Showing posts with label design. Show all posts
Showing posts with label design. Show all posts
Thursday, March 6, 2014
Basic Principles of Landscape Design
Dewayne L. Ingram2
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 mans 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. This publication is intended for the commercial landscaper with little or no training in the use of these basic principles. This publication is not a complete landscape design text.
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 variation can best be explained by use of a color wheel ( Figure 1 ). 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.
Figure 1
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 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 ( Figure 2 ). Line is also created vertically by changes in plant height and the height of tree and shrub canopies. Line in a small area such as an entrance or privacy garden is created by branching habits of plants, arrangement of leaves and/or sequence of plant materials.
Figure 2
Straight lines tend to be forceful, structural and stable and direct the observers 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 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. ( Figure 3 ). 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.
Figure 3
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 ( Figure 4 ). Coarse, medium or fine could be used to describe texture but so could smooth, rough, glossy or dull.
Figure 4
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 ( Figure 5 ).
Figure 5
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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 mans 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. This publication is intended for the commercial landscaper with little or no training in the use of these basic principles. This publication is not a complete landscape design text.
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 variation can best be explained by use of a color wheel ( Figure 1 ). 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.
Figure 1
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 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 ( Figure 2 ). Line is also created vertically by changes in plant height and the height of tree and shrub canopies. Line in a small area such as an entrance or privacy garden is created by branching habits of plants, arrangement of leaves and/or sequence of plant materials.
Figure 2
Straight lines tend to be forceful, structural and stable and direct the observers 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 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. ( Figure 3 ). 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.
Figure 3
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 ( Figure 4 ). Coarse, medium or fine could be used to describe texture but so could smooth, rough, glossy or dull.
Figure 4
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 ( Figure 5 ).
Figure 5
Landscaping Design Software
Landscape design software is used to create landscape ideas and view landscaping tasks. Anyone can use this kind of software, whether you are a DIY fanatic or a professional landscaper. It can save you time by reducing the amount of work you end up doing as well as rid you of lots of inconveniences. You can modify your design, view a general concept of how the final design will look and more.But, in order to get your desired results, you have to first understand what your needs are. Lets look at what some of your needs may be and the expectations of using landscape design software.
One of the errors people make is to expect that the design software will do the design for them. This is a big misconception. While some software will have ready-made designs which you can tweak, if you dont have the basic knowledge of landscape design, it can be hard to get the look you want.
The great advantage of landscaping design software is that you dont have to know how to draw. You can create a color plan, 3-D views and be able to make changes in a snap. The downside though is that it can be time consuming to learn to use the features. You have to know how to use the software before you begin designing. In addition, you can only use the materials provided for you in the template chooser and you have to be able to apply your knowledge of landscape design as the software doesnt do the design for you.
Best Way to Plan a Landscape
A great option to juggle both worlds is to sketch a rough draft on paper of what your idea is. Once you have an idea of what you want your design to look like, you can apply the use of the software to create a proper design and allow you to get a 3-D view.
The fundamental aspect of the design, however, is the primary survey. Taking a guess of the size and shape of your landscape is a huge mistake. You can still create a beautiful design but if it doesnt fit the space, then you would have wasted your time. Good design entails fitting together the aspects of the entire area as one unit. Therefore, if a specific area had to be amended, it will have repercussions for the rest of the design as well.
Landscape design software can be downloaded for free. This would be a great option if you are just looking for something to help you sketch a plan or make simple drawings. Software that you can purchase is typically classified in expert groups. These are ideal for professionals wanting to invest in a business tool. For the average homeowner however, it would be too much money spent on something that wouldnt fulfill a significant need.
Before you decide to purchase landscape design software, you should first learn the principles of landscape design and practice on free software to see if you enjoy using computer aided design.
To learn more about landscaping software, as well as other ways to help you create the best outdoor decor, visit http://www.BetterBackyards.com/
Article Source: http://EzineArticles.com/?expert=Florin_Ciobanu
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Wednesday, March 5, 2014
Hydrangea in Landscape Design
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| Hydrangea Nikko Blue |
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| Nikko Blue Flower Head |
The Mopheads (Hydrangea macrophylla) are the most widely planted hydrangea in home landscapes and are usually blue or pink in color with large leaves.Hydrangea ‘Nikko Blue’ is very well known in the landscape for its large blue ball-shaped flowers that bloom towards the later part of the summer and deepen in color as they mature. ‘Nikko Blue’ Hydrangea does bloom on old wood, which means that if you are looking to prune your plant it needs to be done immediately after flowering before the fall. Hydrangea ‘Nikko Blue’ grows best in moist, well-drained soil in partial shade. It reaches 3-5 feet in height and is hardy to USDA Zone 5.
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| Hydrangea Endless Summer |
An alternative to Hydrangea ‘Nikko Blue’ is the new culitvar Hydrangea ‘Endless Summer’ which blooms on both old and new wood and ‘All Summer Beauty’ that blooms on the new growth of the season. Both of the later mentioned also have a much longer bloom time and repeatedly bloom throughout the summer. Each of these plants grows to approximately 3-5 feet in height, each grows best in partially shaded conditions (afternoon shade) and moist well drained soil and are hardy to USDA Zone 5. Hydrangea macrophylla ‘Blushing Bride’ in the Endless Summer Collection displays white blooms that turn pink with age.
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| French Miniature Hydrangea macrophylla Pia Pink Elf |
Hydrangea ‘Pia’ is a miniature French hybrid with broad pink flowers growing only to 2 feet in height, a good candidate for small spaces. ‘Pia’ also grows best in partial sun with afternoon shade and prefers a rich organic soil.
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| Hydrangea Tokyo Delight |
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| Hydrangea Twist & Shout |
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| Peegee Hydrangea Tree Form |
and is hardy in Zones 4-8.
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| Panicle Hydrangea Tardivia |
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| Hydrangea Annabelle |
Hydrangea arborescens ‘Annabelle’, a native of the U.S., is a more shade tolerant hydrangea that produces showy ball shaped white blooms in summer, grows 3-5 feet in height and is hardy to USDA Zone 3. ‘Annabelle’ blooms on new wood and can be severely pruned in winter in order to restore shape.
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| Hydrangea Bella Anna (Endless Summer Collection) |
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| Oakleaf Hydrangea |
The last two varieties of hydrangea are Hydrangea quercifolia or ‘Oakleaf ‘Hydrangea and Climbing Hydrangea. The Oakleaf hydrangea serves as an excellent plant for massing in a woodland setting. The name ‘Oakleaf’ comes from the oak-shaped leaves that turn a bright mahogany red in fall for a brilliant display. The upright panicles of large white flowers appear in June and the plant has a rounded habit, grows 4-6 feet in height and is hardy to USDA Zone 5. Hydrangea quercifolia does well in partial shade in a well drained most soil. This hydrangea blooms on old wood and should be pruned immediately after flowering. Climbing Hydrangea (H. anomala petiolaris) is an upcoming variety becoming more popular in the landscape. As the name implies this hydrangea once established produces vigorous vines and a profusion of lightly scented blooms.
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| H. anomala petiolaris-Climbing Hydrangea |
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| Endless Summer Collection |
Hydrangea has been a favorite plant of gardeners for centuries and will continue to show off their beauty in the landscape. There are selections for every taste and with the new cultivars that bloom on new and old wood pruning is now made easier. Hydrangea can fit into a variety of landscape styles and serve as an excellent addition for color in a partially shaded area. Give this plant a chance to shine in your garden and you will be happy you did!
Author: Lee@A Guide To Northeastern Gardening Copyright 2011. All Rights Reserved.
Monday, March 3, 2014
Project Featured in Maine Home Design
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| The site of Winslow Homers iconic paintings is the setting for a modern Maine summer house. Photo by Thomas Rainer |
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| Deschampsia caespitosa frames the oceanside lawn. Photo by Francois Gagne. |
The project began five years ago while I was with Oehme, van Sweden & Associates. Principal Eric Groft set the tone for the project by insisting the garden not be overly fussy. The house is a Maine summer house, after all, and the garden is meant to capture the spirit of a midsummer retreat. The local zoning code excluded any impervious surfaces on the ocean side of the property, so that became the place for a small lawn. Since the lawn borders the dramatic wind-shearn cliffs, we wanted to keep it natural and relaxed, so native grasses such as Panicum and Deschampsia mix with Monarda and Rudbeckias. The lawn became the obvious place for the clients children to play raquetball or other summer sports.
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A timber frame pergola anchors the wild garden in the front of the house. Pot by Maine based Lunaform. Photo by Francois Gagne. |
Since the ocean side was so simple, the front of the house is where we added a bit of intricacy. Eric suggested we look at the Beatrix Farrands palette at Reef Point. This became the inspiration for the wild garden in the front. A low stone wall frames the entry garden. Outside of the wall, we planted blueberry sod purchased from a nearby Maine farmer who was converting part of his fields into pasture. The sod blends into a riot of deciduous ferns and bunchberry that spreads from a nearby stand of woods. Inside of the entry garden, a blue and chartreuse themed wild garden teems with delphiniums, iris, goatsbeard, and globe flowers. A large, timber frame pergola anchors the south side of the garden. Learning how to design and construct this pergola was a real education for me in the ancient craft of timber-frame construction. The entire structure is held together without a single nail.
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| The entry garden is framed by a low stone wall that holds a Maine style cottage garden. Photo by Thomas Rainer. |
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| The path to the ocean side passes panicle hydrangeas and native Clethra Hummingbird. Photo by Thomas Rainer. |
The other joy of this project was working with local Maine craftsman to adorn the garden. Maine based Lunaform supplied the large hand-crafted planters that animate the entry garden. Their collection of rugged but perfectly proportioned pots were ideal for this site. Maine firm Weatherend supplied one of the curved settee benches, while New Mexico artist Benjamin Forgey created the other bench out of driftwood he collected.
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A gently curving lawn is bordered by native cedars, switchgrass, and black eyed susans. Photo by Thomas Rainer |
It was indeed a rare privilege to work on a site with so much character and to work with such skilled craftsmen. Designing the details of this project and managing its installation was a great learning experience for me. Eric Grofts intuitive and gestural approach to designing landscapes--what you feel a site should be--is something that has stayed with me until today. Its hard for a young designer to learn to trust your gut, to hold on to those first impressions you had when you walked onto the site. Its especially hard once you throw in all the demands of a project: the clients wishlist, the regulatory constraints, the horticultural requirements . . . all those things start to cloud that original vision. But the best designers know how to listen to their instincts and simplify. When I look at photos of the garden, I remember the first quick lines Eric drew on the survey. Those first gestures were preserved through the design and installation, and it is those lines--those gut-level responses to a powerful site--that hold the garden together today.
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