![]() “This idea of decorating the outdoors is not what we do,” he explains. Looks matter, but in his broader, more scientific view of aesthetics, beauty springs from the ecological health of the land. Unlike most, he redesigns farms-working farms-though his chief aim isn’t to pretty them up. ![]() Like other landscape architects, Woltz rearranges nature to reflect the hand of man. Before I know it, he’s off again, crunching through the meadow grass to show me something else. His entire ensemble, in fact, appears tailor-made for the overcast day, which heightens the impression that everything I’m seeing is part of Woltz’s master plan. He’s bundled in a three-buttoned topcoat whose gray herringbone perfectly complements not only his purple tie but also the dash of gray at his temples. Woltz, who devised the system, one of many ways he decodes nature, looks on admiringly. I crouch, sight across a steel nib poking up from the center, and identify one of the peaks by aligning it with a scale drawing etched on the map. ![]() We walk over to a circular metal map of the horizon perched on a post, like something you’d see at a national park. We pivot west and, for two beats more, absorb the pastoral view below: white Georgian Revival manor house winking from a grove of trees, barn, rolling meadows ringed by woodlands, and, in the distance, the saw-toothed silhouette of the Blue Ridge Mountains. At the top, we pause for two beats to admire atlas cedar native to Algeria and Japanese black pine.
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