In order to be accountable to the human scale, despite the almost geographical dimensions of the park, the landscape architect undertook several decisive changes in topography.
These are hardly recognisable today. He evened out the existing slope of the site northwards to the city. This slope was minimal, but across such lengthy distances it would have led to uncomfortable sightlines for the people in the park areas closest to the city.
A terrace was created to form a frame for the city’s silhouette. Two parallel pathways lie on the slightly
southward sloping terrace, a large and a small terraced pathway, which combine to form a promenade which allows for extensive views into the park.
The wall which is necessary to accommodate the changes in grade, the so-called terrace wall, marks the boundary between city and park landscape. The top of the wall runs horizontally for long distances. City, park and landscape form a true ensemble.
Gilles Vexlard goes back to a classic device in landscape architecture in his handling of the topography, an effect that was used during the Renaissance: the paths adjacent to the ground planes are elevated.