BasicPrinciplesofLandsc
apeDesign
Landscaping combines elements of art and science to create a functional, aesthetically pleasing extension of indoor living to the outdoors. One initial purpose of landscape design is to blend man's technology (house or building) into the natural surroundings. To work toward a desirable landscape design, the landscape horticulturist must have a working knowledge of art elements and design principles.
Elements of Art
Elements of art include but are not limited to color, line, form, texture and scale. These elements are never independent of each other, but we will discuss their individual natures before considering the interactions.
Color
Color variation can best be explained by use of a color wheel. Primary colors are red, blue and yellow. Orange, green and violet are called secondary colors because they are combinations of two primary colors. For example, yellow and red are combined to yield orange. Tertiary colors are the fusion of one primary and one secondary color. These colors would be between primary and secondary colors.
Tint refers to a light value and is accomplished by adding white to the pure color on the color wheel, while shade is a dark value and is created by adding black to the pure color on the color wheel. Black, white and grey are neutrals and are compatible with any color. Light colors and tints tend to attract attention, as do bright, vivid colors.
Colors are combined into color schemes for practical applications. Three basic color schemes are monochromatic, analogous and complementary. A monochromatic color scheme consists of different tints and shades of one color and is seldom achieved in its
pure form in the landscape. An example of an incomplete monochromatic color scheme would include white and pink flowers with a background of a dark pink and red brick house.
Analogous color schemes combine colors, which are adjacent or side-by-side on the color wheel. An analogous color scheme could include green, blue-green, green-blue, blue and violet blue. This color scheme could be achieved by varying the foliage color from green to blue-green or by using pyracantha with orange-red berries against a red brick house.
Complementary color schemes combine colors directly across the color wheel. For example, red and green would be complementary colors. A complementary color scheme may be achieved by using plants with green foliage against a red brick house.
It is possible to have varying color schemes in one area of the landscape as the seasons change. White and pink azaleas flowers can yield a monochromatic color
scheme with a red brick house. The green azalea foliage would produce a complementary color for the red brick during the summer. Pyracantha berries would be an analogous color to the red brick in the fall. The landscape designer should consider the color changes throughout the year when developing a landscape plan.
Colors can be used to visually change distance perspective. Warm colors and light tints like red, orange, yellow and white advance an object or area toward the observer. These colors and tints placed near the foundation of a house would make the house appear closer to the street. Cool colors and deep shades like blue, green and black recede and can be used to make the house appear farther from the street. Cool colors are restful while warm colors express action and are best used in filtered light or against a green or dark background.
Color can be used to direct attention in the landscape. Due to this strong characteristic, color should be used carefully. When color is used for this purpose, consideration must be given to year-round color
not just to seasonal color. Consideration may also be given to the time of day when this color will be enjoyed. White or light tints could be used to create interest on a patio. Dark colors would add little to family enjoyment of this area as the daylight hours passed.
Line
Line is related to eye movement or flow. The concept and creation of line depends upon the purpose of the design and existing patterns. In the overall landscape, line is inferred by bed arrangement and the way these beds fit or flow together. Line is also created vertically by changes in plant height and the height of tree and shrub canopies. Branching habits of plants, arrangement of leaves and/or sequence of plant materials create line in a small area such as an entrance or privacy garden.
Straight lines tend to be forceful, structural and stable and direct the observer's eye to a point faster than curved lines. Curved or free-flowing lines are
sometimes described as smooth, graceful or gentle and create a relaxing, progressive, moving and natural feeling.
Form
Form and line are closely related. Line is considered usually in terms of the outline or edge of objects, whereas form is more encompassing. The concept of form is related also to the size of an object or area. Form can be discussed in terms of individual plant growth habits or as the planting arrangement in a landscape.
Plant forms include upright, oval, columnar, spreading, broad spreading, weeping, etc. Form is basically the shape and structure of a plant or mass of plants. Structures also have form and should be considered as such when designing the area around them.
Texture
Texture describes the surface quality of an object
than can be seen or felt. Surfaces in the landscape includes buildings, walks, patios, groundcovers and plants. The texture of plants differs as the relationships between the leaves, twigs and branches differ . Coarse, medium or fine could be used to describe texture but so could smooth, rough, glossy or dull.
Scale
Scale refers to the size of an object or objects in relation to the surroundings. Size refers to definite measurements while scale describes the size relationship between adjacent objects. The size of plantings and buildings compared on the human scale must be considered.
Principles of Design
Color, line, form, texture and scale are tools ，which are used in combinations to adjust design principles. Design principles include unity, balance, transition, focalization, proportion, rhythm,
repetition and simplicity. All these principles interact to yield the intended design.
Unity is obtained by the effective use of components in a design to express a main idea through consistent style. Unity is emphasized by consistency of character between units in the landscape. Use of elements to express a specific theme within units creates harmony. Unity can be achieved by using mass planting and repetition.
Unity means that all parts of the composition or landscape go together; they fit. A natural feeling evolves when each activity area belongs to and blends with the entire landscape. Everything selected for a landscape must complement the central scheme and must, above all, serve some functional purpose.
Balance in design refers to the equilibrium or equality of visual attraction. Symmetrical balance is achieved when one side of the design is a mirror image of the other side. There is a distinct dividing line
between the two sides. Equal lines, forms, textures or colors are on each side of a symmetrical design.
Asymmetrical balance uses different forms, colors and textures to obtain balance of visual attraction. These opposing compositions on either side of the central axis create equal attraction. For example, mass may be opposed by color or linear dimension by height.
The landscape designer must skillfully manipulate the design elements to create asymmetrical balance. The central axis must be predetermined and then developed by the elements of art and other principles of design discussed in this publication.
Transition is gradual change. Transition in color can be illustrated by the radial sequence on the color wheel (monochromatic color scheme) previously discussed. Transition can be obtained by the arrangement of objects with varying textures, forms, or sizes in a logical sequential order. For example, coarse to medium to fine textures, round to oval to linear structural forms, or
cylindrical to globular to prostrate plants. An unlimited number of schemes exist by combining elements of various size, form, texture and color to create transition. Remember, transition refers to the 3-dimensional perspective of composition, not just the flat or facial view.
It is possible to use transition to extend visual dimensions beyond actual dimensions. For example, radical lines in the private area of the landscape can be used to enframe and/or focalize a lake scene. Transition of plant materials along these lines can make the scene become a part of the landscape. Transition from taller to shorter plants with textural changes from coarse to fine along focal lines emphasizes the beauty of a lake scene. Transition from shorter to taller plants and from fine to coarse textures would enframe the scene and make it appear closer, like a painting on a wall. Generally, transition assists in the gradual movement of a viewer's eye to the design and within it.
Proportion refers to the size of parts of the design
in relation to each other and to the design as a whole. One large towering oak may compliment an office building but would probably dwarf a single story residence . A three-foot pool would be lost in a large open lawn but would fit beautifully into a small private area. And of course, a colossal fountain would dominate a private garden but could enhance a large city plaza.
Proportion in landscape design usually relates to people and their activities. The desired size relationships of components in a design should pose little problem for the designer who considers this principle routinely in systematic thought processes.
Rhythm is achieved when the elements of a design create a feeling of motion which leads the viewer's eye through or even beyond the designed area. Tools like color schemes, line and form can be repeated to attain rhythm in landscape design. Rhythm reduces confusion in the design.
Focalization involves the leading of visual
observation toward a feature by placement of this feature at the vanishing point between radial or approaching lines. Straight radial lines create a strong focalization when compared to curved lines. The viewer's eye is quickly forced along straight lines to a focal point. Generally, weaker or flowing lines of focalization are desirable in the residential landscape. Transition of plants or other objects along these lines can strengthen or weaken the focalization. Curved lines are stronger when curved toward each other than when curved outward. Indirect focalization is created by lines curved in the same direction. Focalization can be adjusted by plant materials along the lines to create symmetrical or asymmetrical focalization. Asymmetrical focalization is indirect while symmetrical focalization is more direct, creating stronger focalization.
Since focalization can be used to direct attention to a point, traffic in an area is usually directed to that point. Therefore, focalization could be used to direct traffic in a garden area. Guidance of view toward features of commercial, aesthetic or cultural value may
attract the eye of the unaware without conscious effort.
Repetition refers to the repeated use of features like plants with identical shape, line, form, texture and/or color. Too much repetition creates monotony but when used effectively can lead to rhythm, focalization or emphasis. Unity can be achieved better by no other means than repetition. Think of repetition as not having too much variety in the design, which creates a cluttered or busy appearance.
Simplicity goes hand-in-hand with repetition and can be achieved by elimination of unnecessary detail. Too much variety or detail creates confusion of perception. Simplicity is the reduction of a design to its simplest, functional form, which avoids unnecessary cost and maintenance景观设计的原则景观要素是艺术和科学的相结合,创造一个功能、造型美观延伸到户外生活的室内。最初的目的之一是把景观设计的技术(或建筑的自然环境)朝着一个理想的景观设计、园林园艺家必须懂艺术元素,设计时应遵循的原则。
艺术元素
艺术的元素,包括但不限于色彩,线条、形式、纹理和规模。这些元素从来不是相互独立的,但我们将讨论各自的性质,然后再考虑之间的相互作用。
色彩
颜色变化可以使用一种颜色来解释。主要颜色是红色,蓝色和黄色的。橙色、绿色、紫色被称为第二颜色,因为他们是两种基本颜色的组合。例如,黄色和红色组合产量橙。主体的颜色是一个主要的融合,而非一个次要的颜色。这些颜色能在主体和次要颜色体现。
色彩是指光线值,通过添加白色纯色的颜色,是一个轮子是由黑暗的价值,增加黑纯色的颜色。黑、白、灰是中立国,是兼容与任何颜色。光的颜色和色调往往引起人们的关注,以及明亮、鲜艳的颜色。
颜色组合成颜色适合实际应用。三种基本颜色计划一色,类似与互补。一个单色的配色方案包含不同的色调,深浅不一的一种颜色,很少在其纯粹形式的景观。例如一个完整的单色
填充计划将包括白色和粉红色花,深粉红色和背景的红砖房。
类似的颜色组合的颜色,或者对颜色并排相邻。一个类似的颜色计划可能包括绿色、蓝绿色,蓝绿、蓝、紫蓝色的。这颜色方案可以改变叶面颜色由绿蓝或使用橙红色反对用红砖房。补色方案将直接穿过色盘。例如,红色和绿色会互补色。一个互补的配色方案可通过植物的叶子和绿色对抗红砖房。
这是可能的,也有不同的配色方案在一个区域的景观季节变化。白色和粉红色杜鹃花花可以产生一个单色的配色方案和红砖房。绿色的杜鹃花叶子会产生一种互补色的红砖在夏天的时候。景观设计师应考虑色彩变化贯穿全年当开发一种景观规划。
色彩可以用来视觉变化的观点。距离,温暖的颜色和光色块，如红色、橙色、黄色和白色的物体或地区预先向旁观者。这些颜色和市面上的基础臵于靠近房子会使房子显得更接近街。冷色和深色调。我喜欢蓝色,绿色和黑色退去,可以用来做这房子看起来远从街。冷色宁静而温暖的颜色,最好是用快递行动中对一个绿色光或过滤或深色的背景。
色彩可以用来直接关注景观。由于这种特点,色彩应该小
心使用。当颜色是用于该目的时,应当考虑全年的颜色不仅仅是季节性的颜色。也可以考虑给一天时间这个颜色就会快乐。白色或淡色调可以用来创造利益，而暗的颜色会增加一点家庭享受这个区域的时间使白天时间快点过去。
线
线与眼球运动相关这个观念和创作的目的，取决于设计以及现有的模式。在整体的景观，视线推导出床旁边合适的安排，或者由线推出垂直变化上树和灌木的高度。在一个小的区域线，如一个入口或隐私花园，就是按照植物的习惯、排列分支的叶子或序列的植物材料。
直线趋于稳定,有力的结构使直接的观察者的眼睛以点的速度来比较比弯曲的线条。弯曲或通畅的线条流畅,有时也显得优雅温和,并创造了一个轻松向上自然的感觉。
格式
表格和线条都是密切相关的。通常被认为是在线条轮廓边的物体,或者更多的包含表格。这个概念的形式与形态一个物体的大小或区域，表格可以谈独立植物生长习性。植物的
形式包括正直,呈椭圆形,柱状、传播、广泛传播等等。形式的形状和结构主要是一种植物或大规模的植物。结构形式,也应该被认为是这样时的设计。
纹理
纹理描述物体的表面质量比可见或感觉要直观。在景观包括建筑物的表面，不同纹理的植物的关系不同，树枝和树叶是不同的，粗糙的,适中的,还是可以用纹理描述。
规模
量表一词指的是一个物体的大小或对象与周围的环境关系。是指一定规模大小尺寸与邻近对象之间的关系。花圃和建筑物的大小相比,尺度上都必须予以考虑。
设计的原则
色彩、线条、形式、纹理和规模的工具,用于组合调整设计时应遵循的原则。设计原则包括统一、平衡、转换、针对性、比例、节奏、重复和简单。这些原则对产量预期设计互动。统一是得到有效利用元件设计的主要思想表达通过
一贯的风格。统一是强调一致性的角色在景观之间的单位。利用元素来表达一个特定的主题,创造和谐的部门内。可实现统一采用大规模种植和重复。联合意味着所有的部分组成,他们一起去还是风景。当每一个自然感觉的活动区域发展和配属于全景观。每一个景观必须补充挑选且必须,中央计划,为某些功能的目的。
平衡设计是指视觉吸引力的平衡和男女平等。对称的平衡时,就可以设计的一面镜子形象的另一边。有一个不同双方之间的界限。平等的线、形式、材质和色彩的两侧对称设计。不对称的平衡,使用不同的形式、颜色和纹理来获得平衡的视觉吸引力。这些对立的成分两侧的中轴线创造平等吸引力。例如,质量可能会反对颜色或线性维身高。景观设计师必须熟练操纵的设计元素创建对称的平衡。中央轴必须预定并自行开发的元素的艺术和其他原理。
转变是渐进的变化。颜色能说明过渡的径向序列的颜色轮(单色填充方案)，这在先前已讨论了。可得到的过渡安排不同的物体或大小、形态、纹理的逻辑顺序。例如,粗的纹理和细的纹理中，结构形式,球形的植物。方案存在的元素进行分析的基础上,结合不同大小、形状、颜色和纹理来创造转变。三维视角的转换是指组成的元素,而不只是平坦。它可以用过
渡到延伸视觉维度的实际尺寸。例如,激进线条的私人空间景观可以用一个框架来聚焦一个湖景。植物原料转变沿着这条思路可使场景变成的景观。植物从的纹理变化随着粗线条细线的美丽线条强调这一湖景。由低到高的植物,由粗纹理组成的场景,使它看起来更像一幅在墙壁上油画。一般来说,协助他们逐渐过渡到观众眼球里的是里面的运动的设计。
这是指大小比例的部分的设计在彼此间的关系,对设计作为一个整体。一个大型参天橡树可能称赞一栋办公大楼,但也可能是单一的故事。一个尺寸会迷失在草地,或健康漂亮的小的私人空间。当然,一个巨大的喷泉将占据一个私人花园,但可以提高城市广场在景观设计中所占的比例通常涉及到人民和他们的活动。理想的大小之间的关系的部件在设计应构成的一个小问题,认为这一原则通常设计者在系统的思维过程。
当节奏的元素设计创造了一种感觉,运动使观众的眼睛甚至超出了设计领域。工具一样颜色的方案,线条和形式,可反复达到的景观设计中的节奏。混乱主要聚焦包括视觉观察向被放臵在消逝点这个特征之间的径向或临近线路。直接辐射线创造一个强有力的聚焦相比曲线，观众的眼睛很快被强迫沿着直线的一个焦点。一般而言,较弱或飘逸的线条,是理
想的网际景观。转换的植物或其他东西,沿着这条思路可以增强或减弱的针对性。弯曲的线条时向对方强曲线曲面外在比。间接聚焦是由相同的方向弯曲的线条。还可以调整聚焦的植物材料的线条创建对称或不对称网络。网络是间接而非对称针对性强,更直接聚焦的。
自聚焦可以用来指导注意到一个点, 交通在一个区域通常是针对这一点。因此,网络可以用来直接交通在园区。为了指导的特点、审美文化价值的商业吸引眼球的意识到没有有意识的努力。
重复是指重复使用的功能,如植物具有相同的形状,线条、形式、纹理或颜色。太多的重复单调,但当使用创造有效能导致节奏、针对性和重点。团结,可达到更好的被任何其他方式比重复。如没有想到重复太多不同的设计,创造一个杂乱或繁忙的外观。
简单,重复,可以达到消除不必要的细节。太多的不同造成了困惑或细节的感知。简单是降低其简单的设计,避免不必要的函数形式,成本和维护。