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2008年第01期
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曹|帕罗特工作室
申亚男等译
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曹|帕罗特工作室
Cao|Perrot Studio
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
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，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）。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。
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。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，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。
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，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，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。
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。
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）。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À¬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。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。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。
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 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.
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¼¬（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)
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