Perhaps the most meaningful break that the Bos Park makes with the pictorial tradition is, then, the proposition that design itself is the establishment of a working method, a system operations informed by scientiﬁc analysis (hydrology, forestry, social sciences) and aimed toward concrete applications (reclamation, shelter, recreation). What is significant here is that the working method and the technical means themselves are unveiled and incorporated into the final appearance of the park, giving it its artistic logic and meaning. Composition as a passive practice is rejected in favor of construction as an active process. The park is the result of the conditions of its own making. (…)
Loss of Form. The distribution of forest, open lawn, and water in an all-over pattern that fills the space of the site results in a “loss of form”——that is, in a loss of figuration of the voids (open lawns) against the mass (forest). Instead, there is a superimposition of four systems -woodland, lawns, water, and elements- that equally contribute to and reiterate the spatial experience. No layer is subordinate to the others; each is coopted to have equal presence in the landscape.
Cornelius van Esteren, Jakoba H. Mulder and Jac P. Thijsse,
Amsterdamse Bos (Amsterdam Forest) (1935-)