How did you approach the Lanserhof Tegernsee medical spa project? It will give the feeling of air and space with clearly-defined outside rooms. Trees are being used to create privacy within a very tropical environment along with various palm trees, mangroves and lush underplanting. There will be different scales and heights within the landscape. Natural palms will surround it and frame the architecture of the pavilion. There is an existing beautiful old pool, and we have plans to build an additional 70m pool which will be divided so that every person has the feeling of being in their own, private pool.
#Enea garden design update
We have worked with the Brazilian architect, Isay Weinfeld, on this project, which is an update of the beachfront property in the re-emerging historic district of Miami Beach with the creation of 75 luxury apartments and hotel suites, a fitness centre, spa, restaurants and beachside pools with cabanas. Tell us about the Fasano Shore Club in Miami The One Thousand Museum is going to be a very compelling project. She was very interesting, and I was proud to work with such a great architect on one of her last projects. The building has lots of glass which gives back heat, so we are integrating canopies of trees to provide shade. We are using mangrove trees, coconut palms and grasses to create outdoor rooms which have a feeling of privacy as well as a sense of escape. It was also important to integrate the site with the museum and Miami Bay. This is a very interesting project with the gardens facing very futuristic architecture by Zaha Hadid. You’re currently working on the One Thousand Museum in Miami, what was your approach? We add two or three trees a year each has its own unique story, and I love them all. The museum combines landscape, botany, art, architecture and design. At the museum, trees are appreciated as objects each tree is set against a block of sandstone, and the space is complemented by contemporary sculptures by renowned artists. I wanted to show people what a tree really is and help them to understand what trees mean to us. We found land at a convent by Lake Zurich to house the collection, and now the museum is open to the public, welcoming 30,000 to 40,000 visitors a year. Transporting these trees is also difficult sometimes we have to use helicopters. They need to be trimmed properly and irrigated immediately otherwise they’ll die. It is very difficult to transplant mature trees. I started saving trees which were being cut down on construction sites about 20 years ago, and it became a passion of mine. You have created the world’s only Tree Museum. Sociology and functionality are the two most important aspects when we design – how an individual lives and interacts. Sometimes filters aren’t required at all because it’s the open countryside, so other things are needed like the creation of ha-has or opening up or framing views of the surroundings. Sometimes it’s about creating a filter with trees to reduce pollution sometimes it’s a filter for privacy from the neighbours. The architecture is like the handwriting of the architect, and it’s important for me to read the site and integrate the outdoor space with the building. I create rooms outdoors to use and live in as well as enhancing the microclimate and complementing the surrounding architecture. What is your signature approach to landscape architecture? We might be building a new pond, working within an existing river ecosystem or bringing greenery to a city. It’s a beautiful life: for me it’s not working, just living! I love working in diverse climate zones and facing new challenges. My father went into stone masonry work, and I took over his garden ornament business before becoming a landscape architect. I used to help him build stone fountains for the garden, which was the start of a life-long appreciation for craftwork and high quality materials.
My love of nature began as a child, when I spent summers at my grandfather’s farm in Italy. What inspired you to become a landscape architect?
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