Designing a Landscape Work of Art Means to Have Three Different Components They Are What
Basic Principles of Landscape Patternone
Mural designers work on a canvas that is distinctly dissimilar from other art forms. The "art" is always changing as the plants grow, environmental conditions change, and people utilise the infinite. For this reason, landscape designers use a pattern process that systematically considers all aspects of the land, the surround, the growing plants, and the needs of the user to ensure a visually pleasing, functional, and ecologically good for you design.
Elements and Principles
The design process begins by determining the needs and desires of the user and the conditions of the site. With this information, the designer and so organizes the plants and hardscape materials, which are collectively referred to as the features. The features tin can be physically described by the visual qualities of line, grade, color, texture, and visual weight—the elements of design. The principles are the key concepts of composition—proportion, order, repetition, and unity—that serve every bit guidelines to adapt or organize the features to create an aesthetically pleasing or cute mural.
Noesis of the elements and principles of design is essential to designing a landscape and working through the design process. This publication describes each of the elements and explains the principles and their application.
Elements of Design
The elements of composition are the visual qualities that people run across and answer to when viewing a space. Visual qualities can illicit many different emotions and feelings, and the more positive those feelings, the more probable people are to enjoy and apply a space. Perhaps the well-nigh mutual element in a composition is line. Line creates all forms and patterns and can be used in a variety of means in the mural.
Line
Line in the landscape is created by the edge between 2 materials, the outline or silhouette of a form, or a long linear feature. Lines are a powerful tool for the designer because they tin be used to create an infinite diversity of shapes and forms, and they control motion of the eye and the body. Landscape designers utilise lines to create patterns, develop spaces, create forms, control movement, establish dominance, and create a cohesive theme in a landscape. Mural lines are created several means: when 2 different materials run across on the ground plane, such equally the edge of a brick patio meeting an expanse of green turf; or when the edge of an object is visible or contrasts with a background, such as the outline of a tree against the sky; or by the placement of a material in a line, such as a fence. Figure 1 shows common landscape lines, including bedlines, hardscape lines, path lines, sod lines, and contend lines. Lines can accept 1 or more characteristics, such as those described below, but they typically serve dissimilar purposes.
Properties of Lines
The properties of lines determine how people respond to the mural, both emotionally and physically.
Directly Lines
Straight lines are structural and forceful; they create a formal grapheme, are usually associated with a symmetrical design, and pb the eye directly to a focal indicate. Diagonal lines are straight lines with an intentional direction. Straight lines are most frequently constitute in hardscape edges and fabric.
Curved Lines
Curved lines create an informal, natural, relaxed character that is associated more with nature and asymmetrical residue. Curved lines movement the eye at a slower stride and add mystery to the space by creating hidden views.
Vertical Lines
Vertical lines motion the eye up, making a space feel larger. An upwardly line can emphasize a feature and has a feeling of activity or movement. Vertical lines in the mural include tall, narrow plant textile, such as trees, or alpine structures, such as an arbor or a bird house on a pole.
Hortizontal Lines
Horizontal lines move the heart forth the ground plane and can make a space feel larger. Low lines are more subdued and create a feeling of rest or repose. Horizontal lines can spatially divide a space or tie a space together. Low lines are created by low garden walls, walkways, and brusque hedges.
Lines are used to draw forms on a plan. In plan view, they define constitute beds and hardscape areas. Lines are also created past the vertical forms of built features and institute fabric. In that location are three primary line types that create form in the landscape: bedlines, hardscape lines, and establish lines. Bedlines are created where the edge of the found bed meets some other surface material, such as turf, groundcover, gravel, or patio pavers. Bedlines connect plant material to the house and hardscape considering the eye follows the line, moving the gaze through the landscape. Hardscape lines are created by the edge of the hardscape, which delineates the built construction. Line can also be created past long and narrow materials, such equally a contend or wall.
Form
Shape is created past an outline that encloses a space, and form is the iii-dimensional mass of that shape. Form is found in both hardscape and plants, and it is typically the dominant visual element that spatially organizes the landscape and often determines the style of the garden. The course of structures, plant beds, and garden ornaments also determines the overall form theme of the garden. Formal, geometric forms include circles, squares, and polygons. Breezy, naturalistic forms include meandering lines, organic edges, and fragmented edges. Plants create form in the garden through their outlines or silhouettes, merely form can too be defined by a void or negative space between plants.
Geometric Forms
Circular Form
Circles tin exist full circles, or they can exist divided into one-half circles or circle segments and combined with lines to create arcs and tangents. Effigy 2 shows the use of circumvolve segments for hardscape and lawn panels. Circles tin as well be stretched into ovals and ellipses for more than variety and involvement. Circles are a strong blueprint grade considering the eye is always fatigued to the heart, which can be used to emphasize a focal point or connect other forms.
Foursquare Form
Squares are used for a variety of features, including stepping stones, bricks, tiles, and timber structures, because they are an easy form to work with for structure. The foursquare form can also be segmented and used repeatedly to create a filigree design. Unlike circles, squares are stronger on the edges, which can be lined up or overlapped to create unique patterns and more circuitous forms.
Irregular Polygons
Polygons are many-sided forms with straight edges. Triangles, for example, are 3-sided polygons. The angled edges of polygons tin can make interesting shapes, but they should be used cautiously because the forms tin become complex; simplicity is best.
Naturalistic Forms
Meandering Lines
Meandering lines oft mimic the natural course of rivers or streams and can be described every bit smoothen lines with deeply curved undulations. Meandering lines (Effigy 3) work well for pathways, establish bedlines, and dry stream beds. Meandering lines can add together interest and mystery to a garden past leading viewers around corners to discover new views and spaces.
Organic Edges
Organic edges mimic the edges of natural cloth, such as foliage, establish forms, and rocks, and can exist described as crude and irregular. Organic lines can exist found in rock gardens and along dry creek beds or purposely created on hardscape edges.
Fragmented Edges
Fragmented edges resemble broken pieces scattered from the edge, such equally stones or pavers, and are oft used to create a gradually disappearing edge on patios or walkways.
Establish Forms
Form is the virtually enduring quality of a establish. Common found forms are well established and standardized, equally class is the most consistent and recognizable characteristic of plants. Form can likewise be created through the massing of plants, where the overall mass creates a dissimilar form than an individual found. A stiff grade that contrasts with the residue of the composition will have greater emphasis within the composition. A highly contrasting form must exist used with care—ane or ii work well as a focal signal, only besides many create chaos. Natural plant forms, rather than over-trimmed forms, should establish the bulk of the limerick. The relevance of overall form is more or less dependent on the viewing perspective—the course of a tree can appear quite unlike to a person standing under the awning versus viewing the tree from a distance in an open up field. Vertical forms add pinnacle; horizontal forms add width. Establish forms also create and define the void or open spaces between the plants, creating either convex or concave forms in the voids. High-arching tree branches typically create a concave open space nether the branches, and a round canopy with low branches fills the infinite to create a convex grade in the open space under the tree.
Tree Forms
Common tree forms (Figure 6) include round, columnar, oval, pyramidal, vase shaped, and weeping. Different tree forms are used for visual appeal, but the grade is as well of import for function. Creating a shady expanse in the garden requires a round or oval tree, while a screen usually requires a more columnar or pyramidal form, and a weeping tree course makes a good focal signal.
Shrub Forms
Shrub forms (Figure 7) include upright, vase shaped, arching, mounding, rounded, spiky, cascading, and irregular. Choosing shrub forms ofttimes depends on whether the shrub will be used in a mass or every bit a unmarried specimen. Mounding and spreading shrubs expect best in a mass, and cascading and vase-shaped shrubs do well equally specimen plants.
Groundcover Forms
Groundcover forms (Figure vii) include matting, spreading, clumping, sprawling, and short spikes. About all groundcovers look amend in masses considering they are typically small-scale, ground-hugging plants that take very petty bear on every bit individual plants.
Properties of Course
Class is very powerful considering people can often recognize and identify a feature based on an outline or silhouette. People can oftentimes perceive a form when only a portion of it is visible. Familiarity and the proffer of a course is enough for the middle to fill in the rest. Repetition of form is essential to the cosmos of pattern, which is the basic organizational structure of the mural.
Form is besides the chief determinant of a formal or informal garden. Geometric forms with directly edges are typical of formal gardens that are based on an established style, such equally gimmicky or Italian gardens. An breezy garden has more naturalistic, organic forms that are normally found in gardens that mimic nature. Form compatibility is also a major component of unity in design—one or two strikingly different forms are good for dissimilarity and emphasis, merely more often than not all other forms should have some similarities for a unified look.
Texture
Texture refers to how coarse or fine the surface of the plant or hardscape material feels and/or looks. Texture is used to provide diversity, interest, and contrast. The constitute'southward foliage, flowers, bark, and overall branching pattern all have texture. The size and shape of the leaves often determines the perceived texture of the plant. A institute tin can generally be described as having a coarse, medium, or fine texture. Coarse texture is more ascendant than fine and as well tends to dominate colour and grade, while fine texture is more than subordinate to other qualities and tends to unify compositions. Coarse-textured plants attract the eye and tend to concur it because the light and dark contrasts of the shadows provide more involvement. Fine texture exaggerates distance and gives the feeling of a larger, more open space. Rough texture minimizes distance—plants appear closer and the space feels smaller, or enclosed. Texture is also found in the hardscape, including on buildings, patios, walls, and walkways.
Coarse Texture
Plant characteristics that create coarse texture include large leaves; leaves with very irregular edges; bold, deep veins; variegated colors; thick twigs and branches; leaves and twigs with spines or thorns; and bold, thick, and/or irregular forms. Each foliage of a coarse-textured plant breaks up the outline, which gives the plant a looser form. Examples of plants with coarse texture include philodendrons, agaves, bromeliads, hollies, palms, and hydrangeas. Hardscape with coarse texture includes crude-cutting stone, rough-finished brick, and unfinished wood with knots and a raised grain. Anile or erstwhile structure textile that maintains a weather-beaten surface is often coarse in texture.
Fine Texture
Characteristics that create fine texture include small foliage; thin, strappy leaves (grasses) or alpine, thin stems; tiny, dense twigs and small branches; long stems (vines); and modest, frail flowers. They are often described as wispy and light or with a sprawling, vining form. Fine-textured plants sometimes have a stronger form because the modest individual leaves are densely packed (east.m., boxwoods) to create a solid edge. Plants with a fine texture include grasses, ferns, Japanese maples, many vines, and junipers with fine needles. Hardscape with fine texture includes smooth stone, wood or ceramic pots, and drinking glass ornaments. Smooth h2o, such equally that found in a reflecting pool, or water with a very fine spray is considered fine textured.
Medium Texture
Most plants are medium texture, in that they cannot be described as having either coarse or fine texture. They are characterized by medium-sized leaves with simple shapes and smooth edges. The average-sized branches are not densely spaced nor widely spaced, and the overall class is typically rounded or mounding. Medium-textured plants deed equally a background to link and unify the coarse- and fine-textured plants. Plants with medium texture include agapanthus, ardisia, camellia, euonymus, pittosporum, and viburnum. Hardscape with a medium texture includes standard flagstone pavers, broom-brushed concrete, and finished woods.
Backdrop of Texture
Texture affects the perception of distance and calibration. To brand a space feel larger, locate plants so that the fine textures are along the outer perimeter, the medium textures are in the centre, and the coarse textures are closest to the viewer. The small size of the fine texture recedes in the landscape and is perceived as being further abroad. To brand a space feel smaller, place the fibroid textures along the outer perimeter and the fine textures closest to the viewer. The detail of the fibroid texture makes the plants appear closer and makes the space feel smaller. The perceived texture of plants can also change with the altitude from the constitute. Plants that are coarse close-upwardly can look fine textured from a distance. Bold colors increase the contrast and make the texture appear coarser, while muted colors can flatten texture. Hardscape with a coarse texture—such every bit very rough rocks and bold, large timbers—tends to make all found fabric appear more medium textured. Designers oft develop a texture study (Figure 8) on newspaper to help decide the organization of plant materials. The drawing mimics texture by using different line weights and spacing to correspond fine, medium, and coarse textures.
Colour
Color in plant material and hardscape adds involvement and diverseness to the landscape. Color is the virtually conspicuous element in the landscape and is unremarkably the focus of nigh homeowners; however, information technology is as well the nearly temporary element, usually lasting only a few weeks a year for individual plants. The use of colour is guided by color theory (apply of the color bicycle) to create color schemes. A simple clarification of the color wheel includes the three primary colors of red, blue, and yellow; the iii secondary colors (a mix of ii primaries) of dark-green, orange, and violet; and six tertiary colors (a mix of one adjacent primary and secondary colour), such equally red-orange. Color theory explains the human relationship of colors to each other and how they should be used in a composition. The basic color schemes are monochromatic, analogous, and complementary.
Monochromatic Scheme
A monochromatic color scheme uses only one colour. In landscaping, this usually means one other color besides the green color in the foliage. A garden that is all green depends more on form and texture for contrast and involvement. I colour can have many calorie-free and dark variations, which can add interest. An case of a monochromatic scheme is a white garden with white flowers, white variegated foliage, and white garden ornaments.
Analogous Scheme
Analogous (sometimes called harmonious) color schemes are any three to five colors that are side by side on the colour wheel, such as red, blood-red-orange, orangish, xanthous-orange, and yellow, or blue, bluish-violet, and violet. The colors are related to each other because they typically include two primary colors mixed to form a secondary and two third colors, which means they share common properties.
Complementary Scheme
Complementary colors are those that are opposite each other on the colour wheel. They tend to have high contrast betwixt them. The most mutual sets are violet and yellowish, red and dark-green, and blue and orange. Complementary colors are often plant naturally in flowers; a common pair is yellow and violet.
Color in Plants and Hardscape
Color is found in the flowers, leaf, bawl, and fruit of plants. Foliage typically provides the overall groundwork color for flower colors. Green foliage in all its diverse shades is the dominant color by quantity, but other colors capture attention more readily because of their high dissimilarity to the color light-green.
Color is also found in buildings, rocks, pavers, wood, and piece of furniture. Most colors in natural materials, such equally rock and wood, are typically muted and tend to be variations of brown, tan, and pale yellow. Bright colors in the hardscape are usually found in man-made materials, such as painted furniture, brightly colored ceramic containers or sculptures, and glass ornaments.
Properties of Colour
Colour is an of import element for creating involvement and variety in the landscape. Colors have properties that can bear upon emotions, spatial perception, light quality, remainder, and emphasis. One belongings of color is described relative to temperature—colors appear to exist cool or warm and can affect emotions or feelings. Absurd colors tend to be calming and should exist used in areas for relaxation and serenity. Warm colors tend to be more than heady and should exist used in areas for entertaining and parties. The "temperature" of colors can too touch on the perception of altitude. Cool colors tend to recede and are perceived equally being farther away, making a space experience larger. Warm colors tend to advance and are perceived equally being closer, making a space feel smaller.
Color can too be used to capture attention and directly views. Focal points tin be created with bright colors. For example, bright yellow, which has the highest intensity, also has a loftier contrast with all other colors (often described as a "popular" of color) and should be used sparingly. A small amount of intense color has equally much visual weight as a large corporeality of a more subdued or weaker colour. Color schemes in the garden can change with the seasons. Summer colors are commonly more varied and bright with more flowers, while winter colors tend to be monochromatic and darker with more foliage. Color is also affected past low-cal quality, which changes with the fourth dimension of day and time of year. Brighter, more than intense summertime sun makes colors appear more saturated and intense, while the filtered light of winter makes colors appear more subdued. When choosing a color scheme, consideration should be given to the fourth dimension of solar day the yard will be used. Because color is temporary, it should be used to highlight more enduring elements, such equally texture and course. A color study (Effigy 9) on a plan view is helpful for making color choices. Color schemes are drawn on the program to show the amount and proposed location of various colors.
Visual Weight
Visual weight is the concept that combinations of certain features have more importance in the composition based on mass and dissimilarity. Some areas of a composition are more noticeable and memorable, while others fade into the background. This does not mean that the groundwork features are unimportant—they create a cohesive look by linking together features of high visual weight, and they provide a resting place for the eye. A composition where all features accept loftier visual weight ofttimes looks chaotic because the eye tends to bounce betwixt the features. High visual weight usually comes from a group of plants with i or a few of the post-obit characteristics: upright or unusual forms, large size, bright colors, bold texture, and diagonal lines. Low visual weight is found in depression horizontal lines, prostrate or low forms, fine texture, and subdued or boring colors (Figure 10).
Principles of Design
Design principles guide designers in organizing elements for a visually pleasing landscape. A harmonious composition tin be achieved through the principles of proportion, order, repetition, and unity. All of the principles are related, and applying one principle helps achieve the others. Physical and psychological comfort are two important concepts in design that are achieved through use of these principles. People experience more than psychologically comfortable in a mural that has order and repetition. Organized landscapes with predictable patterns (signs of human intendance) are easier to "read" and tend to brand people feel at ease. Psychological comfort is as well affected by the sense of pleasance that a viewer perceives from a unified or harmonious mural. Users feel more physically comfy, function better, and feel more secure in a landscape with proportions compatible to human scale.
Proportion
Relative proportion is the size of an object in relation to other objects. Absolute proportion is the calibration or size of an object. An of import absolute scale in blueprint is the human scale (size of the man body) because the size of other objects is considered relative to humans. Plant fabric, garden structures, and ornaments should exist considered relative to homo calibration. Other important relative proportions include the size of the house, yard, and the area to be planted.
Proportion in Plants
Proportion can be establish in found material relative to people (Effigy 9), the surrounding plants, and the house. When all three are in proportion, the composition feels balanced and harmonious. A feeling of balance tin also exist accomplished by having equal proportions of open infinite and planted space. Using markedly different plant sizes can help to accomplish dominance (emphasis) through contrast with a big constitute. Using plants that are similar in size can assistance to achieve rhythm through repetition of size.
Proportion in Hardscape
Features are most functional for people when they fit the human being body. Benches, tables, pathways, arbors, and gazebos work best when people tin use them easily and feel comfortable using them (Effigy 11). The hardscape should besides exist proportional to the business firm—a deck or patio should be big plenty for entertaining but non so big that information technology doesn't fit the scale of the house.
Proportions in Voids
Human scale is also important for psychological condolement in voids or open spaces. People feel more secure in smaller open areas, such as patios and terraces. An important concept of spatial comfort is enclosure. Most people experience at ease with some sort of overhead status (Figure 11) that implies a ceiling. The enclosure does not have to be solid; in fact, an implied enclosure, such equally tree branches, serves as a good psychological enclosure that still allows calorie-free and views of the sky.
Guild
Order mostly refers to the spatial layout or organisation of the pattern and is virtually frequently accomplished through rest. Remainder is the concept of equal visual attraction and weight, usually effectually a real or imaginary central axis. Form, color, size, and texture all affect balance. Balance can be symmetrical, asymmetrical, or perspective. Order can as well be achieved past massing features or elements into distinct groups and arranging them around a key point.
Symmetrical Balance
Symmetrical balance is achieved when the aforementioned objects (mirror images) are placed on either side of an axis. Figure 12 shows the same trees, plants, and structures on both sides of the axis. This type of residual is used in formal designs and is one of the oldest and most desired spatial organization concepts. This is because the heed naturally divides space by bold a central axis and and then seeks an even distribution of objects or mass (visual weight). Many historic gardens are organized using this concept.
Asymmetrical Residue
Asymmetrical balance is achieved past equal visual weight of nonequivalent forms, color, or texture on either side of an axis. This blazon of balance is informal and is usually achieved by masses of plants that appear to be the same in visual weight rather than full mass. Figure 13 shows groupings of trees and structures that are approximately equal in visual weight on either side of the centrality. The mass can be achieved past combinations of plants, structures, and garden ornaments. To create balance, features with large sizes, dense forms, bright colors, and fibroid textures appear heavier and should exist used sparingly, while small sizes, sparse forms, grey or subdued colors, and fine texture appear lighter and should be used in greater amounts.
Perspective Rest
Perspective balance is concerned with the residue of the foreground, midground, and background. When looking at a composition, the objects in front usually have greater visual weight because they are closer to the viewer. This can exist balanced, if desired, by using larger objects, brighter colors, or fibroid texture in the background. In most cases, either the foreground or background should be dominant.
Mass Collection
Mass drove is the grouping of features based on similarities so arranging the groups effectually a key space or feature. A good case is the organisation of constitute material in masses around an open circular lawn surface area or an open gravel seating area.
Repetition
Repetition is created by the repeated use of elements or features to create patterns or a sequence in the landscape. Repeating line, form, colour, and texture creates rhythm in the landscape. Repetition must exist used with care—as well much repetition can create monotony, and too niggling tin create defoliation. Simple repetition is the use of the same object in a line or the grouping of a geometric form, such as a square, in an organized pattern.
Repetition tin can be made more interesting by using alternation, which is a small change in the sequence on a regular footing—for example, using a square form in a line with a round form inserted every fifth square. Inversion is another blazon of alternation where selected elements are changed so the characteristics are opposite the original elements. An example might exist a row of vase-shaped plants and pyramidal plants in an ordered sequence.
Gradation, which is the gradual change in certain characteristics of a feature, is another way to make repetition more than interesting. An instance would exist the use of a square grade that gradually becomes smaller or larger.
Repetition does not e'er create a pattern; sometimes it is but the repeated use of the same color, texture, or form throughout the mural. Effigy fourteen illustrates repetition of a square grade in an entry courtyard, backyard panels, a patio, and a water feature.
Repetition in Plants and Hardscape
Using the same plant repeatedly in a landscape is simple repetition. A grass garden is a good example of subtle plant repetition. Gradation can be achieved with a gradual change in pinnacle or size (east.thousand., using modest grasses in front, backed by medium grasses, so large grasses). A more than obvious gradation is plants that transition from fine to coarse texture, or from light green to dark green.
Material tin exist used repeatedly throughout the yard for unity, merely interest can be created by slightly varying the size, texture, or color of hardscape textile. Repetition and pattern tin be made virtually obvious in the hardscape considering duplication is easiest with built materials that are manufactured to exact dimensions.
Unity
Unity is achieved past linking elements and features to create a consistent graphic symbol in the composition. Unity is sometimes referred to as harmony—the concept of everything fitting together. By comparing, scattered groupings of plants and unrelated garden ornaments are the opposite of unity. Unity is accomplished by using say-so, interconnection, unity of 3 (described below), and simplicity to suit colors, textures, and form. Although hardscapes and plants can exist unified by the blending of like characteristics, some multifariousness is likewise important to create involvement. The simplest way to create unity is through the use of a blueprint theme or a design style. Design themes and styles have a well-divers set of features that have maintained their popularity over time because they are visually pleasing to many.
Unity by Authorisation
Authorization or emphasis is the property of a establish or object that attracts and holds attention, making the object an important feature. The ability of an object to capture attention usually depends on contrast with adjacent objects. A typical example for a garden would be a very brightly colored ceramic pot among green leafage.
Dominant features that capture attention are called focal points. Focal points are used to depict attention to a item location, motion the heart effectually the space, or guide apportionment. Emphasis is created through contrast in size, color, form, or texture.
Plants that draw attention are frequently called specimen plants. These are plants with a unique grade, size, or texture that stand out from the surrounding plants. Ordinary plants can also be used for emphasis past isolating the plant in a container (Effigy 15) or an open space. Purposefully placing plants in this mode draws attention to the found. Specimen plants are unremarkably used to draw attention to entrances, pathways, or statuary. Garden ornaments also piece of work well to attract attention considering they are often dramatically dissimilar from institute material. Grade and color are usually the characteristics that dissimilarity the most with plants. Sculptures, planters, and piece of furniture have forms that are easily recognizable and distinguishable from plants.
Unity by Interconnection
Interconnection, the concept of physical linkage (touching) of various features, is present in all designs. Although all features are linked to other features, the primal is to make the linkage seamless then that the features alloy or fit together. Hardscape is important to interconnection because information technology typically serves to organize and link spaces in the garden. Continuation of a line, such as a path, the edge of a built object, or a divers border of a plant bed, can create unity through interconnection.
Unity of Three
Features that are grouped in threes, or in other groups of odd numbers, such every bit in groups of five or seven, feel more counterbalanced to the centre and give a stronger sense of unity. Odd numbers allow for staggered variations in height, such equally small, medium, and large, that provide more interest. Odd numbers are often seen or perceived as a grouping and are non as easily split or visually divided every bit even numbers.
Unity by Simplicity
Simplicity is the concept of reducing or eliminating nonessentials to avoid a cluttered expect. This brings clarity and purpose to the design. Many designers achieve simplicity by thoughtfully removing features from a design while still preserving its integrity.
Applying the Principles and Elements of Blueprint
While it is useful to know the elements and principles of design, it is sometimes hard to empathize how to utilize them to your ideas for your chiliad. Each site presents challenges and opportunities for private design and expression and requires unique application of the elements and principles. Studying how the elements and principles have been applied in an existing design that appeals to you lot is a good identify to first. The all-time fashion to create a skilful design is to borrow ideas from designs that you detect attractive and adjust them to your particular site conditions.
Personal Style and Sense of Place
To notice and identify your personal style, recall about other yards or landscapes you enjoy. Notice the landscapes in your neighborhood and other neighborhoods in your community. Study those that appeal to y'all and note the features and types of plant fabric. Also try to identify the elements of design, such as color, texture, and class, and determine how line is used in the landscape. Report the view and try to determine how balance and rhythm are created. Also, look for dominance and attempt to figure out how unity is produced. Studying landscapes in your neighborhood and community is of import because nearly people feel more than comfy when they "fit in" with their neighbors. There is frequently a potent social want to feel like part of the community and contribute to the neighborhood fabric. The concept of fitting in is referred to equally "genus loci," or having a sense of place. Sense of place also refers to the regional context—the surrounding landscapes, both natural and planned, that have an influence on the design and establish materials to exist used.
Other sources of inspiration include sit-in gardens or landscapes, local botanical gardens, and displays at local nurseries. Avoid the large national chain store nurseries, as their plants are non often grown locally, and their plant selection may not exist as suitable to your surface area. They tin be good, however, for buying temporary annuals for small areas. Visit demonstration gardens and botanical gardens to wait for interesting and appealing plant groupings. Note the type of microclimate for each group to determine if it will work in your one thousand. Because these gardens are designed for your area, you can use the exact combination of institute textile, as long as it fits the sunday and shade requirements. Ask virtually growing and maintenance requirements to decide if the plants will fit your needs. At local nurseries, you can gather and arrange several potted plants to meet how they look together. Although they are small, y'all tin can still get a adept idea nearly texture and color composition.
Another way to identify your personal style is to expect through magazines and books for ideas. Study the images and note the details. What do you like about the design? Will it work in your space? Y'all will not exist able to duplicate the exact blueprint because your site will exist dissimilar in location, size, and shape, but in that location are often many features you can arrange to your site. Appropriate hardscape materials and plants for your region can exist substituted for those in the sample design by choosing materials and plants with the same characteristics. Try to pic how the features will look in your yard and where they might exist placed. Several unlike ideas may be knitted together to create a final design. It is important to keep in mind that the gardens and yards y'all see in magazines and books are chosen because they are outstanding examples, and they are typically gardens that are cared for by people with all-encompassing gardening cognition. Go along in heed your (or your contractor's) maintenance abilities and knowledge and adapt the design appropriately.
Site Atmospheric condition
How do y'all know if a design you lot like will work in your yard? First, compare the architectural style of the houses and try to find similarities betwixt your business firm and the sample house. Written report the hardscape materials in the sample design. Do the same colors and materials work with your house? If necessary, what substitutions could you use and still retain the desired look? Imagine your house with the same or similar plant materials—remember that the plants can be arranged differently to fit the dimensions of your yard. For more than information on found selection, see Right Plant, Right Identify: The Fine art and Science of Landscape Design – Plant Selection and Siting (https://edis.ifas.ufl.edu/EP416).
Second, look at the shape and size of the footprint (outline) of your house in relation to your lot size and shape. For this you will need an official boundary survey that shows the verbal footprint, with dimensions, and information technology's location within the holding boundaries. This will tell you if you take room for the features you want and where those features can exist located. Pay particular attending to the shape of the spaces or voids betwixt your house and the belongings lines. These are the areas where your features will be located and will aid make up one's mind the potential form or shape for those features. For example, a rectangular yard may look best with rectangular shapes in the hardscape. The shape of the house will also provide clues every bit to the type of shape y'all should utilize in the yard. If the business firm has diagonal walls or hexagon shapes, this could inspire a diagonal or hexagon shape in the landscape. Designers volition often draw lines on the program that extend from the firm edges or corners to the property lines. Figure xvi illustrates lines used to delineate the shape of spaces and locate the patio and focal features. These are chosen regulating lines because they help regulate space and ascertain forms that extend from the house or between the house and the holding lines.
Third, thoroughly sympathise your site and how you want to use the infinite. Begin with a site inventory and assay. Note all the conditions of the space and analyze how the conditions might affect your design. Each status can be seen equally an opportunity—a positive condition that volition help achieve your design—or a constraint—a negative status that might bear on your design, but could perchance be turned into an opportunity. Examples of opportunities and/or constraints include land forms, such as slopes and flat areas, and natural features, such as copse and rocks, or built features, such every bit swimming pools and fences. Depending on the desired design, each could present an opportunity or a constraint.
Locating Features and Defining Outdoor Rooms
In one case y'all have determined the architectural manner, the shape of the yard spaces, and the opportunities of your site, you lot can brainstorm to locate the features and give them form. Most features will have a logical location based on the use or type of feature and the site opportunities. The grand is typically considered an extension of the house, and information technology makes sense to locate the most heavily used features of the 1000 shut to backdoor archway. For example, the outdoor dining/seating area (patio or deck) is typically located adjacent to the house for convenience and physical comfort. Other features, such equally dog runs and vegetable gardens, are oftentimes located on the side of the house to hide them from view, and play or recreation areas are often located in full view of the kitchen or family rooms so that parents tin can watch children at play.
Spatially dividing a yard into separate uses is often referred to equally creating outdoor rooms (Figure 17) and is a fundamental concept of outdoor design. Logical arrangement of the "rooms" creates a functional and aesthetically pleasing mural. Spaces can exist delineated through the utilise of different materials, such every bit the edge of a rock patio against a lawn panel; through a alter in summit (steps); through the use of a form, such as a square backyard panel; through the use of a feature, such as a low garden wall or small trees; or through the utilize of plants to create implied walls and ceilings. The elements and principles of design are particularly useful when creating rooms considering they assist to define spaces, add interest, and create a unified, functional, and aesthetically pleasing landscape.
Color and texture can also be used to differentiate spaces past making each surface area visually unique or distinct. The hierarchy of spaces or rooms can also be delineated through the apply of visual weight. Areas of high importance tin include features and elements that give them loftier visual weight and attract attention. Scale and proportion are likewise useful principles for spatial organisation and hierarchy. A infinite with a distinctly different size relative to the other spaces tends to assume more importance because of the contrast. Scale is besides very important in determining the type of features that tin can exist used in the landscape; dissimilar uses require dissimilar square footage to be functional. For example, features such every bit swimming pools, dog runs, and vegetable gardens accept a minimum required size, and a patio has a minimum size depending on the number of people expected to utilise the patio at ane time.
Spaces can be connected through the use of lines, such as pathways, or they can be visually connected through the use of emphasis (focal points) that captures attending and leads the middle, or through repetition of elements that connects spaces through similar objects. Another important concept of outdoor design is management or physical move within a space. Movement or apportionment can exist controlled through the use of different materials, spatial organisation, focal points, and intentional marking of pathways. Using all of the elements and principles will tie the unabridged landscape together in a unified, functional manner.
Summary
The fundamental concept of landscape design is problem solving through the utilize of horticultural science, artful limerick, and spatial organization to create attractive and functional outdoor "rooms" for dissimilar uses. The elements (visual qualities)—line, form, texture, color, and visual weight, and principles (guidelines) —proportion, order, repetition, and unity of design are used to create spaces, connect them, and make them visually pleasing to the eye.
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Source: https://edis.ifas.ufl.edu/publication/MG086
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