 Cocoons

Feature


区挨家挨户地拜访，最终选定了60名织匠。他们愿

意对纺织品进行艺术创新。织匠们用金色、橘色和

蓝色的单丝钓线徒手编织了200片1m×1m的地毯。

在越南，他们沿着湄公河继续往南行驶，参观

了一个椰子农场，决定把椰树和椰子壳作为花园装

置的的一部分。

材料就序后，便开始繁重的体力工作。三个月过

后，大捆精巧毯子和1t椰树木材以及椰子壳运到了

北加州。所有的地毯被织匠用巨型拉链手工缝制在一

起，铺在康纳斯通花园展的雕塑地形上。

闪亮的钓线形成一堵半透明的墙，把整个花园

包围起来。花园随着光线强弱的变化，若隐若现。

这里环境幽雅，做工精致。铺在雕塑地形上的地

毯高低起伏。这个景观的创意源自19世纪日本艺术家

北斋的木版画。参观者需脱掉鞋子，才能踏上地毯。

由巴黎当代音乐家法籍越南裔香清和阮黎演奏的越南

催眠曲让来客远离城市的喧嚣，尽享宁静。

2005年1月，曹和帕罗特应邀为巴黎卢森堡花

园的梅第奇喷泉设计一个临时艺术装置（图10）。

这个装置是由法国参议院投资兴建的，以庆祝每年

的含羞草花节。整个装置是由冬日盛开的黄色含羞

草鲜花构成的，透明的单丝钓线把这些花串联起

来，悬挂在水中。帕罗特把这条生机勃勃的小道比

做是引人遐想的情侣路。

2005年底，曹和杰伦关闭了玻璃卵石的生产生

意。经过五年的合作，安迪·曹和泽维尔·帕罗特

决定在洛杉矶和巴黎正式开办曹 | 帕罗特事务所，

主要从事景观和艺术装置的设计，通常两者都是结

合进行的。

2006年，曹为加拿大魁北克梅蒂斯国际花园展

设计了一个名为“女神花园”的展览花园（图11）。他们借助艺术手法，把时间的流逝、记忆的沉淀和生

命的短暂在这个花园里表现出来，使得这个位于北美东海岸的作品与众不同。

越南的会安市以丝织灯笼闻名。在会安逗留了一阵后，曹和帕罗特从那里得到灵感，希望设计一个能

体现他们风格的标志性灯笼。越南灯笼的传统造型成为他们创意的催化剂。

女神花园坐落在波光粼粼的池塘之上，中央是一个质量轻巧的巨型灯笼（高4m，直径为6m）。参观者

可沿着木刻的汀步，穿过一片漂浮的小橘林，到达这个灯笼。灯笼的骨架是由轻薄的白桦木制成，外围包

着一层半透明的衬布。这层明亮的橘色衬布是由有名的伊朗藏红花粉手工染制的。娇小的鸢尾花点缀着周

围的景观，突出高低起伏的香根草地。

为强调置身在灯笼里的感受，曹和帕罗特设置了一个能缓慢散发香味的芳香体。这一芳香元素源自于

设计团队对嗅觉体验和场地历史的兴趣，用于激发人们的想象力。

由于这个花园坐落在俯瞰圣劳伦河的翠绿小山上，他们希望这种香味能够让人想起海滩漫步的惬意，

脚踩水草的乐趣以及醉人的庙宇熏香。

曹 | 帕罗特工作室的作品在纽约库珀-休伊特国立设计博物馆举办的“当代设计生活“2006年国家设

计三年展上展示。这个展览每三年举办一次，涉及广泛行业，汇集众多美国最具创意的设计师作品。

三年展的作品目录这样描述曹|帕罗特工作室：创造的作品介于艺术装置和风景园林之间，安迪·曹和泽

维尔·帕罗特这对二人组使用天然和人造材料来设计超越寻常、充满惊喜的新型环境。

2007年，曹 | 帕罗特工作室获得由国际材质资料库颁发的卓越媒介奖。国际材质资料库在纽约举办一

个研讨会，庆祝该资料库10年来在材料研制开发取得的创新成就。

《花园设计》杂志的执行主编乔安娜·福特娜姆在评论媒介奖的时候这样写到：“安迪·曹和泽维

尔·帕罗特的提名受之无愧。他们创造性地使用玻璃、钓线、马尼拉绳和椰子壳等可回收材料，这些材料

为人们所熟悉，却容易被忽视，它们在景观和艺术装置中扮演重要角色。尽管那些景观和艺术装置具有一

定的时效性，但是这些材料的巧妙运用使得它们让人难忘。曹和帕罗特让我们屏弃对日常“花园”的成

见，把我们带到可认知的超现实户外世界中。在这里，冥想和想象是重点，它强调人们在新场所发现的日

常材料的超常特性。”

最近曹 | 帕罗特工作室获得了三项在西雅图举办的公共艺术设计竞赛的胜利，其中两个将于今年完成。

一个是位于西雅图安妮皇后街区艺术公园的设计。公园里有一处湿地正在慢慢消失，7个拉长的水滴状雕塑

从湿地中升起，为环境设计增添几分艺术气息，突出公园以艺术家为主导的设计风格。

另外是一处雕塑草地，它宛若一个巨大枕头，弥漫着甘菊的芳香。草地坐落在一高架人行道上，连接新

住宅区与怀特商务中心区。

曹和帕罗特希望拓展视野，继续探索东西文化的交融，为此，他们非常乐意接受来自东南亚，特别是

中国和越南的设计项目。

经营小事务所，让曹和帕罗特有更多的自由来实现他们的梦想，让他们有更多的灵活性。他们希望能

继续关注精选项目，如大尺度的商业项目、公园、艺术装置以及私人庭院设计。

曹和帕罗特能不断提高其作品的艺术性和专业性，是因为他们与有着共同目标的甲方和设计公司进行

合作。过去十年，他们与几个享誉美国国内外的景观和建筑设计公司保持良好的合作关系。同时，他们致

力于创造一种强调生态、可持续性和原创性的新型当代景观。

图09

图10

图09 催眠曲花园

Fig.09 LullabyGarden

图10 情侣路

Fig.10 L’Allée des Amoureux

图11 女神花园

Fig.11 Jardin des Hespérides

专题


Cao | Perrot Studio’s work has always been about total environments; a blending of landscape and art to

create a place for dreaming.

By drawing on their diverse cultural backgrounds (Andy Cao is from Vietnam and Xavier Perrot from

Bretagne, France)（Fig.01), the duo creates a unique and seamless blending of East and West that adapts

perfectly to a global perspective. Their landscape environments and art installations invite the viewer into a

contemplative world of color, mood and sensuality.

And while Cao and Perrot resist labeling their work with “meaning” or categorizations, the real narrative of

each project—its story—often comes from the process of creation itself.

Cao | Perrot Studio is known for a low tech, artisan’s approach to environmental art installations and

landscape design. They employ sustainable, readily available recycled materials and a simple planting palette

to create their colorful, evocative outdoor spaces. The approach is spontaneous, instinctive, highly intuitive, and

labor intensive. Suggestions of moods and memory, the passage of time and impermanence are typically the

subtext signature of Cao-Perrot’s work.

The Glass Garden (1998) (Fig.02), was Andy Cao’s first project created in the small back yard of his Los

Angeles home, and refers to the memories of his childhood in Vietnam.

“When I was ten years old, my family moved from busy, urban Saigon to my grandmother’s farm. Suddenly

I was surrounded by ancient icons: vast rice fields set in a patchwork grid of mud banks; and the rituals of

harvest as we piled rice along Highway One to dry in the humid sun.”

There were contemporary icons, too: giant metal skeletons in the form of rusting armaments left over from

the war, which still dot the Vietnamese countryside today. Cao also remembers the strange reflecting landscape

of salt farms, their surreal expanse of white cones changing with the light. He included all these images in the

Glass Garden. The surprise was Cao’s painterly blending of materials combined with the unusual allegorical

layout that ultimately blurred the line between landscape and art.

Using a minimal but lush subtropical plant palette with swaths of vibrant colors from forty-five tons of

crushed and tumbled recycled glass, Cao was able to transcend all literal references and created a stylized

Vietnamese landscape that was soothing and dreamlike. Visitors enjoyed the other-worldly experience of a

glistening oasis—particularly in moonlight—while treading on paths of gems. Depending on the time of day, the

glass pebbles created a unique, chameleon atmosphere, which gave the garden a profound sense of mood,

weightlessness, and silence.

The Glass Garden launched Andy Cao’s career as a landscape designer. It brought an incredible amount

of press and television coverage and caught the attention of Anne-Marie Dubois Dumee , owner of the high end

fashion boutique Maxfield in Los Angeles. Dumee commissioned Cao to create a window installation(Fig.03) for

her fashionable store on Melrose Avenue.

Soon after, Cao met hotelier Andre Balazs whom gave Cao his first landscape commission: a year-

long restoration of the three acre gardens at the historic Chateau Marmont Hotel(Fig.04), an eighty-year-old

Hollywood landmark. Balazs also brought Cao in to enhance the existing landscape and create an installation in

the lobby of his new and trendy Standard Hotel, on the famous Strip of Sunset Boulevard.

In response to a growing call for the recycled glass pebbles showcased in the original Glass Garden, Andy

Cao and his business partner, New Zealand born photographer Stephen Jerrom, started a second business in

Los Angeles manufacturing tumbled (safe to handle) glass pebbles for decorative landscape applications.

Unintentionally, they had created a new landscape material, and a popular new trend: recycled glass

pebbles for the garden. Their customers were not

only local nurseries and home gardeners across the

United States, but corporate and civic clients who

included many tons of glass pebbles into their own

landscape designs for roof gardens, office buildings

and university campuses.

After the success of the Glass Garden, Cao and

Jerrom received a research grant from the Charles

Lindbergh Foundation to further explore new product

potentials of recycled glass. They developed a line

of glass tile prototypes(Fig.05) made from a variety of

recycled glass materials as a way of demonstrating

how otherwise discarded glass could be diverted

from landfills.

Upon close viewing, the tile still carried the trace

“memory” of their glass origin, be it wine bottles,

industrial marbles or discarded window glass.

Conceived for large-scale architectural or interior

design applications, the glass tile prototypes received

much praise, including the Medium Award from

material’s library Material ConneXion, where it is on

display in New York.

In 2001, Andy Cao created Desert Sea(Fig.06), a

theatrical outdoor environment at the Chaumont- sur-

Loire International Garden Festival in France.

Drawing inspirations from several cultural

influences including Vietnamese water puppets, African

adornments, and the dry garden of Ryoan-ji in Kyoto,

Japan, Cao took the Festival’s theme of Mosaiculture

(Carpet Bedding) one step further. He incorporated

recycled glass as ground cover, and introduced hand-

blown glass elements: so called “desert bubbles”.

Ornamental succulents and cactus were planted

in unexpected places, and Cao wrapped the entire

garden with miles of Manila rope.

It was in Chaumont that Cao met his future

design partner, Xavier Perrot.

The year 2001 was a transformative one for Andy

Cao. It was the year that he won the Rome Prize

Fellowship in Landscape Architecture at the American

Academy in Rome. This prestigious Fellowship gave

图11

图片来源：

图01 曹|帕罗特工作室

图02-05、07-10 斯蒂芬·杰伦

图06 亚历山大·白赫奇

图11 米歇尔·拉维迪

Photo Credits

Fig.01 Cao|Perrot Studio

Fig.02-05, 07-10 Stephen Jerrom

Fig.06 Alexandre Bailhache

Fig.11 Michel Laverdière

Feature


Cao the greatest gift of all—the luxury of time—and

the opportunity to spend an unhurried year in Rome,

with complete freedom to explore and contemplate;

to immerse himself in the history and culture of Rome.

Sharing the Fellowship with his new assistant

and future design partner Xavier Perrot, the

experience of living in Rome was influential in many

ways. Absorbing Rome’s sensual splendors was an

education in itself. Then, for the Academy’s summer

exhibition, Cao and Perrot created another complete

environment they called simply Red Box(Fig.07).

Inspired by the rich history and colorful

atmosphere of both ancient and modern day Rome,

Cao and Perrot embraced the city’s decadent past as

well as its erotic undercurrents.

The all-white, high-ceiling studio was painted

in Chinese red. To mark the entrance, grass was

planted vertically on the exterior wall, and completely

covered the studio floor. In Los Angeles, Cao’

s business partner Stephen Jerrom oversaw the

fabrication of twenty glass panels made from recycled

medicine bottles. These were shipped to Italy, and

suspended as a floating and moveable wall in the

studio.

Coils of incense were sent from Vietnam and

hung from the ceiling. Haunting Middle Eastern

music composed by Music Fellow Derek Bermel

resonated through the big studio space; and a

Roman foot masseuse was brought in to encourage a

contemplative respite amid the sensual overload.

The installation also spilled out of the studio

into the front courtyard of the century-old Academy

building where nine tons of cobalt blue, recycled glass

pebbles (shipped from Los Angeles) replaced the

existing gravel. On opening night, Cao-Perrot invited

a street mime to be the outdoor centerpiece, placing

her in the middle of the fountain as a living sculpture.

Back in Los Angeles after a year in Italy, Cao

and Perrot started to venture into public art. They

continued to explore new materials, specifically fishing

line (monofilament), which led to their first public art

installation titled Cocoons (2003) (Fig.08).

Situated on a jetty in the San Francisco Bay across from the Golden Gate Bridge, the team created a series

of randomly placed oversize cocoons. These large forms were wrapped with colorful strands of monofilament

and spun in the wind. From a distance, the cocoons resembled giant moored balloons that glowed from within.

Cao-Perrot’s dream of exploring the more ephemeral qualities in landscape were realized when they

received the invitation to create a site specific installation for the Cornerstone Festival of Gardens, located

in the wine country of Sonoma, California. Cornerstone Festival of Gardens was the first contemporary and

experimental garden festival in the US, and modeled after Chaumont-sur-Loire International Garden Festival in

France.

For the Cornerstone Festival of Gardens, the team created Lullaby Garden (2004) (Fig.09). Due to budget

constraints, and to fulfill Cao’s wishes to highlight the arts-and-crafts of Vietnamese culture, Cao and Perrot

decided to have all the materials hand-made in Vietnam.

Inspired by the unique reflective quality of the monofilament they had used for Cocoons, the team wanted

to create an entire garden out of this humble material. They traveled to Andy’s home country of Vietnam and

after spending days exploring the countryside and knocking on doors in a region known for its weaving, they

finally located weavers who would agree to try something new in the name of art. Together they enlisted the help

of sixty weavers to hand-knit two hundred carpet sections (1 meter x 1 meter) made of vibrant gold, orange, and

blue monofilament.

While in Vietnam, they traveled further South along the Mekong River, visiting a coconut farm and decided

to incorporate coconut wood and shells as part of the installation.

Materials were ordered, and the labor-intensive work began. Three months later, bales of finished carpets

and a ton of coconut wood and shells were shipped back to Northern California. The carpet sections were hand

sewn together with oversize zippers and draped over a sculpted landform at the Cornerstone Festival site.

The entire garden was wrapped with strands of clear monofilament that formed a translucent wall,

concealing or revealing the garden depending on the time of day.

Tranquil and delicate, the garden was rich in subtleties. Visitors were invited to take off their shoes to

explore or recline on the undulating landscape inspired by the nineteenth-century woodblock prints of the

Japanese artist Hokusai. Strains of Vietnamese lullabies by Paris-based musicians Huong Thanh and Nguyen

Lê completed the otherworldly experience.

In January 2005, Cao-Perrot were invited to create a temporary art installation(Fig.10) in the historical Medici

Fountain located in the Luxembourg Gardens, Paris. The installation was sponsored by the French Senate to

celebrate the annual Fête du Mimosa. The installation was made entirely of fresh, winter-blooming yellow Mimosa

blossoms suspended on the water by transparent lines of monofilament. Perrot likened the vibrant path to a

dreamy, metaphorical lover’s lane.

At the end of 2005, Cao and Jerrom closed the glass pebble manufacturing business. Having collaborated

as a team in the past five years, Andy Cao and Xavier Perrot made a decision to officially open Cao | Perrot

Studio with offices in Los Angeles and Paris. The team’s focus is on landscape design and art installations, often

combining both.

Another very different project on the east coast of North America was one titled Jardin des

Hespérides(Fig.11), created for the Metis International Garden Festival in Quebec, Canada (2006). In this garden,

the duo embraced the passage of time, memory and impermanence.

专题


Inspired by a recent visit to the city of Hoi-An, Vietnam, a region known for its silk lanterns, Cao and Perrot

dreamed of creating an iconic lantern of their own. The traditional shape and frame of Vietnamese lanterns

became their mental catalyst.

Set in a reflecting pond, the Hesperides Garden’s centerpiece was a seemingly weightless, oversized

lantern (4m tall x 6m diameter), which visitors entered by crossing the wood-cut stepping stone winding through

a floating orange grove. The lantern’s frame was made with laminated birch wood, and the entire form was

covered in a translucent layer of interfacing lining fabric. The fabric was hand dyed with the precious Iranian

Sargol saffron powder to turn a rich luminous orange. The surrounding landscape was dotted with delicate Iris

flowers highlighting the undulating carpet of Vetiver grasses.

To heighten the experience of being inside the lantern, Cao-Perrot created a fragrance that emanated gently

from a diffuser. This added element came from the team’s interest in olfactory sensations, the site’s history, and

the magical alchemy that evokes imaginary worlds through the sense of smell.

Since the garden’s location was situated on a wooded hill overlooking the Saint Laurence river, the

fragrance was designed to evoke the memory of walking on a beach, the zest of seaweed crushed under foot ,

and the intoxicating aroma of incense in a smoke filled temple.

Cao | Perrot Studio work was included in the 2006 National Design Triennial: Design Life Now at the

Cooper-Hewitt Museum in New York. The Triennial exhibited the work of the most innovative designers in the U.S.

reviewing a wide spectrum of disciplines.

The Triennial catalogue described Cao | Perrot Studio as “creating work that lies between art installation

and landscape architecture; the duo of Andy Cao and Xavier Perrot use natural and artificial materials to design

environments that transport us beyond the everyday.”

In 2007, Cao | Perrot Studio received the prestigious Medium Award given by the international materials

library, The Material ConneXion, during a symposium in New York celebrating the Library’s ten years of material

innovation.

Commenting on the Medium Award, Executive Editor Joanna Fortnam of Garden Design magazine wrote:

“Andy Cao and Xavier Perrot are both deserving and obvious nominees for the Medium award. Their innovative

use of overlooked yet familiar and recyclable materials, such as glass, fishing line, Manila rope and coconut

shells plays a key role in their ephemeral yet haunting works, part landscape and part installation. Cao-Perrot

transport us from preconceptions of the everyday ‘garden’ to a surreal yet recognizable outdoor world where

contemplation or dreaming is the point. It is as if by placing emphasis on the unexpected qualities of everyday

materials we discover a fresh sense of place.”

Cao | Perrot Studio recently won three public art competitions in Seattle, two of which will be completed this

year. One is the artist-led design of an “Art Park” in the Queen Ann District, Seattle, combining their environmental

design with seven sculptures in the form of elongated water droplets rising from the park’s disappearing wetland.

The other is a sculpted meadow, an ephemeral permanent earthwork in the form of oversized pillows

covered with the sweet fragrance of Chamomile.

The earthwork is nestled in an elevated walkway connecting a new residential development to the White

Center business district.

As Cao and Perrot look to expand their horizons and continue their quest to blend Eastern and Western

influences, they welcome opportunities for new projects in Southeast Asia, especially in China and Vietnam.

Maintaining a small studio allows Cao-Perrot greater freedom to stay true to their vision, and provide

them with more flexibility and mobility. They hope

to keep their focus to a handful of carefully-selected

commissions—be they large scale commercial

projects, public parks, art installations and private

residential landscape design.

The key to Cao-Perrot’s continued artistic and

professional growth is through collaboration with like-

minded clients and design firms. Over the past ten

years they have cultivated relationships with several

reputable landscape and architectural firms in the US

and abroad. Together they strive to create a new way

of experiencing the contemporary landscape with an

emphasis on ecology, sustainability and originality.

作者简介：

安迪·曹/男/1965年生/越南人/风景园林师/艺术家/曹|帕罗特

事务所的合伙人/曾获得罗马美国学院的罗马奖学金（风景园

林方向）/罗马美国学院访问学者

泽维尔·帕罗特/男/1980年生/法国人/风景园林师/曹|帕罗特

事务所的合伙人/曾在布列塔尼的圣艾兰学校和肖蒙古堡国

际风景园林国际培训教育中心学习景观设计

Biographies: Andy Cao, male,born in 1965 in Vietnam, is a landscape

designer, artist and design partner of cao | perrot studio,

New York. He is a recipient of the Rome Prize Fellowship

in Landscape Architecture at the American Academy

in Rome. Fellow at the American Academy in Rome.

Xavier Perrot, male, born in 1980 in Brittany France, is the

design partner of cao|perrot studio, Paris. He studied

landscape design at Saint-Ilan School in Brittany and the

International Conservatory of Gardens in Chaumont-sur-

Loire, France.

译者简介：

申亚男/男/1983年生/山西人/北京林业大学园林学院城市规划

与设计学科2006级硕士生（北京 100083）

章健玲/女/1983年生/广东人/中山大学英语语言文学专业/现

为本刊英文编辑（深圳 518045）

About the Translators: SHEN Ya-nan, born in 1983, native of Shanxi Province, is a

Grade-2006 graduate of Beijing Forestry University majored in

Urban Planning and Design. (Beijing 100083)

ZHANG Jian-ling, female, born in 1983, who got her Bachelor

of Arts in English from Sun Yat-sen University, is the English

Editor of Landscape Architecture journal. (Shenzhen 518045)

Feature


玻璃花园Glass Garden项目地点：美国加州洛杉矶

项目时间：1998年

所用材料：45t百分百的回收玻璃卵石

项目描述：这是一个用简单植物和45t回收玻璃卵石

造景的传统景观。玻璃花园的创意源自安迪•曹在越

南的童年生活。花园唤起人们对越南中部水稻田地和

宽敞盐场的回忆。

图01

Location: Los Angeles (California, USA)Completion: 1998Materials: 45 tons of 100% recycled glass pebbles.Project description: A stylized landscape created with simple planting and 45 tons of recycled glass pebbles.The Glass Garden referred to Andy Cao’s memories of his childhood in Vietnam.The garden evoked iconic settings such as the patchwork of rice terraces, and the surreal expanse of salt farms in central Vietnam

专题


图02

图03

图04

图05

图01 玻璃花园入口

Fig.01 Entry of the Glass Garden

图02 玻璃卵石锥体

Fig.02 Glass cones

图03 台地

Fig.03 Terrace

图04 小路

Fig.04 Pathway

图05 花园冬景

Fig.05 Glass Garden in winter

图片来源：斯蒂芬·杰伦

Photo Credits: Stephen Jerrom

Feature


夏特蒙特酒店Chateau Marmont项目地点：美国加州洛杉矶


项目描述：为加州好莱坞历史有名的酒店进行花园景观修缮

Location: Los Angeles, California Time: 2001Project description: Restoration of the historical garden. Hollywood



图01

专题


玻璃瓷砖Glass Tiles

项目地点：美国洛杉矶


项目描述：安迪•曹和他的生意搭档新西兰摄影师斯

蒂芬•杰伦从可回收玻璃材料中研制出一系列玻璃瓷

砖模型。

图01 绿色泡沫瓷砖墙

Fig.01 Green bubble tile wall

图02 中心瓷砖（正面）

Fig.02 Navel tile (front)

图03 中心瓷砖墙（背面）

Fig.03 Navel tile wall(back)

图04 绿色泡沫瓷砖

Fig.04 Green bubble tile

图05 中心瓷砖（背面）

Fig.05 Navel tile (back)

图片来源：斯蒂芬•杰伦


图01

图02

图03

图04

图05

Location: Los Angeles, USA Time: 2003Project description: Andy Cao and his business partner, New Zealand born photographer Stephen Jerrom, developed a line of glass tile prototypes made from a variety of recycled glass materials.

Feature


沙漠之海Desert Sea 项目地点：法国肖蒙古堡国际花园展


所用材料：10t百分百的回收玻璃卵石和大理石，

9.5m长的马尼拉绳索和手工吹制的玻璃泡。

项目描述：整个艺术装置充满戏剧性，被绳索包围起

来。它的创作灵感来自从越南水木偶到非洲服饰的多

元文化。

Location: The Chaumont-sur-Loire International Garden Festival, France Time: 2001

Materials: 10 tons of 100 % recycled glass pebbles and marbles, 9.5 km of Manilla rope, and hand blown glass bubbles.Project description: The rope walled theatrical installation was inspired by multi-cultural influences from Vietnamese water puppets to African dress.

图02

图03图01

图04

专题


图01 概念图

Fig.01 Conceptual planview

图02-03 花园入口

Fig.02-03 Entrance

图04 竹林

Fig.04 Bamboo grove

图05 手工吹制的回收玻璃泡

图05 Hand-blown recycled glass bubbles

图05

Feature


图06

图07 图08

专题


图09

图10 图11

图06-07 竹林

Fig.06-07 Bamboo grove

图08、10 手工吹制的玻璃泡

Fig.08,10 Hand-blown recycled

glass bubbles

图09 小海岛

Fig.09 Island

图11 全景

Fig.11Overview

图片来源：亚历山大·白赫奇

Pho to C red i t s : A lexandre

Bailhache

Feature


红盒子Red Box项目地点：意大利罗马美国学院


所用材料：由可回收药瓶熔化制成的20片玻璃悬墙、

草墙、9吨可回收玻璃卵石和越南熏香

表演：音乐作曲家德里克·伯梅尔、罗马足道师和一

个表演艺术家

项目描述：安迪·曹荣获罗马美国学院罗马奖学金

（风景园林方向），他在罗马美国学院进修了一年。

受罗马丰富的艺术历史启发，他与设计搭档泽维尔·

帕罗特创作了这个名为红盒子的艺术装置。曹改造了

美国学院的工作室和熟悉的入口庭院。

Location: American Academy in Rome (Italy)Time: 2002Materials: 20-panel suspended glass wall made from fused recycled medicine bottles; grass wall; 9 tons of recycled glass pebbles; coiled incense from Viet-NamPerformance: collaborations with music composer Derek Bermel, a Roman masseuse, and a performance artistProject description: As a recipient of the Rome Prize Fellowship in Landscape Architecture (FAAR’02), Andy Cao spent a year at the American Academy in Rome, where, with design partner Xavier Perrot, they created the Red Box installation inspired by the art, history and sensuality of Rome. Cao and Perrot transformed their studio and the familiar entry courtyard of the American Academy.

图01

图02

图03

图04

专题


图01 蜡烛墙

Fig.01 Candle wall

图02 玻璃板

Fig.02 Glass panels

图03-04 庭院

Fig.03-04 Courtyard

图05 小跑

Fig.05 Nia running

图06 玻璃墙

Fig.06 Grasswall

图07 红盒子

Fig.07 Red box

图08 工作室

Fig.08 Studio



图05

图06

图07

图08

Feature


茧Cocoons项目地点：美国加州金玉坊（旧金山湾）


项目描述：这个临时的公共艺术装置是由加州的爱莫

利维尔市赞助的。它位于金门大桥对面一个礁石码

头上。不锈钢盔甲是由建筑师威廉·马茜设计，经激

光切割而成的。曹给它们包上5英里长的彩色单丝钓

线，远看就象一个个转动的茧。

Location: Emery Point (Bay of San Francisco) (California, USA)Time: 2003Project description: This temporary public art installation, sponsored by the City of Emeryville, California, was sited on a rocky point opposite the Golden Gate Bridge. Three spinning cocoons made with five miles of colored monofilament were wrapped around the laser cut stainless steel armatures fabricated by architect William Massie.

图01

专题




图02

图03

Feature


维加花园Vego Garden项目地点：美国加州圣塔摩尼卡太平洋海崖


所用材料：石板

所用植物：细叶针茅、芒草、香绵菊、蓝眼菊属

（Osteospermum）、番薯属（Ipomoea）

项目描述：维加住宅位于圣塔摩尼卡山上，面朝太平

洋和洛杉矶的西部。每当微风吹过，园中的小草丛在

风中摇动，发出的沙沙声响，着让人想起拍打在太平

洋岸边上的海浪。

Location: Pacif ic Palisades, Santa Monica (California, USA)Time: 2003Materials: slate bands of stonePlants: Stipa tenuifolia, Miscanthus sinensis, Santolina chamaecyparisus, Osteospermum, IpomoeaProject description: The Vego’s house is situated on the Santa Monica hills, facing the Pacific Ocean and the western side of Los Angeles. The minimal lines of whispy grasses evoke the waves breaking on the ocean’s surface.



图01

图02

图03

图04

图05

专题


图06

Feature


图01 平面图

Fig.01 Planview

图02 剖面图

Fig.02 Section

图03 拱门

Fig.03 Arches

图04 催眠曲花园的后面

Fig.04 Lullaby Garden (back)

图05 黎明时分的催眠曲花园

Fig.05 Lullaby Garden at dawn

催眠曲花园Lullaby Garden项目地点：美国加州索诺玛康纳斯通花园展


所用材料：200张手工编织的尼龙地毯、渔线、椰子

木和椰子壳

项目说明：60名越南村民手工编制这200张1m x 1m的

尼龙地毯，他们把所有的地毯缝制在一起，铺设在

1300平方英尺的高低起伏地形上。

这个装置还包括巨型拉链和抛光的椰子壳。亮丽

的渔线网纱像一道隐形栅栏，把花园与周围隔离起

来。网纱在光照下若隐若现。

在这里聆听现居法国的当代音乐家香清和Nguyen

Lê创作的越南催眠曲，让人倍感舒适。

Location: Cornerstone Gardens Festival, Sonoma (California, USA)Time: 2004Materials: 200 hand knitted nylon carpets, fishing line, coconut wood and coconut shellsProject description: Two hundred 1m x 1m colored nylon carpet sections were hand knitted in Vietnam by 60 villagers, then sewn together and stretched over a 1300 sq. ft. rolling landform. The installation also included oversize zippers and polished coconut shells. A veil of clear fishing line was wrapped around the perimeter to create an “invisible fence”, which would sometimes disappear, and at other times, catch the light and form a shimmering wall around the garden. Vietnamese lullabies by contemporary Paris-based musicians Huong Thanh and Nguyen Lê, completed the soothing environment.

图01

图02 图03

专题


图04

图05

Feature


图06 表演（香清和多米尼奇·布洛克）

Fig.06 Performance (Huong Thanh and Dominiqvg Borker)

图07 花园前方

Fig.07 Front

图08-10 椰子台地

Fig.08-10 Coconut terrace

图片来源：斯蒂芬·杰伦(图01-08，10）

杜格·玛西（图09）

Photo Credits:Stephen Jerrom(Fig.01-08,10)

Doug Macy(Fig.09)图07

图08

图06

图09

图10

专题


K花园Jardin K项目地点：法国布列塔尼


所用植物：细叶针茅、芒草、大熏衣草、帚状欧

洲鹅耳枥、山桃草、鹿子花、大戟属（Euphorbia

purpurea）、Knaut ia macedonica、天竺葵属

（Geranium renardii、Geranium phaeum）和美国红

橡木

项目描述：花园的设计灵感来自于它四季更迭的周围

景观和布列塔尼的海景。小面积的植被呈现四季分明

的景色。雕塑地形在自然光的照射下，产生强烈的视

觉冲击，让人体会到布列塔尼多变的景观。

Location: Quemper-Guézennec (Brittany, France)Time: 2004Main plants: Stipa tenuifolia, Miscanthus sinensis ‘Gracillimus’, Lavandula x intermedia ‘Grosso’, Carpinus betulus, Gaura lindheimeri, Centranthus ruber ‘Albus’, Euphorbia purpurea, Knautia macedonica, Geranium renardii , Geranium phaeum, Quercus rubraProject description: This garden was inspired by its ever-changing surrounding landscapes and seascapes in Brittany. The minimal plant design provides radical changes through the seasons. The sculpted landforms catch the natural lights, to evoke the sensuality and transmit the ephemeral moods of Breton landscapes.

图片来源：曹 | 帕罗特工作室

Photo Credits: Cao | Perrot Studio

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情侣路L’Allée des Amoureux项目地点：法国巴黎卢森堡花园的梅第奇喷泉


所用材料：1000束含羞草、单丝钓线、铜管

项目描述：这个为梅第奇喷泉（形成于1630年左右）

设计的临时艺术装置是由法国参议院赞助的，以庆祝

每年冬天盛开的含羞草。

我们用闪亮的单丝钓线把金黄色的花瓣串联起

来，形成一条悬浮在水上的小路，并在周围的花盆里

种上白色的Gypsophylla花。

图01图片来源：斯蒂芬·杰伦 Photo Credits: Stephen Jerrom

Location: Medici Fountain, Luxembourg Gardens (Paris VI°, France)Time: 2005Materials: 1000 bouquets of mimosa flowers, monofilament, copper tubing.Project description: This temporary installation in the Medici Fountain (circa 1630) was sponsored by the French Senate to celebrate the winter-blooming Mimosa flower.We used clear monofilament to float a path of vibrant yellow blossoms across the water; and arranged bouquets of white Gypsophylla in the surrounding urns.

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女神花园Jardin des Hespérides项目地点：加拿大魁北克梅蒂斯花园展


所用材料：木架、伊朗臧红花粉手工染制的棉料、烧

焦的雪松木桩、椰子纤维和香水

所用植物：橘子树、鸢尾和香根草

项目描述：花园取材于越南的声乐、香气和材料，景

观环境的设计容易让人想起附近的圣劳伦斯河。

铺满白色贝壳的小路弯曲绕过一片本地生的绿

藻，野生鸢尾和喜玛拉雅蓝罂粟零星分布在香根草坪

上。花园中央，是一个外型巨大、质量轻便的灯笼，

外围罩着一层藏红花粉渲染的纱布。灯笼下面是波

光粼粼的池塘，那里有时候会神秘地冒出一片小橘子

林。灯笼是根据传统的越南建筑手法，用轻质衬布编

织和伊朗臧红花粉手工染制而成。一进入灯笼，游客

可以闻到一股神奇的香味，好象是大海的味道，或是

脚底下踏碎的海草的味道，或是庙宇里的梵香。

Location: Metis Festival of Gardens, Metis-sur-Mer (Quebec, Canada)Time: 2006Materials: wood frame, cotton hand dyed with Sargol Saffron, burnt cedar trunk sections, coconut fiber, perfume.Plants: orange tree, iris, vetiverProject description:This garden draws on the sounds, scents and materials of Vietnam, while simultaneously evoking the landscape environment of the St. Lawrence River, site of Metis Garden Festival.Paths of stark white seashells wind through a carpet of locally collected green algae, vetiver grasses dotted with wild irises and Himalayan blue poppies. In the centre of the garden, a saffron-colored lantern looms oversized and weightless in a reflecting pond, where an orange grove mysteriously rises. The lantern, fabricated according to traditional Vietnamese construction techniques, is made from lining fabric, hand dyed with Iranian Sargol Saffron.Upon entering the lantern, visitors discover a unique fragrance inspired by scents of the sea, zest of seaweed crushed underfoot, and incense in a temple.

图01 平面图

Fig.01P lanview

图02 植被剖面图

Fig.02 Section-plantations

图03 地被剖面图

Fig.03 Section carpet

图04-09 花园实景图

Fig.04-09 the Jardin des Hespérides

图片来源：路易丝•唐格（图04)、曹|帕罗特工作室（图01-03、08）

和伊万•马尔泰斯（图05-07、09）

Photo credits: Louise Tanguay( Fig.04), Cao| Perrot Studio(Fig.01-03,

08) and Yvan Maltais(Fig.05-07,09)

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德克斯特公园Dexter Park项目地点：美国华盛顿州西雅图

项目时间：2007年设计，2008年秋天建成(预计)

项目描述：7个水滴雕塑浮现在原来的湿地上。夜

幕降临时，蓝色的灯光照亮每个雕塑的顶部，从四

周的公寓上，看起来雕塑似乎被水淹没得更深了。

Location: Seattle, Washington, USATime: 2007, scheduled to be built in fall 2008 Project description: Seven "water droplets" emerge from the existing wetland. By night, a blue sparkle lights up the top of each droplet to reveal a dipper pattern, visible from the surrounding above apartments.

图01 平面图

Fig.01Planview

图02 南北面的剖面图

Fig.02 Northsouth section

图片来源：曹 | 帕罗特事务所


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怀特中心第98街道长廊项目White Center 98th Street Corridor Project项目地点：美国华盛顿州西雅图

项目时间：2007年设计，2008年春季建成(预计)

项目描述：这个项目力求把商务中心与居住着亚裔和

西班牙裔少数人种的住宅区连接起来。玉米状的雕塑

地景点让人想起某些文化的船上居民。这些地景对于

其他人来说，也是重要文化元素的象征。

Locatioin: Seattle, Washington, USATime: Designed in 2007, scheduled to be built in spring 2008Project description: The project aims to link the Business Center to the Asian and Hispanic Minorities Area. The corn pattern-like sculpted landforms evoke the crowds on the ships (the Boat People) for some cultures, while it could represent a vital ingredient for others.

图01 概念图

Fig.01 Conceptual planview

图02 剖面图

Fig.02 Section

图03 地形

Fig.03 Landform

图04 人行道

Fig.04 Walkway

图片来源：曹 | 帕罗特工作室


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云Cloud项目地点：美国佛罗里达州迈阿密


项目描述：一片用满天星草做成的“云”漂浮在迈阿

密好孩子热带植物园的湖上。

Location: Miami, Florida, USA Time: 2007Project description: Cloud of Gypsophila floating on the main lake of the Fairchild Tropical Botanic Garden.



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弓湖垃圾转运站Bow Lake Transfer Station项目地点：美国华盛顿州西雅图


所用材料：钢化玻璃板和浇铸可回收玻璃

项目描述：项目反映垃圾的日常活动，突出对垃圾采取

丢弃处理的无知。把可回收垃圾将转换成艺术景观媒

介。大量的浇铸玻璃泡是这个艺术装置的主要特征，

它们塞满垃圾。玻璃碎片可转换成五彩的卵石彩虹，

修饰景观，回收的钢化玻璃板则构成反光地表，从而

改善环境。

Location: Seattle Washington, USATime: 2007Materials: tempered glass panels, cast recycled

图片来源：曹| 帕罗特工作室

Photo Credits: Cao| Perrot Studio

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glassProject description: This project aims to reflect the daily activity of discarded waste, highlighting the mindless ritual of “taking out the trash”. Recycled glass will be transformed and elevated into an art and landscape medium.The primary feature of the art installation will be multiple cast glass “trash bags” encasing actual refuse. The environment is further enhanced by turning shards of broken bottle glass into a rainbow of colored pebbles used as decorative landscape mulch; and recycling tempered glass panels to evoke a reflective surface.

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Landscape Architecture (China) Magazine