The garden plan is classically simple, symmetrical, and commodious as a setting for sculpture. The central part is a cross-axis that establishes four equal courts. These are balanced to the south by the blocks of the Walker and the Guthrie Theater and to the north by an open, rectangular meadow.
花园的设计是古典主义的简单、对称、作为一个宽敞的雕塑安放场所。中央部分是一个十字主通道，分成相同的四块场地。南边是沃克艺术中心和格斯里剧院平衡相对，北边是长方形的，开阔的草地。
The axes are wide allées of compacted crushed limestone, lined with linden trees. Long, unimpeded vistas are the signature of the design, unifying the heroic scale of the site. The east-west allée is terminated on the west by the new conservatory.
中心轴是石灰石石子压实铺就的宽阔通道、路旁栽有菩提树。悠长,畅通的景色展望是设计的特征、和规模宏大的场地相统一。东西向的大道西方尽头即是新剧院。
Because of the block’s isolation, it was obvious to Barnes that a strong site plan was needed to unite the garden with the museum and theater across the street. The formal garden plan resulted not so much from a desire for symmetry as from, as Barnes relates, the need for “something to rivet the axis of the lobby.” So the strong north-south axis was drawn perpendicular to the Walker-Guthrie blocks. “Once you have a line like that, you find yourself into the whole system of axial planning. And I felt the need of a strong axis and a strong connection to cross on that line.”
The heart of the sculpture garden plan is the four 100-foot-square grass courtyards, each framed by double-walled stone planters containing trees. These plantings are still immature but in a few years’ time will be clipped to resemble the crisp box hedges that outline traditional European parterre gardens.
由于区块的孤立，显而易见，巴恩斯需要一个强大的利用场地的计划是需要用雕塑园联合博物馆和街道对面的剧院。先前从形式对称出发的花园计划的结果并非如此，正如巴恩斯所说，需要“有东西来固定大厅的轴。”所以强大的南北轴线垂直于被提请沃克-格斯里剧院区块。 “一旦你有了这样的线，你自己会发现整个系统轴向规划。而且我觉得需要一个强大的轴和强大的交叉连接那条线。”
在雕塑园计划的核心是四个100英尺的方形带草坪庭院，由两排石制花盆种有树作为每个庭院的框架。这些植物还不够成熟，但在几年的时间后，将被修剪成类似于饼干盒的树篱，勾勒传统的欧洲花坛花园。