THERE are going to be some startling new phenomena circling around Jupiter this year. For a decade now, Nicky and Robert Wilson have opened their private gardens and parkland, as well as a room of their house on the outskirts of Edinburgh, to the outside world.

But this place, Jupiter Artland – 100 acres of woodland, water and grass studied with sculptural artworks by artists such as Anish Kapoor, Jim Lambie, Andy Goldsworthy, Nathan Coley, Cornelia Parker, and notably Charles Jencks, whose towering, coiling landform Cells of Life greets visitors to the Artland – is not only celebrating 10 years of public access this year. There are expansion plans afoot: a move into the world of the digital and the virtual.

Nicky is explaining them in the art-covered interior of Bonnington House, the 17th century manor house and family home of the Wilsons. The house sits elegantly and slightly mysteriously at the centre of Jupiter Artland. It is here that Nicky has been deep into the research for plans which will, she says, transform what the Artland means and does. Robert Wilson, chairman of the natural healthcare company Nelsons, husband to Nicky and co-founder of Jupiter, also joins the family table.

Jupiter Artland is not open all the year, and we meet on a skin-freezingly cold day in January, when Jencks' swirling pools have become giant leaves of glittering ice and its grassy sides, which in summer tumble with children, sheer slides of frost.

This is the season when the parkland becomes itself again, and recovers from summers where 80,000 people amble around the grounds of the house and see artwork. It's a chance for children to stare into the faceless tresses of Laura Ford's Weeping Girls – revenants in the woods – or perhaps giggle at Helen Chadwick's P*ss Flowers.

But Nicky Wilson, whose life as an art commissioner and planner takes place amid a family with four children, visiting artists, several dogs and other pets, wants this 10th year to mark the beginning of a different kind of Jupiter. So there are two major new commissions to be added to the park. One is a massive duo of towers by Phyllida Barlow, the sculptor who represented the UK at last year's Venice Biennale, recently exhibited at Edinburgh's Fruitmarket Gallery, and also, as it happens, taught Nicky at art college. These concrete towers will be stationed in the woods.

There will also be a swimming pool: not one for bathing, but an art work by Portuguese artist Joana Vasconcelos, of which Nicky notes: "It will be very beautiful: we are not taking the Commonwealth Pool on, or suddenly becoming a Lido."

These two large sculptures will be added to the Artland’s dozens of permanent works. But notable as these new sculptural additions will be, it is the digital world which is at the centre of plans for the future. This new focus stems from one of Jupiter Artland's joys and drawbacks: its relative isolation. The Artland, which is run as a charity, has a rural location which lends peace, tranquility and, in the summer, beauty. But because you have to drive there, many who would or could enjoy the park cannot. Especially, Nicky says, children. The Artland has an active schools programme, and most of that activity takes place in the autumn. But the co-founders want to take it all further. They want the Artland to be available to more than the 22,000 school children who have visited free of charge since 2009.

We sit in their open kitchen at a large table. A noisy dog is sitting underneath, as if eavesdropping, and another sleeps by an Aga.

Nicky says: "We have invested a lot of time in education: we've realised that is the vehicle that can make a substantive difference.

"What we've learned over these 10 years is how to commission artists and great art and cope with them in our family environment. They produce great work and the public see it. But it is there, also, so that the education work has some really good meat and drink. That is the area that I am interested in: how do we make a seismic difference in the access to creativity, not just at Jupiter, but elsewhere? That is our problem and our conundrum that we are working with. But we have started in terms of digital, looking through the digital kind of interaction, and we are looking at more satellite versions of ourselves, through digital possibilities."

She adds: "Obviously, geography will always be a problem. We are Jupiter, the planet in the middle, but as yet we have an enormous area around us that cannot get to us.”

But it is not as if you can move, I say. She nods: “We are where we are. Yet people from New York can fly in to Edinburgh airport [which is nearby] and they get the opportunity to see us. But our own cohort of children in Scotland find it difficult, because of a variety of reasons: be it transport, or time, or the goal-driven curriculum we set our kids. We are looking at how we break through that, how do we work around that? How do we have this kind of magic, that children love."

However, the Wilsons will not be buying any more land, or setting up other Artlands, she says. Like one of the prime inspirations for Jupiter, Ian Hamilton Finlay's Little Sparta in the Pentlands, there will only be one garden.

She says: "I don't think it will be another physical Artland. We are now in the world of digital technology, and we have great digital and film artists, and it is a world that actually can be locked together. Just because we have sculptures here, that doesn't mean that we are not interested in other experiential things."

She notes: "We don't want to own another 100 acres, buy a house, and do the whole thing again – that won't work and wouldn't be sustainable. What we need is something that can orbit around the mothership. There will always be this belief in excellence and realness, but there will be other things too. That's where we are going at the moment."

Nicky adds: "We wanted to have proper access for everybody, and that's why we grabbed the children, because if the children love a place, the adults do too. Once the child is there, and enjoying it, and begins to get a lot out of seeing art, then that whole creative, critical thinking kicks in.”

Ten years of the parkland being public has passed quickly, Nicky says. The collection of art work has grown steadily, as have audiences. There is a restaurant and cafe, and interior gallery spaces in the old courtyard.

She says: “It’s amazing: it is not publicly funded, it is just doing its own thing. Right at the beginning we were given lots of advice about stepping into that arena – opening ourselves up to the public, maybe making ourselves vulnerable – but I am glad we did not listen to too much of that. I think it’s been funny how we learnt the model of what we were doing along the way – we have learned from the initial belief that you cannot have a collection like this without it being open to the public. Now we feel like we are a 10-year-old where we are quite mature but we're not really mature: where we get to wear the high heels but we are not able to walk in them: it's that kind of balance.

"The Art Fund nomination [for Museum of the Year, in 2016] was a big turning point.”

Are they surprised the park has worked? "I’m surprised, but on the other hand I am not surprised, because it is every moment of my life, and Robert's, and we are absolutely dedicated to this. Our family live in the middle of it, and they are dedicated to it, and they breathe Jupiter Artland. They are very lucky."

Artists who have been commissioned to make work for Jupiter often stay in the house, and live with the Wilsons as they work. Over the years they have engaged with the family and their children.

Nicky says: “We have a slightly eccentric way; we have artists here...the things that make this different, we know it is not like elsewhere. Artists come here and they get treated very differently. They have to come and listen to the reports that the children are reading, get involved in the dramas of the teenagers, and that kind of relationship is unique in the arts world, and I love it."

Robert added: "Some artists will come and stay for quite a long time. They can be here for three weeks or four weeks. Nicolas Party was with us for about a month, Anya Gallaccio has the record – three months – although not all at one time. You never quite expect them to stay, but once they are here, they are always so much fun. My children are very lucky, they have no idea how lucky they are to have them. Artists are very generous, they give their time and they are very modest and warm."

Robert adds: "It is also a dialogue. When we get engaged with an artist, they haven't always got the work – I remember one artist who said: 'I do not like sculpture parks, I do not like those works'. Then later, when we took him out, he said: 'I like this, I will do a work for you.' The fact that it is commissioned work only, it gives the artist freedom not only to choose the work but also the site. So there is a complete freedom which they wouldn't ordinarily get and which appeals.”

Phyllida Barlow’s new work will open in May. A circle has been completed: Barlow taught Nicky Wilson when she studied at Camberwell College of Arts in London.

Nicky says: “She's managed to make concrete look like cardboard. She is taking on the majesty of the trees and its quite interesting, a challenge for an artist, and one of the things she has never done before, is the scale. She was a great teacher, very rigorous, a tough teacher.”

This year Jupiter Artland will be open from May 12 to September 30, and, for the first time, every day.

Between now and then, the Wilsons and the Artland's staff will work on reviving the land from the long winter, and installing the new art.