Gradient of Metamorphosis
Set within a pine forest and shaped by a height difference of approximately five meters, the site is organized as a sequence of terraces that unfold progressively.
The concept was informed by the client’s personal attachment to Italy; however, the intention was not stylistic imitation, but a reinterpretation of the structure and spatial logic of the classical Italian garden. References to the architectural traditions of the Italian Renaissance and modernism informed the design of a terraced landscape adapted to the climate of the Moscow Region.
The spatial structure of the garden follows the principle of a “gradient of metamorphosis” — from a quiet woodland at the lower part of the site, through a more intimate intermediate terrace, to a formal patio near the house.
The lower level preserves the existing pine forest — the only part of the site with mature trees. Intervention here is intentionally minimal: winding paths move between the trunks, surfaces remain soft, and planting reinforces the natural forest understory. This level offers a space for solitude and direct contact with the natural environment.
The middle terrace forms the main entrance to the site and becomes a key point of movement between the house and the forest. A tea area with a herb garden is located here, while a more open layout and regular elements mark the transition from the natural landscape to a more structured garden environment.
The upper terrace follows the typology of a classical patio. Clear axes, shaped planting, and precise geometry create a more formal space adjacent to the house. The central area is slightly lowered, enhancing the sense of enclosure and forming the primary setting for everyday use and gatherings.
The Italian spatial grammar is expressed through planning, perspective, materials, and the substitution of Mediterranean species with plant form adapted to the local climate. Common pines shaped to resemble umbrella pines and columnar thujas interpreting the image of cypresses are combined with boxwood, ornamental fruit trees, and structured shrubs to create a composition based on rhythm and the relationship of textures.
The house plinth and retaining walls are treated as a continuous spatial system and clad in handmade ceramic brick. Small-format paving references traditional Roman stone surfaces, while paths and stairs are formed by large concrete slabs with exposed aggregate, recalling terrazzo flooring. Here, tradition is understood not as a decorative reference, but as an architectural principle that shapes spatial form and material expression
The concept was informed by the client’s personal attachment to Italy; however, the intention was not stylistic imitation, but a reinterpretation of the structure and spatial logic of the classical Italian garden. References to the architectural traditions of the Italian Renaissance and modernism informed the design of a terraced landscape adapted to the climate of the Moscow Region.
The spatial structure of the garden follows the principle of a “gradient of metamorphosis” — from a quiet woodland at the lower part of the site, through a more intimate intermediate terrace, to a formal patio near the house.
The lower level preserves the existing pine forest — the only part of the site with mature trees. Intervention here is intentionally minimal: winding paths move between the trunks, surfaces remain soft, and planting reinforces the natural forest understory. This level offers a space for solitude and direct contact with the natural environment.
The middle terrace forms the main entrance to the site and becomes a key point of movement between the house and the forest. A tea area with a herb garden is located here, while a more open layout and regular elements mark the transition from the natural landscape to a more structured garden environment.
The upper terrace follows the typology of a classical patio. Clear axes, shaped planting, and precise geometry create a more formal space adjacent to the house. The central area is slightly lowered, enhancing the sense of enclosure and forming the primary setting for everyday use and gatherings.
The Italian spatial grammar is expressed through planning, perspective, materials, and the substitution of Mediterranean species with plant form adapted to the local climate. Common pines shaped to resemble umbrella pines and columnar thujas interpreting the image of cypresses are combined with boxwood, ornamental fruit trees, and structured shrubs to create a composition based on rhythm and the relationship of textures.
The house plinth and retaining walls are treated as a continuous spatial system and clad in handmade ceramic brick. Small-format paving references traditional Roman stone surfaces, while paths and stairs are formed by large concrete slabs with exposed aggregate, recalling terrazzo flooring. Here, tradition is understood not as a decorative reference, but as an architectural principle that shapes spatial form and material expression
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