|
|
|
Tomatoes 2008
|
There are no hard and fast rules for landscaping since each design is a unique creation. As in all art forms, landscaping is based on certain principles of design. These principles are discussed below. Scale. Scale refers to the proportion between two sets of dimensions. Knowing the eventual or mature size of a plant is critical when locating it near a building. Plants that grow too large will overwhelm a building. Small plantings around a large building may be similarly inappropriate. It is essential, therefore, to know the final size of a particular plant before using it in a landscape. Both the mature height and spread of a plant should be considered. Balance. Balance in landscaping refers to an aesthetically pleasing integration of elements in the landscape. It is a sense of one part being of equal visual weight or mass to another. There are two types of balance, symmetrical and asymmetrical (Figure 7.3). Symmetrical balance is formal balance. It has an axis with everything on one side being duplicated or mirrored on the other side. Asymmetrical balance is achieved by using different objects to achieve equilibrium. For example, if there is a very large object on one side of a seesaw, it can be counterbalanced on the other side by using many smaller objects or one object of equal size. In each instance, balance is achieved. This applies to landscaping when there is a large existing tree or shrub. To achieve visual equilibrium, a grouping or cluster of smaller plants is used to counterbalance the large existing plant. Balance may also be achieved through the use of color and texture. Unity. A garden with too many ideas expressed in a limited area lacks unity. Too many showy plants or too many accessories on the lawn claim more attention than the house itself. Using too many accent plants or plants with contrasting textures, forms or colors violates the principles of unity. In order to achieve unity, it is necessary to group or arrange different parts of the design to appear as a single unit. The design should present a pleasant picture from every angle. Rhythm. Rhythm is the repetition of elements which directs the eye through the design. Rhythm results only when elements appear in regular measures and in a definite direction. Rhythm is expressed in color as well as form. Simplicity. Every square foot of landscape does not have to have something in it. Objects such as bird baths or plastic yellow daisies are often overused in the landscape. One design concept states that “less is more,” and this is especially true regarding landscape design. Keep the landscape simple, and it will look its best. Avoid cluttering the yard with unnecessary objects. This includes plant material, statuary and miscellaneous objects. When too many extras are introduced, the yard looks messy. Use statuary or specimen plants with discretion. The simplest landscapes are often the most attractive. Remember to create spaces instead of filling them up. Accent. Accent is important in the total landscape picture and is also referred to as dominance, focalization or climax (Figure 7.4). Without accent, a design may be dull, static or uninteresting. When skillfully organized, various parts of the landscape lead the eye toward the focal point. This may be a garden accessory, plant specimen, plant composition or some use of water. Emphasis can also be obtained by using contrasting textures, colors or forms, or by highlighting portions of a plant composition with garden lights. Repetition. Do not confuse repetition in the landscape with monotony. A row of sheared hedges lined up in front and down the side of a home is not repetition; it is monotony. Repetition is more subtle; for example, the use of curves in the landscape design. Curves may begin in bed lines in the front yard, continue in the side yard, and be picked up once more in the backyard. Alternatively, the repeated use of right angles on a grid design can be used to achieve unity in the landscape. Right angles may begin in the front yard, perhaps on the sidewalk and then be used in bed lines which go around the property and be picked up again in the backyard. To achieve a continuity or flow to the entire landscape, subtly repeat design elements, such as bed lines in the yard. Harmony. Harmony is achieved through a pleasing arrangement of parts. Space Dividers, Accents and Transitions. An easy method of combining plant and architectural characteristics is the consideration of space dividers, accents and transitions. These three elements are present in all successful landscape compositions. Space dividers define or give privacy to spaces, create the background for outdoor living activities and create dominance. Space dividers can be fences, walls, hedges or borders. Space dividers must have height, must be arranged in groups that border spaces (open lawn or patio area) and must contain the most visually uniform characteristics in the composition. Transitions form the connecting link between space dividers and accents, or between the house and the land. To harmonize these elements, the transitions must be composed of characteristics that are found in both the space dividers and accents. Accents, which are actually a minor part of the composition, create interest by contrasting characteristics with the space dividers. Accents may be displayed in two ways; hidden in niches within the space dividers, or standing free within the area created by the space dividers. In any design, only one of the two methods should be employed or visual confusion may result. Dominance and Contrast. In any composition, a majority of dominant or repeated characteristics are accented by a minority of contrasting characteristics. For a garden in which little time is spent, the magnitude of contrast between the dominant characteristics and accents is very strong. Gardens of this type include entrance courts, street-side foundation plantings, entrances to public buildings or plantings seen from the roadway. The magnitude of contrast refers to the degree of change between visual characteristics, such as plant type, height, form, color and texture. Generally, the ratio of dominant characteristics to contrasting features should be about 80 to 20 percent or 90 to 10 percent. Also, the accents must be concentrated in one area. Gardens of this type take on a bold, architectural effect as in many contemporary California gardens. The effect can be grasped and understood at a glance. For a garden in which a great deal of time is spent, such as a viewing garden, a private garden adjacent to the home or a dining garden, the magnitude of dominance to contrast should be about 70 to 30 percent. The contrast can be rhythmically placed instead of being concentrated in one area. This type of garden would be appropriate for relaxation and meditation. It often takes on a Japanese effect, which is conducive to contemplative study needed to grasp the essence of the garden. The ratio of dominance to contrast should never drop to 55 to 45 percent; at this point, dominance is lost and visual confusion results.| An example of a plant composition containing a strong contrast between space dividers, transitions and accents is described as follows: the space divider is formed by grouping hemlock, spruce and white pine (all narrow leaf evergreen trees); the accent is formed by a massing of crape myrtles (flowering deciduous trees); and the transition is formed by a massing of firethorn (a broadleaf evergreen shrub). Contrast between space dividers and accents in this example is created by: Tree types - evergreen and deciduous Form - evergreens are pyramidal, in contrast to the rounded crape myrtle Height - evergreens grow to at least 40 feet, in contrast to crape myrtle which grows to about 15 feet |