Any Kind of Movement or Structure of Dominant and Subordinate Elements in Sequence in a Work of Art
Basic Principles of Mural Patternone
Mural designers work on a canvass that is distinctly different from other art forms. The "fine art" is ever changing as the plants grow, environmental conditions alter, and people use the space. For this reason, landscape designers utilize a design 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 healthy design.
Elements and Principles
The blueprint process begins past determining the needs and desires of the user and the conditions of the site. With this information, the designer then organizes the plants and hardscape materials, which are collectively referred to as the features. The features can be physically described by the visual qualities of line, form, color, texture, and visual weight—the elements of blueprint. The principles are the fundamental concepts of composition—proportion, order, repetition, and unity—that serve as guidelines to arrange or organize the features to create an aesthetically pleasing or beautiful landscape.
Knowledge of the elements and principles of design is essential to designing a landscape and working through the pattern procedure. This publication describes each of the elements and explains the principles and their application.
Elements of Pattern
The elements of composition are the visual qualities that people see and respond to when viewing a infinite. Visual qualities tin illicit many different emotions and feelings, and the more positive those feelings, the more probable people are to savor and use a infinite. Possibly the most common element in a composition is line. Line creates all forms and patterns and tin be used in a variety of ways in the landscape.
Line
Line in the landscape is created by the edge between two materials, the outline or silhouette of a form, or a long linear feature. Lines are a powerful tool for the designer considering they can be used to create an infinite variety of shapes and forms, and they control movement of the eye and the trunk. Landscape designers utilise lines to create patterns, develop spaces, create forms, command motion, institute dominance, and create a cohesive theme in a landscape. Landscape lines are created several ways: when 2 different materials meet on the basis plane, such every bit the edge of a brick patio meeting an surface area of green turf; or when the edge of an object is visible or contrasts with a groundwork, such every bit the outline of a tree confronting the sky; or by the placement of a textile in a line, such every bit a fence. Figure 1 shows mutual mural lines, including bedlines, hardscape lines, path lines, sod lines, and fence lines. Lines tin have one or more characteristics, such every bit those described below, but they typically serve different purposes.
Properties of Lines
The properties of lines make up one's mind how people respond to the mural, both emotionally and physically.
Straight Lines
Straight lines are structural and forceful; they create a formal grapheme, are commonly associated with a symmetrical pattern, and lead the middle straight to a focal indicate. Diagonal lines are direct lines with an intentional management. Directly lines are near often plant in hardscape edges and material.
Curved Lines
Curved lines create an informal, natural, relaxed character that is associated more with nature and asymmetrical remainder. Curved lines move the heart at a slower footstep and add together mystery to the infinite past creating hidden views.
Vertical Lines
Vertical lines movement the eye up, making a space feel larger. An upward line tin can emphasize a characteristic and has a feeling of activity or motion. Vertical lines in the landscape include tall, narrow plant material, such equally copse, or tall structures, such every bit an arbor or a bird firm on a pole.
Hortizontal Lines
Horizontal lines move the middle along the ground plane and can brand a infinite feel larger. Depression lines are more subdued and create a feeling of rest or repose. Horizontal lines tin can spatially divide a space or tie a space together. Low lines are created by low garden walls, walkways, and short hedges.
Lines are used to describe forms on a plan. In programme view, they define plant beds and hardscape areas. Lines are besides created by the vertical forms of built features and plant material. There are iii primary line types that create form in the mural: bedlines, hardscape lines, and plant lines. Bedlines are created where the edge of the plant bed meets another surface fabric, such every bit turf, groundcover, gravel, or patio pavers. Bedlines connect found textile to the house and hardscape because the eye follows the line, moving the gaze through the landscape. Hardscape lines are created past the edge of the hardscape, which delineates the built structure. Line can also be created by long and narrow materials, such as a fence or wall.
Grade
Shape is created by an outline that encloses a space, and form is the three-dimensional mass of that shape. Course is found in both hardscape and plants, and information technology is typically the ascendant visual element that spatially organizes the landscape and often determines the style of the garden. The form of structures, plant beds, and garden ornaments too 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 class in the garden through their outlines or silhouettes, but form can likewise be defined by a void or negative space between plants.
Geometric Forms
Round Form
Circles can be total circles, or they can exist divided into half circles or circle segments and combined with lines to create arcs and tangents. Figure ii shows the utilize of circle segments for hardscape and lawn panels. Circles can besides be stretched into ovals and ellipses for more than diverseness and interest. Circles are a strong design class because the eye is ever fatigued to the center, which tin be used to emphasize a focal signal or connect other forms.
Square Form
Squares are used for a variety of features, including stepping stones, bricks, tiles, and timber structures, considering they are an easy course to work with for structure. The square form tin can also be segmented and used repeatedly to create a filigree pattern. Unlike circles, squares are stronger on the edges, which can be lined up or overlapped to create unique patterns and more complex forms.
Irregular Polygons
Polygons are many-sided forms with straight edges. Triangles, for example, are iii-sided polygons. The angled edges of polygons tin can make interesting shapes, merely they should be used cautiously considering the forms can become complex; simplicity is all-time.
Naturalistic Forms
Meandering Lines
Meandering lines often mimic the natural form of rivers or streams and tin can be described equally polish lines with securely curved undulations. Meandering lines (Figure 3) piece of work well for pathways, institute bedlines, and dry stream beds. Meandering lines tin can add 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, plant forms, and rocks, and can be described every bit rough and irregular. Organic lines tin be found in rock gardens and along dry creek beds or purposely created on hardscape edges.
Fragmented Edges
Fragmented edges resemble cleaved pieces scattered from the border, such as stones or pavers, and are often used to create a gradually disappearing border on patios or walkways.
Establish Forms
Form is the most enduring quality of a institute. Mutual plant forms are well established and standardized, as form is the about consistent and recognizable feature of plants. Grade can also be created through the massing of plants, where the overall mass creates a different form than an individual institute. A strong form that contrasts with the residual of the limerick will have greater emphasis within the composition. A highly contrasting form must be used with intendance—ane or two work well every bit a focal point, but too many create chaos. Natural found 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 form of a tree tin can appear quite unlike to a person standing under the canopy versus viewing the tree from a distance in an open field. Vertical forms add together summit; horizontal forms add width. Plant forms also create and define the void or open spaces betwixt the plants, creating either convex or concave forms in the voids. High-arching tree branches typically create a concave open space under the branches, and a round canopy with low branches fills the infinite to create a convex form in the open infinite 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 form is also of import for function. Creating a shady area in the garden requires a circular or oval tree, while a screen usually requires a more columnar or pyramidal course, and a weeping tree form makes a good focal point.
Shrub Forms
Shrub forms (Figure 7) include upright, vase shaped, arching, mounding, rounded, spiky, cascading, and irregular. Choosing shrub forms often depends on whether the shrub will exist used in a mass or as a single specimen. Mounding and spreading shrubs look best in a mass, and cascading and vase-shaped shrubs exercise well as specimen plants.
Groundcover Forms
Groundcover forms (Figure 7) include matting, spreading, clumping, sprawling, and brusque spikes. Almost all groundcovers look better in masses because they are typically small, basis-hugging plants that have very piffling impact every bit individual plants.
Properties of Form
Form is very powerful because people can often recognize and identify a characteristic based on an outline or silhouette. People can often perceive a class when but a portion of it is visible. Familiarity and the proposition of a form is plenty for the eye to fill in the rest. Repetition of course is essential to the creation of design, which is the basic organizational structure of the landscape.
Form is as well the master determinant of a formal or breezy garden. Geometric forms with directly edges are typical of formal gardens that are based on an established mode, such as gimmicky or Italian gardens. An informal garden has more naturalistic, organic forms that are commonly institute in gardens that mimic nature. Form compatibility is also a major component of unity in design—one or 2 strikingly different forms are skilful for contrast and accent, only generally all other forms should accept some similarities for a unified look.
Texture
Texture refers to how coarse or fine the surface of the plant or hardscape fabric feels and/or looks. Texture is used to provide variety, interest, and contrast. The plant'south 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 found can generally be described as having a fibroid, medium, or fine texture. Fibroid texture is more dominant than fine and also tends to dominate color and form, while fine texture is more than subordinate to other qualities and tends to unify compositions. Coarse-textured plants concenter the heart and tend to hold it because the light and dark contrasts of the shadows provide more interest. Fine texture exaggerates distance and gives the feeling of a larger, more open space. Crude texture minimizes distance—plants announced closer and the space feels smaller, or enclosed. Texture is also establish in the hardscape, including on buildings, patios, walls, and walkways.
Coarse Texture
Establish characteristics that create coarse texture include large leaves; leaves with very irregular edges; assuming, deep veins; variegated colors; thick twigs and branches; leaves and twigs with spines or thorns; and bold, thick, and/or irregular forms. Each leaf of a coarse-textured plant breaks upwards the outline, which gives the plant a looser form. Examples of plants with fibroid texture include philodendrons, agaves, bromeliads, hollies, palms, and hydrangeas. Hardscape with coarse texture includes crude-cutting stone, rough-finished brick, and unfinished forest with knots and a raised grain. Aged or old construction material that maintains a weather-browbeaten surface is often coarse in texture.
Fine Texture
Characteristics that create fine texture include minor leafage; sparse, strappy leaves (grasses) or alpine, thin stems; tiny, dense twigs and modest branches; long stems (vines); and small-scale, frail flowers. They are frequently described as wispy and calorie-free or with a sprawling, vining form. Fine-textured plants sometimes have a stronger course because the small private leaves are densely packed (eastward.g., 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, woods or ceramic pots, and glass ornaments. Polish water, such as 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 form is typically rounded or mounding. Medium-textured plants human activity equally a background to link and unify the fibroid- 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 forest.
Properties of Texture
Texture affects the perception of altitude and scale. To make a infinite feel larger, locate plants so that the fine textures are along the outer perimeter, the medium textures are in the middle, and the coarse textures are closest to the viewer. The small size of the fine texture recedes in the mural and is perceived every bit existence farther away. To make a infinite experience smaller, place the coarse 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 distance from the establish. Plants that are coarse shut-up tin wait fine textured from a distance. Assuming colors increment the dissimilarity and brand the texture announced coarser, while muted colors tin can flatten texture. Hardscape with a coarse texture—such as very rough rocks and bold, large timbers—tends to make all constitute material announced more than medium textured. Designers often develop a texture study (Figure viii) on newspaper to help decide the arrangement of plant materials. The drawing mimics texture by using unlike line weights and spacing to represent fine, medium, and coarse textures.
Color
Colour in plant fabric and hardscape adds interest and variety to the mural. Color is the most conspicuous chemical element in the landscape and is usually the focus of nigh homeowners; notwithstanding, information technology is also the most temporary element, ordinarily lasting only a few weeks a twelvemonth for individual plants. The use of color is guided by color theory (use of the colour wheel) to create color schemes. A unproblematic description of the color wheel includes the three main colors of red, bluish, and yellow; the three secondary colors (a mix of two primaries) of green, orange, and violet; and six third colors (a mix of one adjacent main and secondary color), such as red-orange. Color theory explains the human relationship of colors to each other and how they should be used in a composition. The bones color schemes are monochromatic, coordinating, and complementary.
Monochromatic Scheme
A monochromatic colour scheme uses only one colour. In landscaping, this usually means one other colour besides the greenish colour in the leafage. A garden that is all green depends more on form and texture for dissimilarity and involvement. 1 color tin accept many light 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.
Coordinating Scheme
Coordinating (sometimes called harmonious) color schemes are whatsoever three to five colors that are adjacent on the color bicycle, such every bit scarlet, red-orangish, orangish, yellow-orange, and yellow, or blue, blue-violet, and violet. The colors are related to each other because they typically include two principal colors mixed to grade a secondary and two tertiary colors, which means they share mutual backdrop.
Complementary Scheme
Complementary colors are those that are contrary each other on the colour wheel. They tend to accept high dissimilarity between them. The nearly common sets are violet and yellowish, red and greenish, and bluish and orange. Complementary colors are often plant naturally in flowers; a common pair is yellowish and violet.
Colour in Plants and Hardscape
Colour is plant in the flowers, foliage, bark, and fruit of plants. Leaf typically provides the overall groundwork color for flower colors. Green leaf in all its diverse shades is the ascendant color by quantity, but other colors capture attention more than readily because of their high contrast to the colour green.
Colour is also plant in buildings, rocks, pavers, wood, and furniture. Most colors in natural materials, such every bit stone and wood, are typically muted and tend to be variations of brown, tan, and stake yellow. Vivid colors in the hardscape are normally found in man-made materials, such every bit painted piece of furniture, brightly colored ceramic containers or sculptures, and drinking glass ornaments.
Properties of Colour
Color is an important element for creating involvement and variety in the mural. Colors accept properties that can affect emotions, spatial perception, light quality, residue, and emphasis. One property of colour is described relative to temperature—colors announced to be cool or warm and tin can affect emotions or feelings. Cool colors tend to exist calming and should be used in areas for relaxation and serenity. Warm colors tend to exist more exciting and should be used in areas for entertaining and parties. The "temperature" of colors can also impact the perception of distance. Cool colors tend to recede and are perceived every bit existence farther abroad, making a space experience larger. Warm colors tend to advance and are perceived every bit existence closer, making a space experience smaller.
Color tin also be used to capture attention and direct views. Focal points can be created with bright colors. For example, brilliant yellow, which has the highest intensity, besides has a high contrast with all other colors (often described as a "pop" of color) and should be used sparingly. A small amount of intense colour has every bit much visual weight as a large corporeality of a more subdued or weaker color. Color schemes in the garden tin change with the seasons. Summer colors are usually more than varied and bright with more flowers, while winter colors tend to exist monochromatic and darker with more than foliage. Color is also affected by light quality, which changes with the time of day and time of year. Brighter, more than intense summer sun makes colors appear more than saturated and intense, while the filtered low-cal of winter makes colors appear more than subdued. When choosing a color scheme, consideration should exist given to the time 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 form. A colour study (Figure 9) on a programme view is helpful for making colour 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 contrast. Some areas of a limerick are more than noticeable and memorable, while others fade into the groundwork. This does non mean that the background features are unimportant—they create a cohesive look by linking together features of high visual weight, and they provide a resting place for the heart. A limerick where all features take high visual weight ofttimes looks chaotic because the eye tends to bounce between the features. High visual weight unremarkably comes from a group of plants with one or a few of the following characteristics: upright or unusual forms, big size, bright colors, bold texture, and diagonal lines. Low visual weight is found in low horizontal lines, prostrate or depression forms, fine texture, and subdued or dull colors (Figure 10).
Principles of Design
Design principles guide designers in organizing elements for a visually pleasing landscape. A harmonious limerick tin can 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. Concrete and psychological comfort are two of import concepts in design that are achieved through use of these principles. People experience more psychologically comfortable in a landscape that has order and repetition. Organized landscapes with predictable patterns (signs of human being care) are easier to "read" and tend to make people experience at ease. Psychological comfort is also affected by the sense of pleasure that a viewer perceives from a unified or harmonious landscape. Users feel more physically comfy, function better, and experience more secure in a landscape with proportions compatible to human calibration.
Proportion
Relative proportion is the size of an object in relation to other objects. Absolute proportion is the scale or size of an object. An important absolute scale in design is the man scale (size of the human body) because the size of other objects is considered relative to humans. Plant material, garden structures, and ornaments should exist considered relative to human scale. Other important relative proportions include the size of the house, m, and the area to be planted.
Proportion in Plants
Proportion can be institute in found material relative to people (Effigy 9), the surrounding plants, and the business firm. When all three are in proportion, the limerick feels balanced and harmonious. A feeling of balance can likewise be accomplished by having equal proportions of open space and planted space. Using markedly different plant sizes tin aid to reach dominance (emphasis) through contrast with a big plant. Using plants that are similar in size tin assist to attain rhythm through repetition of size.
Proportion in Hardscape
Features are most functional for people when they fit the human torso. Benches, tables, pathways, arbors, and gazebos work best when people can use them easily and experience comfy using them (Figure 11). The hardscape should also exist proportional to the house—a deck or patio should be large plenty for entertaining but non then big that it doesn't fit the scale of the firm.
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 of import concept of spatial comfort is enclosure. Most people feel at ease with some sort of overhead condition (Figure xi) that implies a ceiling. The enclosure does non have to be solid; in fact, an implied enclosure, such every bit tree branches, serves as a adept psychological enclosure that notwithstanding allows light and views of the heaven.
Gild
Order more often than not refers to the spatial layout or organization of the design and is almost ofttimes achieved through balance. Residue is the concept of equal visual attraction and weight, usually around a real or imaginary cardinal axis. Form, color, size, and texture all affect residuum. Rest can exist symmetrical, asymmetrical, or perspective. Order tin can too be achieved by massing features or elements into singled-out groups and arranging them effectually a central bespeak.
Symmetrical Balance
Symmetrical residual is accomplished when the same objects (mirror images) are placed on either side of an centrality. Figure 12 shows the same trees, plants, and structures on both sides of the axis. This type of residuum is used in formal designs and is one of the oldest and most desired spatial system concepts. This is because the mind naturally divides space by assuming a central axis and then seeks an even distribution of objects or mass (visual weight). Many historic gardens are organized using this concept.
Asymmetrical Remainder
Asymmetrical rest is achieved by equal visual weight of nonequivalent forms, color, or texture on either side of an centrality. This blazon of remainder is breezy and is usually accomplished by masses of plants that appear to exist the same in visual weight rather than total mass. Figure xiii 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 big sizes, dense forms, bright colors, and coarse textures appear heavier and should be used sparingly, while small sizes, sparse forms, grayness or subdued colors, and fine texture appear lighter and should exist used in greater amounts.
Perspective Residue
Perspective balance is concerned with the remainder of the foreground, midground, and background. When looking at a limerick, the objects in front usually have greater visual weight considering they are closer to the viewer. This tin can be counterbalanced, if desired, by using larger objects, brighter colors, or fibroid texture in the background. In about cases, either the foreground or background should exist dominant.
Mass Drove
Mass collection is the group of features based on similarities and so arranging the groups around a cardinal space or feature. A good example is the organisation of plant cloth in masses around an open round lawn area or an open gravel seating area.
Repetition
Repetition is created by the repeated apply 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—likewise much repetition can create monotony, and too little can create confusion. Simple repetition is the utilise of the aforementioned object in a line or the grouping of a geometric class, such as a square, in an organized pattern.
Repetition tin be made more interesting past using alternation, which is a pocket-size 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 type of alternation where selected elements are inverse so the characteristics are opposite the original elements. An example might be a row of vase-shaped plants and pyramidal plants in an ordered sequence.
Gradation, which is the gradual alter in certain characteristics of a feature, is another mode to make repetition more than interesting. An example would exist the use of a foursquare form that gradually becomes smaller or larger.
Repetition does non ever create a pattern; sometimes information technology is simply the repeated apply of the aforementioned colour, texture, or form throughout the landscape. Figure fourteen illustrates repetition of a square class in an entry courtyard, backyard panels, a patio, and a water feature.
Repetition in Plants and Hardscape
Using the same constitute repeatedly in a landscape is simple repetition. A grass garden is a good example of subtle found repetition. Gradation can exist accomplished with a gradual change in height or size (eastward.g., using small-scale grasses in front end, backed past medium grasses, and so large grasses). A more than obvious gradation is plants that transition from fine to fibroid texture, or from light green to night green.
Material tin can be used repeatedly throughout the grand for unity, but interest can be created by slightly varying the size, texture, or color of hardscape material. Repetition and pattern tin can be fabricated near obvious in the hardscape because duplication is easiest with congenital materials that are manufactured to exact dimensions.
Unity
Unity is achieved by linking elements and features to create a consistent character in the limerick. 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 reverse of unity. Unity is achieved by using authorization, interconnection, unity of iii (described below), and simplicity to arrange colors, textures, and grade. Although hardscapes and plants tin can exist unified by the blending of similar characteristics, some variety is too important to create interest. The simplest way to create unity is through the use of a design theme or a design style. Blueprint themes and styles take a well-divers set of features that accept maintained their popularity over fourth dimension considering they are visually pleasing to many.
Unity past Dominance
Dominance or emphasis is the property of a plant or object that attracts and holds attending, making the object an of import 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 foliage.
Dominant features that capture attending are called focal points. Focal points are used to depict attention to a particular location, move the centre around the space, or guide circulation. Emphasis is created through contrast in size, color, form, or texture.
Plants that draw attending are often called specimen plants. These are plants with a unique form, size, or texture that stand out from the surrounding plants. Ordinary plants can too be used for emphasis by isolating the plant in a container (Figure fifteen) or an open space. Purposefully placing plants in this way draws attention to the plant. Specimen plants are ordinarily used to draw attention to entrances, pathways, or statuary. Garden ornaments also piece of work well to attract attention because they are often dramatically dissimilar from constitute cloth. Grade and color are usually the characteristics that contrast the nigh with plants. Sculptures, planters, and piece of furniture accept forms that are easily recognizable and distinguishable from plants.
Unity by Interconnection
Interconnection, the concept of concrete linkage (touching) of various features, is present in all designs. Although all features are linked to other features, the key is to make the linkage seamless so that the features alloy or fit together. Hardscape is important to interconnection because it 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 defined edge 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 as in groups of five or seven, feel more counterbalanced to the eye and give a stronger sense of unity. Odd numbers allow for staggered variations in height, such every bit small, medium, and large, that provide more interest. Odd numbers are oft seen or perceived as a group and are not as easily split or visually divided as even numbers.
Unity by Simplicity
Simplicity is the concept of reducing or eliminating nonessentials to avoid a chaotic look. This brings clarity and purpose to the design. Many designers achieve simplicity by thoughtfully removing features from a design while even so preserving its integrity.
Applying the Principles and Elements of Design
While it is useful to know the elements and principles of design, it is sometimes hard to understand how to employ them to your ideas for your yard. 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 is a good place to showtime. The best way to create a good blueprint is to borrow ideas from designs that you find attractive and adapt them to your particular site weather condition.
Personal Fashion and Sense of Place
To discover and identify your personal style, think about other yards or landscapes you enjoy. Observe the landscapes in your neighborhood and other neighborhoods in your community. Study those that appeal to you and note the features and types of plant cloth. Also endeavor to identify the elements of design, such as colour, texture, and grade, and determine how line is used in the landscape. Study the view and try to make up one's mind how balance and rhythm are created. Besides, wait for dominance and try to effigy out how unity is produced. Studying landscapes in your neighborhood and customs is important because most people feel more comfortable when they "fit in" with their neighbors. At that place is often a strong social desire to feel like part of the community and contribute to the neighborhood fabric. The concept of plumbing equipment in is referred to every bit "genus loci," or having a sense of identify. Sense of place besides refers to the regional context—the surrounding landscapes, both natural and planned, that have an influence on the blueprint and plant materials to exist used.
Other sources of inspiration include demonstration 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 non be equally suitable to your area. They can exist good, however, for buying temporary annuals for small areas. Visit sit-in gardens and botanical gardens to look for interesting and appealing plant groupings. Note the type of microclimate for each group to determine if it will work in your yard. Because these gardens are designed for your area, you can use the verbal combination of plant material, as long every bit it fits the sun and shade requirements. Ask about growing and maintenance requirements to determine if the plants volition fit your needs. At local nurseries, you tin can get together and arrange several potted plants to see how they look together. Although they are small-scale, you tin still go a proficient idea almost texture and color composition.
Some other way to identify your personal mode is to await through magazines and books for ideas. Study the images and note the details. What practice yous like near the blueprint? Volition it piece of work in your space? You volition non exist able to duplicate the verbal design because your site will exist different in location, size, and shape, but there are often many features you can accommodate to your site. Appropriate hardscape materials and plants for your region can be substituted for those in the sample blueprint past choosing materials and plants with the same characteristics. Attempt to pic how the features will expect in your yard and where they might be placed. Several different ideas may exist knitted together to create a final design. It is important to keep in listen that the gardens and yards yous see in magazines and books are chosen considering they are outstanding examples, and they are typically gardens that are cared for by people with extensive gardening knowledge. Proceed in listen your (or your contractor's) maintenance abilities and noesis and arrange the design accordingly.
Site Conditions
How do y'all know if a design you like will work in your chiliad? First, compare the architectural style of the houses and try to find similarities between your business firm and the sample business firm. Study the hardscape materials in the sample pattern. Do the same colors and materials piece of 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—call up that the plants can be bundled differently to fit the dimensions of your 1000. For more data on plant choice, come across Right Plant, Right Place: The Art and Science of Landscape Design – Plant Pick and Siting (https://edis.ifas.ufl.edu/EP416).
Second, look at the shape and size of the footprint (outline) of your business firm in relation to your lot size and shape. For this you will demand an official purlieus survey that shows the verbal footprint, with dimensions, and it'southward location inside the property boundaries. This volition tell y'all if you accept room for the features you lot want and where those features tin can exist located. Pay particular attention to the shape of the spaces or voids between your firm and the property lines. These are the areas where your features volition exist located and volition aid determine the potential form or shape for those features. For example, a rectangular one thousand may await best with rectangular shapes in the hardscape. The shape of the business firm will as well provide clues as to the type of shape you should utilize in the yard. If the firm has diagonal walls or hexagon shapes, this could inspire a diagonal or hexagon shape in the mural. Designers will oftentimes draw lines on the plan that extend from the house edges or corners to the property lines. Figure 16 illustrates lines used to delineate the shape of spaces and locate the patio and focal features. These are called regulating lines considering they help regulate infinite and define forms that extend from the firm or between the house and the property lines.
Third, thoroughly understand your site and how yous desire to use the infinite. Begin with a site inventory and analysis. Note all the weather of the space and analyze how the weather might affect your design. Each condition can be seen every bit an opportunity—a positive status that will help reach your design—or a constraint—a negative condition that might touch your design, but could possibly be turned into an opportunity. Examples of opportunities and/or constraints include country forms, such every bit slopes and flat areas, and natural features, such equally trees and rocks, or built features, such as pond pools and fences. Depending on the desired design, each could nowadays an opportunity or a constraint.
Locating Features and Defining Outdoor Rooms
One time yous have determined the architectural mode, the shape of the g spaces, and the opportunities of your site, you tin begin to locate the features and give them class. About features will take a logical location based on the use or type of feature and the site opportunities. The 1000 is typically considered an extension of the house, and it makes sense to locate the most heavily used features of the yard close to backdoor entrance. For case, the outdoor dining/seating area (patio or deck) is typically located adjacent to the house for convenience and physical comfort. Other features, such every bit canis familiaris runs and vegetable gardens, are frequently 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 spotter children at play.
Spatially dividing a yard into separate uses is oft referred to as creating outdoor rooms (Effigy 17) and is a fundamental concept of outdoor design. Logical arrangement of the "rooms" creates a functional and aesthetically pleasing landscape. Spaces can be delineated through the use of different materials, such as the edge of a stone patio against a backyard panel; through a change in height (steps); through the use of a form, such as a square lawn panel; through the use of a feature, such as a depression garden wall or small trees; or through the use of plants to create unsaid walls and ceilings. The elements and principles of blueprint are especially useful when creating rooms because they help to define spaces, add interest, and create a unified, functional, and aesthetically pleasing landscape.
Colour and texture can also be used to differentiate spaces past making each surface area visually unique or singled-out. The bureaucracy of spaces or rooms can also be delineated through the employ of visual weight. Areas of high importance can include features and elements that give them loftier visual weight and attract attention. Calibration and proportion are also useful principles for spatial organization and hierarchy. A space with a distinctly different size relative to the other spaces tends to assume more importance considering of the contrast. Calibration is also very important in determining the blazon of features that can exist used in the landscape; different uses require dissimilar foursquare footage to be functional. For example, features such as pond pools, dog runs, and vegetable gardens have a minimum required size, and a patio has a minimum size depending on the number of people expected to employ the patio at in one case.
Spaces can be connected through the use of lines, such every bit pathways, or they can be visually connected through the use of accent (focal points) that captures attention and leads the eye, or through repetition of elements that connects spaces through similar objects. Some other important concept of outdoor design is direction or physical movement within a infinite. Movement or circulation can be controlled through the apply of different materials, spatial system, focal points, and intentional marking of pathways. Using all of the elements and principles will tie the entire landscape together in a unified, functional mode.
Summary
The fundamental concept of mural design is trouble solving through the use of horticultural scientific discipline, artful composition, and spatial system to create attractive and functional outdoor "rooms" for unlike uses. The elements (visual qualities)—line, form, texture, color, and visual weight, and principles (guidelines) —proportion, club, repetition, and unity of design are used to create spaces, connect them, and make them visually pleasing to the eye.
Source: https://edis.ifas.ufl.edu/publication/MG086
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