Landscape Works with Piet Oudolf and LOLA by nai010

nai010 publishers

Landscape Works with Piet Oudolf and LOLA

In Search of Sharawadgi

nai010 publishers

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Landscape Works with Piet Oudolf and LOLA

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In Search of Sharawadgi

Forewords 6

A Brick will not Console You

Pepijn Lanen

8 Piet Oudolf and LOLA Mathea Severeijns, Barry Braeken 10

in Parkstad

Introduction

Fabian de Kloe

16 A Reader’s Guide Peter Veenstra, Joep Vossebeld, Fabian de Kloe

1 Composing Nature

Composing with Piet Oudolf

Oudolf’s Garden in Hummelo 40

Oudolf Field at Hauser & Wirth

Eternal Herbarium Anne Geene 52

NATUREALLY

Geert Mul

2 Nouveaux Terroirs ¨ 60

LOLA’s Salt Fields at Solana Ulcinj 64

Field Notes: Water Made to Move

Vijai Maia Patchineelam & Adrijana Gvozdenović 16

§ 74

Naked Landscape Giuseppe Licari

The Lost Castle at Etzenrade

LOLA and Piet Oudolf

After Landscape Sanne Vaassen

¤ 3 Everybody is a Gardener

¥ 90

Vlinderhof

A Living Work of Art by Piet Oudolf 98

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LOLA’s Star Maze in Tytsjerk

Star Maze in 30,000 Pictures

Kie Ellens

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Lurie Garden by Piet Oudolf

Interpreting Oudolf’s Garden with Laura Ekasetya 122

¬ 127

132

Planting The High Line with Piet Oudolf 140

« 144

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4 Life Lines

Five Seasons

Interview with Filmmaker Thomas Piper

Leisure Lane Parkstad with LOLA and Piet Oudolf

Tending to a Garden as one Would to a Beloved Darcy Neven

¯ 5 Dreamy Realism

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158 164

LOLA’s Dream of a Global Forest

Urban Forests by LOLA

The 7000 Oaks Project

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Joseph Beuys

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City Administration by City Afforestation Interview with Volker Schäfer

Designer’s Statement 185 187

Sam Jacob

Fraser Muggeridge

Introduction Central to this book and the eponymous exhibition at SCHUNCK is the partly joint oeuvre of the internationally renowned garden architect Piet Oudolf and LOLA Landscape Architects. In Oudolf, LOLA found the perfect companion to realize their ideas. Oudolf is an influential garden designer, nurseryman, and author, who is internationally renowned for his innovative aesthetics in garden design. For decades, his garden landscapes have contributed to a changing perspective on nature in public space. His planting designs, such as the famous High Line in New York, introduce new notions of beauty, composition and diversity. LOLA designs and researches landscapes that have been forgotten, have degraded, or are about to change. With thoughtful ideas and targeted interventions, LOLA (LOst LAndscapes) wants to optimize those landscapes into beautiful, healthy, and thriving places. The firm works on both conceptual and implementation-oriented cutting-edge projects in the city, at city edges or in the countryside all over the world. The impulse to create an exhibition about the work of Piet Oudolf and LOLA Landscape Architects comes from their joint work in the 10

Parkstad region in the Dutch province of Limburg. As part of a constant effort to develop this former mining region, they were commissioned by IBA Parkstad to redesign parts of the public outskirts in a meaningful and sustainable way. This challenge ties in with a wider desire for more nature in our daily lives. The quality and accessibility of nature in our urbanized life is under pressure. Climate change and urbanization have a profound impact on nature, our everyday surroundings, and thus on our well-being. Public gardens and parks provide space to exercise, think, and breathe. Space that we need for our physical and mental health. In their work, Oudolf and LOLA strive for meaningful experience and use of the landscape by the public, from a shared, strong focus on the individual visitor. In their designs they always look for the human perspective. A successful landscape design at the level of the individual experience is crucial: it makes the difference between a no-go area and a place where people love to come. We largely experience our surroundings intuitively. At the same time, their designs aim to provide solutions to problems and challenges associated with large-scale industry, urbanization, mass tourism and traffic, and the impact these have on nature and the climate. Think of declining 11

1 Composing Nature For a long time, private domains and noble estates were the only places where you could find lavish parks and gardens with a wide variety of plants and flowers. They were the privilege of those who could afford the space, the design and especially the costly maintenance. Urban green space has never been able to match the quality of those private estates. The planting in public space, especially in the twentieth century, tended to be a decorative arrangement of trees and shrubs, surrounded by grass: a plant-based architecture to fill in the empty space between buildings with rational ‘greenery’ that can be managed efficiently. In our sprawling cities, these are often the only places where people come into contact with nature. Therefore, especially in recent years, more and more cities are investing in gardens and parks. The designs of these landscapes are no longer solely based on rationality; they are aimed at an individual experience, in which emotional aspects such as atmosphere and beauty are equally important.

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For decades now, Piet Oudolf’s garden landscapes have contributed to a changing perspective on nature in public space. Because we experience our environment intuitively, a carefully thought-out landscape design is crucial. It makes

Composing with Piet Oudolf An Oudolf garden is a plant world that seems to embrace you, a lush landscape that appeals to all your senses. Every viewpoint offers a new experience of colours, height differences, leaf shapes, silhouettes, and vistas. Your walk through the garden will be enlivened by the sound of swaying grasses and buzzing insects, along with the herbal scents of grasses and flowers. Throughout the seasons, the garden grows with you. The flowering is orchestrated over various times of the year and, as a result, the garden hardly has a dull moment; when one variety has finished flowering, the next is already coming into bloom. The gardens of Oudolf are not all about flowers, though. The focus is on the varying texture and architecture of plants. Winter might therefore even be the most beautiful season. In late autumn, the skeletons of the dying plants slowly become visible. When the last flowers have finished flowering, dark seed heads appear, surrounded by the golden veils of grasses that are now at their peak. The lifeless silhouettes show the serene beauty of decay and imperfection until deep into winter. Oudolf: ‘I’m sometimes more moved by something that is dying than something that is alive. In the landscape, you see the process of your own life, from birth to death, in four seasons.’ A new design starts with compiling a long list of plants that may be used in the desired location, taking into account climate, light, and soil. Oudolf then carefully brings down the list to a balanced palette of 50 to 60 plant species. Each plant name evokes a kind of four-dimensional image in his mind, based on years of studying and growing plants. He sees the lifecycle of the plant over the course of the year and how it can function in relation to other plant species. The selection process is quite intuitive: to Oudolf, plants are instruments that can be used to express emotions, and the interplay between different groups is the guiding element. Individual plants play a subordinate role in his designs, like musical notes in a chord.

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Eternal

Herbarium Anne Geene

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For ‘Eeuwig Herbarium / Oudolf’ (2021) (Eternal Herbarium) Anne Geene collected plants from Piet Oudolf’s garden in Hummelo. Eternal Herbarium is a combination of preserved plant material and its photographic reproduction. This creates an eternal comparison between the original colour (captured at the time of picking) and its slowly degenerating organic original. The series subtly depicts the theme of time in relation to a garden. A garden is a continuous succession of minute changes through the years and seasons. It is impossible to exactly define the boundary between growth and decline, just as there is no such thing as an identifiable climax for a garden. Every moment has its own beauty, with its own characteristics. It is telling that Anne Geene had no specific preference as to when she would start collecting material in Hummelo: ‘It doesn’t matter when I go. If a place is interesting, there is always something special to be found.’ Anne Geene observes and studies nature in her immediate surroundings, usually by systematically focusing on one striking feature. She searches for leaves in which insects happened to have eaten a letter, until she has the entire alphabet. She collects drawings on which researchers recorded ants’ walking routes with dashing swirls. She is also working on a collection of ‘blades of grass from famous lawns’. For perceel No. 235 (plot No. 235), her first project, she set herself the task of recording everything that lived and grew in her allotment garden. ‘I wanted to photograph every single thing there was on those 250 m2. Every insect, every plant, every tile, the water in the ditch, the birds flying overhead. I thought I would need about two weeks to do this, but once I got started a year proved to be too short.’

The photographic series and books that Anne Geene compiles have a convincing logic, as if the images were the result of scientific research. But this logic is only an illusion; the analyses and arrangements are often very humorous and stem from her personal preferences. Although it seems that nature is the subject of her work, it is primarily a reflection on people’s endless curiosity about their surroundings. In the insatiable urge to explain everything around us in minute detail, we capture nature in names, systems, and categories. While nature is particularly difficult to capture in systems: ‘It is an impossible task, because each new category requires a subsequent subcategory. So, the quest is essentially without end.’

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LOLA & Piet Oudolf The Lost Castle at Etzenrade Etzenrade is a hamlet between Jabeek and Schinveld in the Dutch province of Limburg. Behind the monumental farmstead ‘Etzenrader Huisken’, old canals are visible in the landscape, which were dug out again in 2019. The canal serves as a buffer for run-off water during heavy rainfall, but the intervention also made the two original islands visible again: that of the castle and that of the former castle garden. They are the only traces of the ruined Etzenrade Castle, there are no visible remnants of walls or towers.

� LOLA and Piet Oudolf designed a public ‘archaeology garden’, to make the history of Etzenrade visible again. The name ‘archaeology garden’ is ambiguous on the one hand, it has become a place that makes a piece of local history visible in the landscape. On the other hand, it shows how fragmented our knowledge of the past is, and how much we actually don’t know yet. By taking the archaeological research method as the starting point for the design, the garden is above all an ode to our constant search for our past. The massive castle walls of the past have given way to flowers and grass. It is a place of rest and relaxation that invites curiosity.

Archaeological trial trenches at Etzenrade in 2018

Vlinderhof drawing, Piet Oudolf, 2013

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Interpreting Oudolf’s Garden �

Interview with Laura Ekasetya, former Director and Head Horticulturist, Lurie Garden

Laura Ekasetya has been head horticulturist of the Lurie Garden since 2011; and from 2017 until 2021, she was also the director of the garden. She still remembers the opening of Millenium Park in 2004 well: ‘Out of curiosity, I came all the way from Large milkweed bugs on Asclepias syriaca Kansas City by train. I wanted to see it with my own eyes, that much-discussed park that opened four years too late. I had never heard of Piet Oudolf then. I remember that the reactions to the garden were initially rather lukewarm: people didn’t like it. A field of soil and tiny plants, tiny hedges, and a few spriggy trees. It looked nothing like the lush garden it is today. For those with an eye for the different plant species it was already clear that something special would develop here, but the people of Chicago did not become enthusiastic until two years later.’ Oudolf’s design was selected from the entries for a competition that Chicago held for the garden. Most of the submitted garden designs were austere and geometric, in line with the surrounding architecture of the city. ‘Those designs were all very masculine. It may sound strange because Piet is also a man, but he does just the opposite. His gardens are soft, undulating, and warm.’ As the trees and hedges matured and the Lurie Garden came into its own, views on how to manage the garden changed. The original design by Piet Oudolf is still the basis, but Laura wants to have more of an eye for the natural dynamics that arise in the garden, even if that means that she sometimes deviates from the design. ‘Many people who are responsible for such a garden want to keep it as it is. They take the designer’s

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Monarch butterfly on Aster tartaricus ‘Jindai’

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plan and stick to it. That’s not how I work. Plants spread; they move. Are you going to take out those seedlings if they deviate from the plant that was originally planned there, or do those deviations make the garden more interesting? You are constantly walking around to see how the development of a plant affects the whole.’ Laura sees maintenance as a quest, in which not only the design or aesthetics play a role. The plant itself is leading, in combination with the microclimates created in the garden. ‘Over time you see that some groups of plants or grasses move in a certain direction. You often see that the plant is also doing better in that new place, so maybe it should be there? And a plant that is happy usually needs less water and maintenance.’ Native insects have a growing influence on the choices that are made. Under Laura’s leadership, for example, the diversity of native plants has become greater than in Piet’s design, partly due to the planting of large groups of Asclepias species (milkweed). ‘It may have become a bit much for the design, but since we planted them, large swarms of thousands of Monarch butterflies land here every year. They use our garden as a resting place during their annual Monarch caterpillars on Asclepias syriaca journey, a fantastic sight!’ Many native plants of the Chicago region have hardly been tested as garden plants, but are essential for the life cycle of local insects. Laura often plants these species at the back of the borders, where they can blend in with the more striking plants of Oudolf’s design, and at the same time keep weeds at bay as ground cover. ‘A garden certainly doesn’t have to be filled with native plants only. After all, we are not creating an exact reconstruction of a prairie, we are maintaining a garden. But as you learn more about native plants, you will be amazed at what is possible. There are quite a number of plants that are still unknown as garden plants that I would like to try out in the coming years.’ Prompted by the alarming reports of a global decline in insect populations, Laura is experimenting with different methods of Monarch butterflies on Asclepias syriaca

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Leisure Lane, Parkstad Limburg with LOLA & Piet Oudolf Thanks to the State Mines, the Eastern Mining District in South Limburg was one of the most prosperous regions in the Netherlands. After the last pit was closed in 1974, the factories and railway lines were gradually removed from the landscape. The industrial locations gave way to greenery. To underline this transformation, the region was renamed Parkstad (‘Park City’). Falling employment opportunities turned the area into a shrinking region, with social challenges such as unemployment, an ageing population, and young people moving away. To give the region a boost, an Internationale Bauausstellung (International Building Exhibition, IBA) was organized for the 2013—2022 period: fifty spatial projects, all contributing in their own way to the future of the region. LOLA and Piet Oudolf designed a 26-kilometre cycle and walking route through Parkstad: the Leisure Lane. It is one of IBA’s key projects, intended to stimulate tourism and sustainable commuting. The route connects the most beautiful landscapes and the urban centres of the region with one continuous line. The Leisure Lane also makes a connection to the rich history of the region. Parkstad may have become greener, but with the erasure of its mining past it has also � lost much of its identity. The route follows the old track beds, from which the rails and sleepers have now been removed. It runs through six different municipalities and is therefore also a politically unifying project. Construction and maintenance require cooperation between the six municipalities. Furthermore, the route is a potential part of an international network of long-distance cycle routes.

Selection of design diagrams for the Berm Garden

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The Leisure Lane is more than ten times the length of the New York High Line, but uses the same principle of successive vegetation types that you move through as a visitor. In Parkstad, the vegetation types are based on the varying subsoil and natural landscapes in the area. The result is a 26-kilometre-long public garden that gradually changes in ambiance and colour. The basis of the route is a 4.5-metre-wide bicycle highway. It offers commuters a comfortable alternative to the car thanks to its polished asphalt, gentle bends and right of way junctions. The three-metre-wide verges on either side are sown and planted with distinctive herbs, shrubs, and trees. It creates a continuous nature experience, both in the city and in the countryside. Compared to the designs of other routes, which generally have a strong focus on functionality, the design of the Leisure Lane has a strong emphasis on planting. The verge is used to stage the route: the vegetation determines people’s focus and direction of view. Where necessary, the verge expands in width to create accents or to give an impulse to parks and landscapes in the immediate vicinity. Where the Leisure Lane runs through residential areas, the verge has been used as an opportunity to make streets greener, so that the immediate living environment is also improved by the arrival of the Leisure Lane. You can see this, for example, in the former mining colony of Leenhof, once laid out as a garden suburb. The design of the verges of the Leisure Lane revives this garden city idea.

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Diagram of the future landscape, with the Leisure Lane offering a new perspective on the identity of the landscape

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The Leisure Lane not only promotes cycling, but also boosts tourism. Tourist attractions are more easily accessible and are connected by the route. Along the route, a number of places of interest (POIs) are added, which make a connection with the surroundings and the past. Some of them refer to Parkstad’s mining past, such as the Wilhelminaberg mine hill, an abandoned railway yard near Simpelveld, and the location of the former Emma mine. The other locations also have a direct link to raw material extraction: the white sand from the silver sand pit Zilverzandgroeve is the most important raw material for the glass industry and it is also used for the manufacture of microchips. The Alfa brewery near the village of Schinnen uses groundwater from a deep ancient well; the pure water can be used for brewing without any prior treatment.

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Impression of the transitions in the atmosphere of the Leisure Lane and its Berm Garden in dialogue with the landscape

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LOLA’s Dream of a Global Forest Landscape design can be used to combat global warming. Yet the focus is often on how to adapt the landscape to the effects of climate change. Think of reinforcing dikes against floods, or creating space for water storage to deal with increasing drought. These are interventions that mitigate the consequences, while tackling the causes is more urgent and perhaps within reach: in China, Africa and the EU, large-scale reforestation projects have been started. Afforestation is an efficient and natural way to contribute to solving the climate problem: all forests together can store up to 40 per cent of global CO2 emissions in wood or soil over the next ten years. Worldwide reforestation and massive new tree planting can be indispensable additions to other measures, such as the energy transition and developing a circular economy.

Aerial view from the red path following the topography

Reforestation is currently getting a lot of attention and is not uncontroversial. While there is consensus on the positive effects of afforestation and combating deforestation, a prominent group of scientists also points to the possible dangers of afforestation on a global scale. The cooling effect of future forests through the storage

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of CO2 could possibly be offset by the fact that trees also emit a complex cocktail of other greenhouse gases. It may very well be that the large surfaces of dark tree leaves raise the temperature by absorbing sunlight. The CO2 storage is only effective if the forest stands for a long time; and what’s more, forests grow too slowly to stop climate change this century. At the same time, the global rise in temperature has coincided with an alarming loss of forests for decades. Especially in places that have previously been deforested, and in areas where soils and ecosystems are degrading, it is legitimate to initiate forest rehabilitation. Because the new forests will become part of a natural system and people’s living environment, there is an important design task. Due to the large scale and speed of forest planting required to have an impact on CO2 concentrations in the atmosphere, the design process is prone to errors. Many monocultures are created, evoking the spectre of a green-grey blanket of dull forests, with the young trees planted in neat rows. It is therefore an urgent challenge to also give forests more biodiversity and more natural beauty in addition to an increased recreational and economic value. On a smaller scale, you see the same design challenge–of combining biodiversity, lush nature and multiple functions–in parks and public gardens. Is it possible to design complete forests in the same way that Piet Oudolf designs his gardens? A new kind of forest that has its own aesthetic next to the aesthetics of primary forests, plantations, and production forests? LOLA uses parametric design to realize new high-quality forests. Inspired by Piet Oudolf’s composition techniques, LOLA has developed an algorithm that generates biodiverse and climate-adaptive forests. The forest pattern that is created in this way has a natural irregularity, with open spaces, groups of trees of various sizes, variation in density, colour, and undergrowth, and the occasional solitary tree. Seen from the sky, the forest is a carpet, which becomes attractive and biodiverse through the application of texture and patterns. It is a minimal way of designing with a potentially great effect, which can be applied worldwide as an alternative to the mechanical grid forest. In cooperation with experts, the parameters are determined for

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SCHUNCK Museum stages exhibitions and other activities in the Glaspaleis and in the city. It is a place where contemporary art and architecture are in dialogue with the community and the wider world. SCHUNCK collaborates with artists, architects and partners from far and wide. We push the boundaries of major art forms. SCHUNCK is a cultural meeting point that combines a museum, a school of music and dance and a public library. Come and look around our museum shop, browse in our reading room, or enjoy one of the best views of Heerlen with a cup of coffee in the iconic Glaspaleis. It is a place in the heart of Heerlen, where we cherish spiritual riches, mix new colours and where curiosity is the engine behind everything we do.

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SCHUNCK is part of the cooperation ELEMENTS in which contemporary art and culture institutions in Dutch Limburg, Belgian Limburg, Liège and North Rhine-Westphalia programme around an ‘element’ related to the region. With this publication and the exhibition of the same name, ‘In Search of Sharawadgi: Landscape Works with Piet Oudolf and LOLA’ (2021), SCHUNCK chooses the element ‘oxygen’.

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Credits

Images

This publication is an initiative of SCHUNCK in Heerlen, the Netherlands, and was produced to accompany the exhibition ‘In Search of Sharawadgi: Landscape Works with Piet Oudolf and LOLA’. Exhibition Artistic Director SCHUNCK Museum Fabian de Kloe

Operational manager Ralph Partouns

Project Manager

Patricia van den Ende

Curators

Fabian de Kloe, Joep Vossebeld

Special Contributors

Peter Veenstra, Brigitta van Weeren / LOLA Landscape Architects, Piet Oudolf

Artists

Joseph Beuys, Kie Ellens, Anne Geene, Giuseppe Licari, Geert Mul, Darcy Neven, Vijai Maia Patchineelam & Adrijana Gvozdenović and Sanne Vaassen

Exhibition Design

Erwin van Amstel: p. 162 Iwan Baan: p. 104—107 Anne Büscher: p. 84 Rick Darke: p. 133, p. 136—139, p. 141 documenta archiv / Dieter Schwerdtle: p. 174—178 DIA Art Foundation: p. 179 Cassander Eeftinck Schattenkerk: cover, p. 52 Laura Ekasetya: p. 122—125 Kie Ellens: p. 108—113 Anne Geene: p. 20, p. 46—51 Hans van Horssen: p. 94—97 Jason Ingram: cover, p. 26—27, p. 40—45 Lin Kai: p. 170 Fabian de Kloe: p. 28—29 Paula Kowalski: p. 149 Jo ana Kubiak: p. 114 Giuseppe Licari: p. 70—73 LOLA Landscape Architects: p. 60—63, p. 76—81, p. 98—105, p. 144—147, p. 164—173 Marcel Leicher: p. 91, p. 93, p. 96—97 Lurie Garden: p. 115—118, p. 126 Darcy Neven: p. 148—152 Piet Oudolf: p. 26, p. 30—39, p. 90, p. 92—93, p. 119—121, p. 132—135, p. 138—139 Vijai Maia Patchineelam & Adrijana Gvozdenović: p. 64—69 Thomas Piper: p. 28, p. 140—143 Clara Reis: p. 149 Marja Riedstra / Purefoto.nl: cover Akisato Ritō p. 17 Stiftung 7000 Eichen: p. 180—184 Sanne Vaassen: p. 82—84 Jeroen Verrecht: p. 161—163 Vlinderhof: p. 96—97 Hongduo Zhuo: p. 158—160

Book Editors

Fabian de Kloe, Peter Veenstra, Joep Vossebeld, Brigitta van Weeren

Sam Jacob / Sam Jacob Studio Fraser Muggeridge, Michael Kelly / Fraser Muggeridge studio

Managing Editor Margot Reinders

Authors

SCHUNCK Museum

Fabian de Kloe, Peter Veenstra, Joep Vossebeld

Project support

With contributions by

Education and public program

Artists

Jordy Buisman, Jos Dreissen, Minnou Mennens, Janneke Peters, Jeanine Ruijters, Hanna Zwart

Sam Jacob, Pepijn Lanen, Fraser Muggeridge, Mathea Severijns & Barry Braeken

Communication Heidi Huls

Joseph Beuys, Kie Ellens, Anne Geene, Giuseppe Licari, Geert Mul, Darcy Neven, Vijai Maia Patchineelam & Adrijana Gvozdenović and Sanne Vaassen

SCHUNCK Management team

Graphic Design

Simoon Hanssen, Eugene van Loo

Kor Bonnema / General Manager, Susanne Brekelmans / Education, Guido Frohlichs / Finance, Gwen van Genderen / Music and Dance, Fabian de Kloe / Museum, Dana Nieuwenboom / Marketing and Communications, Ralph Partouns / HR, Sandra Uijlenbroek / Library

Fraser Muggeridge, Michael Kelly / Fraser Muggeridge studio Sam Jacob / Sam Jacob Studio

Copy Editing Leo Reijnen

Translation

Leo Reijnen, Jean Tee

Printing

die Keure

Publisher

Marcel Witvoet / nai010 Publishers

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This publication was made possible by (financial) support from Gemeente Heerlen IBA Parkstad bv Provincie Limburg nai010 Mondriaanfonds Fonds21 Hendrik Bedrijven Brunssum Sibelco Maastricht Ode aan het Landschap

With special thanks to Piet and Anja Oudolf Anne Büscher Rachel Borovska, Ramon Cuesta, Martin Garcia Perez, Sara Ingignoli, Eric-Jan Pleijster, Raf Rooijmans, Teun Schuwer, Andrea Tomasino, Cees van der Veeken, Sara Vignali / LOLA Landscape Architects Stefan Cools Anke Dallinga, Sjeng Kusters, Hilde Vanneste / De Vondst Rick Darke DIA Art Foundation documenta archiv Kassel Laura Ekasetya Hans van Horssen Lin Kai Marc Kikkert / Vlinderhof Jo ana Kubiak Charlotte Koenen Marcel Leicher / Vlinderhof Floor Martens Ciarán Murray Thomas Piper Marja Riedstra / Purefoto.nl Marc Ruijters, Wim de Baere / RAAP Volker Schäfer, Rhea Tönges-Stringaris / Stiftung 7000 Eichen Sibelco Maastricht Audrey Stielstra / Vijversburg Pierre Swelsen / Hendrik Bedrijven Brunssum Upendi Film & Motion Graphics Rick Vintage Marcel Witvoet Hongduo Zhuo

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. For works of visual artists affiliated with a CISAC-organization the copyrights have been settled with Pictoright in Amsterdam. © 2021, c /o Pictoright Amsterdam

Although every effort was made to find the copyright holders for the illustrations used, it has not been possible to trace them all. Interested parties are requested to contact nai010 publishers, Korte Hoogstraat 31, 3011 GK Rotterdam, the Netherlands This publication is an initiative of SCHUNCK in Heerlen, the Netherlands, and was produced to accompany the exhibition In search of Sharawadgi: Landscape Works with Piet Oudolf and LOLA. www.schunck.nl nai010 publishers is an internationally orientated publisher specialized in developing, producing and distributing books in the fields of architecture, urbanism, art and design. www.nai010.com nai010 books are available internationally at selected bookstores and from the following distribution partners: North, Central and South America: Artbook I D.A.P., New York, USA, dap@dapinc.com Rest of the world: Idea Books, Amsterdam, the Netherlands, idea@ideabooks.nl For general questions, please contact nai010 publishers directly at sales@nai010.com or visit our website www.nai010.com for further information. Printed and bound in Belgium ISBN 978-94-6208-630-2 NUR 648 BISAC ARC008000, ART050020 Also available as e-book: ISBN 978-94-6208-639-5 (pdf)

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‘In Search of Sharawadgi’ presents the ideas and dreams of Piet Oudolf and LOLA Landscape Architects. Piet Oudolf is the Netherlands’ most well-known garden designer, he has completed such famous projects as the ‘High Line’ in New York. This book takes you on a journey, showing how public gardens and landscapes across the world have been transformed. From the ‘High Line’ in New York, the gardens of Hauser & Wirth in Somerset, the ‘Star Maze’ in Tytsjerk to the ‘Leisure Lane’ in Parkstad. Familiarise yourself with Oudolf’s and LOLA’s ultimate vision for the future: a global forest against the warming of the earth. A dream that can start in anyone’s garden, however big or small. On this journey we are accompanied by the artists Joseph Beuys, Kie Ellens, Anne Geene, Giuseppe Licari, Geert Mul, Darcy Neven, Vijai Patchineelam & Adrijana Gvozdenovic and Sanne Vaassen. In doing so this book presents us an extraordinary perspective on the discipline of garden design, and major issues such as global warming and the impact of nature on our well-being.