1.1 Unity “Unity” in design refers to the harmonious integration of various elements to create a cohesive and easily understandable composition.. 1.4 Summary The differences and inter
ORGANIZING PRINCIPLES
Unity
"Unity" in design signifies the harmonious integration of diverse elements, creating a cohesive and easily understandable composition Similar to how nature can fragment a rock while retaining its essence, unity reflects a sense of oneness achieved by arranging various landscape components around a central theme.
Additional unifying techniques include repetition of line, form, texture, or color— particularly effective when used in conjunction with grouping similar elements into tight clusters of connected lineal arrangements
Figure 1.1: The rectangular paving repeated throughout the space
Figure 1.2: A flowing body of water
A flowing body of water is used as a unifying thread, interspersed with repeated clusters of boulders
Figure 1.3:Plants can be organized into strong, well-defined groups of similar species
A design lacking unity will result in chaos, similar to a disordered collection of plants or a random assortment of rocks scattered across a gravel surface.
Harmony
Harmony is a state of accord among elements and with their surroundings In contrast to unity, harmony has to do with the relationship between elements as opposed to the
Achieving harmony involves elements that blend and mesh well together, creating a cohesive overall picture In contrast, elements that disrupt each other's integrity or settings result in disharmony Techniques for attaining harmony can be found starting on page 96.
The integration of form emphasizes the importance of smooth transitions and strong connections between various elements, while ensuring adequate buffers Authenticity and functional value enhance overall harmony Utilizing natural materials with a sincere purpose to address landscape challenges fosters a more cohesive environment compared to artificial products lacking artistry or function It is advisable to steer clear of solutions that seem incongruous, awkward, or weak.
Examples of designs lacking in harmony:
A small bridge in the lawn going nowhere in particular and crossing nothing of significance is incongruous with its surroundings
By contrast, twenty flamingos in a group could create a striking and harmonious impact
Interest
Interest is a crucial element in design, encompassing curiosity and fascination It enhances aesthetic satisfaction through the introduction of variety in shapes, sizes, textures, and colors, along with changes in direction, movement, sound, or light quality Unique elements and organized patterns that encourage discovery and surprise further amplify interest, making it essential for successful design.
Summary
The differences and interdependence of unity, harmony, and interest will be shown by these graphic sequences:
Chaos: The composition lacks unity, harmony, or interest The arrangement is chaotic with weak relationships among the squares
Unity: The composition is unified by the curved organization and somewhat by the repetition of the squares But it lacks harmony because of the awkward connections
The composition showcases harmonious relationships among the squares, all aligned in parallel However, it ultimately lacks a strong sense of unity and cohesion among the individual elements.
Unity and Harmony: The composition is now unified through organization within a rectangle and has harmonious relationships, but like the previous compositions it lacks interest
Figure 1.10: Unity and Harmony with Interest
Unity and Harmony with Interest: Here the composition is unified within an "S" arrangement All edges are aligned in a harmonious parallel relationship The size variation of the squares adds interest.
Other principles of organization
• Emphasis o Contrast o An Unusual or Unique Element o Enframement and Focalization o Rhythm
• Informal balance o Non-geometric o Asymmetrical
CASE STUDIES
Project 1: Courtyard of Circles
• Create advantages in attracting views and high-level variations
• The layout must ensure minimal safety for children or pets
• Emphasize colors and building materials while maintaining harmony with the structure
• Circular forms as the primary theme Circles are used here to imply equality and absence of hierarchy to foster the process of sharing ideas in a nonthreatening, informal environment
• The organic edge is a secondary theme
• Scale: Human scale but large enough to accommodate larger groups of 20 or 30 people
• Contrasts: Circles contrast with the existing rectilinear wall Planted buffer space is needed
• Interest: Variety of circle size and diversity of plant material
• Unity: Simple repetition of circular forms for an overall cohesive image
• Dominance and Hierarchy: At the heart of the site is the main focal element: the naturalistic stream and pond The hierarchy of three circles allows larger
8 gatherings to occur on the bigger two and intimate groups to use the smaller one All groups use the integrated seating
• Harmony: Planted buffer space to ease the visual transition between contrasting internal circular forms and external rectilinear walls All paving meets walls and edges at 90° connections
• Spatial Characteristics: A hierarchy of small, medium, and large spaces for different uses Mounded grassy circle for amphitheater effect Sunken stepped area next to pond provides maximum enclosure
Figure 2.1: Concept plan of Courtyard of Circles
Figure 2.2: Theme composition diagram of Courtyard of Circles
Figure 2.3: Final plan of Courtyard of Circles
Figure 2.4: Courtyard of Circles, before landscape renovations
Figure 2.5: Courtyard of Circles, overview from third-floor offices
Figure 2.6: Courtyard of Circles, the stream as a focal feature
Figure 2.7: Courtyard of Circles, eye-level view of the two smaller circles
Project 2: Corner Lot Garden
• To create usable spaces for relaxation and free play
• To provide for privacy without fences
• To stabilize front slopes with terracing and plantings
• To preserve existing mature trees
• The 45 /90 angular grid (front drive and entry)
• The 90 rectangular grid (front deck, back patio)
• Dominance: Spring and summer flowers provide the main visual impact Two mature trees dominate the back area A small fountain provides focus for the patio
• Scale: Family living, intimate scale, small groups
• Interest: Texture and color compositions of plant material provide seasonal interest
Indoor spaces seamlessly connect to outdoor living areas, creating a harmonious flow into the surrounding landscape The building's brick and wood siding extends into the environment through features like brick walls, decks, and shade structures Uninterrupted grass areas transition smoothly from the front to the back, blending effortlessly with neighboring yards.
The entry features a drop-off zone marked by pillars and an overhead canopy, leading to a spacious arrival area at the front door A hedgerow outlines the perimeter of this expansive space, while existing trees create a striking canopy overhead A small flight of steps connects the large open area to the cozy sunken patio, enhancing the overall spatial experience.
Figure 2.8: The concept plan of Corner Lot Garden
Figure 2.9: Theme composition diagram of Corner Lot Garden
Figure 2.10: The form evolution diagram of Corner Lot Garden
Figure 2.11: The final plan of Corner Lot Garden
Figure 2.12: The frontage to the east street of Corner Lot Garden
Figure 2.13: The pedestrian entry walkway of Corner Lot Garden
Figure 2.14: The rear patio of Corner Lot Garden
Figure 2.15: The back lawn with stepping-stones of Corner Lot Garden
Project 3: Pools of Pleasure
• To satisfy owners' concerns for security and privacy
• To maintain open views to the east
• To maximize usable space limited by a large three-story building placed on a small lot
• To match and blend the landscape with the symbolic architectural statement of success
• Primary Themes o The 135°/angular grid (back area and lakefront) o Circles and tangents (driveway)
• Secondary Themes o The organic edge (rock walls) o The meander (lawn edging)
The article emphasizes the dominance of white as the primary color scheme, highlighting the exploitation of water in diverse forms and temperatures as the central element It draws attention to the captivating sound and sparkle of falling water, which serves as the focal point of interest.
To create a harmonious transition from the imposing scale of the building to the more intimate human scale of the front entry and back recreation area, large trees are strategically planted Additionally, rhythmic pavement banding on the drive helps to visually diminish the apparent size of the pavement.
Contrasts: Strong edge contrast between white architectural elements and dark natural elements (stone, plants, mulched ground)
Lavender-colored awnings and patio furniture add a vibrant touch to outdoor spaces, while diverse water environments—such as waves, waterfalls, and reflections—create a serene atmosphere Seasonal changes in flower colors enhance the landscape, and strategically placed landscape lighting highlights focal areas and enhances the roofline, creating an inviting ambiance.
Unity: The square and diagonal lines of the building carry into the structure of the built landscape elements
The design features a drive and auto court that transition from a narrow entrance to a spacious turnaround zone, leading from an open drop-off area up majestic steps to a covered landing and into an enclosed foyer The play area benefits from a second-level deck, creating an intimate covered space The backyard is strategically oriented toward the lake, enhanced by tall building facades and a rock cliff, while the use of white color makes the area feel more expansive A smaller, partially enclosed space is nestled against the cliff, facing south toward the pool Subtle level changes guide the eye toward the shoreline, and a narrow, irregular stepped pathway connects the lower paved area to the upper grassed play area, inviting exploration.
Figure 2.16: The concept plan of Pools of Pleasure
Figure 2.17: The theme composition diagram Pools of Pleasure
Figure 2.18: The form evolution diagram Pools of Pleasure
Figure 2.19: The final plan of Pools of Pleasure
Figure 2.20: The driveway of Pools of Pleasure
Figure 2.21: The swimming pool overview
Figure 2.22: The waterfall and rockwork north of the main pool
Project 4: Tsukubai Dialogue
• To create a sense of peace, quiet, and tranquility
• To emphasize natural materials such as rocks, plants, earth forms, water, and log rounds
• To display the idea of harmony between man and nature by integrating rectangular-cut stone with natural river-worn stone
• To create a place for dialogue between the owner and his oriental business associates
• Primary Themes o The organic edge (boulders, stepping-stones, "stream") o The meander (log round wall, grass edges) o The 90 rectangular grid (bridge stones)
• Secondary Themes o The hexagon (lanterns) o The circle (tsukubai water basin)
• Dominance: Trickling water of the tsukubai as a powerful visual focus and for soothing background sound Large boulders as seat rocks Entries punctuated with small lanterns
• Scale: Intimate scale, one or two people for contemplation or conversation
• Contrasts: White gravel symbolizing water next to dark gray rocks; rectangular stone slabs bridging soft rounded stone borders; fine texture of small pebbles next to larger rocks
• Interest: Texture and form variations in plant materials; seasonal changes, brief episodes of spring and fall color
• Unity: "Stream" and walkway as two interweaving and unifying lineal elements
Repetition of smooth, river-worn stone throughout
• Spatial Characteristics: Narrow entryways transitioning to a wider paved stopping point Level changes with steps and terracing
Figure 2.23: The concept of Tsukubai Dialogue
Figure 2.24: The final plan of Tsukubai Dialogue
Figure 2.25: During landscape construction of Tsukubai Dialogue
Figure 2.26: The view toward the south of Tsukubai Dialogue
Figure 2.27: The center of the site with tsukubai (foreground) and conversation rocks of
Figure 2.28: The view toward the north with white symbolic stream of Tsukubai Dialogue.
BEYOND THE RULES
Acute Angle Forms
Previous chapters suggested that acute angles be avoided, but under certain conditions and with careful treatment, they can be successfully incorporated
The well-known architect I M Pei has effectively incorporated sharp corners into many of his structures They are strikingly different from the normal rectilinear corner
Figure 3 1 The sharps conners in structures designed by I M Pei
Similarly, the forms in the urban plazas shown in Figures 3.2 have many sharp edges
Their skillful positioning prevents them from becoming a hazard
Figure 3 2 The forms in urban plazas
The fountain in Singapore features stepped acute angle designs combined with a captivating water sculpture, which together amplify the dynamic movement of water To prevent point breakage, the tips of the structure have been rounded for enhanced durability.
Figure 3 3 The fountain in Singapore
Touching circles possess inherent acute angles, but paving infill at the same level addresses ground plane issues Additionally, rounding the hedge corners softens vertical plane edges in this design.
Figure 3 4 Paving infill at the same level and rounding the hedge corners
These triangular panels (Figures 3.5) are used to form an outdoor tension structure The sharp corners become a structural necessity rather than a liability
Counter Forms
Deliberate nonalignment of form introduces an element of tension in the landscape A straight wall bearing no relationship to the circle center (Figures 3.6) or a tilted wall (Figure 5-10) shows this tension
Figure 3 6 The circle center and a tilted wall
Conflicting design elements create a distinct emotional reaction, as seen in the unsettling interplay between the ground patterns and wall designs of a plaza in Denver, Colorado This visual discomfort prompted a complete redesign of the space, which was necessary for improvement.
Figure 3 7 The jarring of the plaza in Denver, Colorado
"Not-quite-right" forms intentionally create tension by contrasting with our subconscious ideal of perfection When we encounter an imperfect shape, such as a dented circle, our minds instinctively attempt to restore it to its flawless state.
Figure 3 8 The “not-quite-right” forms
We also want to make almost touching forms touch (Figure 3.9)
The intriguing aspect of two nearly parallel walls is their subtle dissonance (Figure 3.10) While some viewers might perceive this as an error and feel let down, others may recognize the intentional disharmony and seek an underlying purpose Ultimately, the lack of a definitive reason may simply serve to unsettle the observer.
Figure 3 10 Two walls is that are almost parallel but not quite
Overlapping counter forms are distinct shapes that are layered over one another without any clear connection For instance, when a curvy planting bed is placed over a straight-edged seat wall without acknowledging its structure, the overlapping areas create tension in the landscape This tension can be somewhat resolved by recognizing the individual forms involved.
Figure 3 11 The overlapping counter forms
In this pedestrian mall in Singapore (Figure 3.12), several contrasting forms exist: curving walls, straight bands, irregular stone edges, rectilinear steps, and three different
31 paving patterns All are mixed in whimsical irrational relationships Nothing is aligned Perhaps the rules were broken to create a fanciful mood
Figure 3 12 The pedestrian mall in Singapore
The playful qualities of this paving pattern in Del Mar, California (Figure 3.13) also express a frivolous abandonment of any rigid structure
Figure 3 13 The paving pattern in Del Mar, California
Deconstruction
Deliberate design elements in objects and spaces can evoke feelings of destruction, decay, or incompletion While some may view this approach as a mere gimmick for attention, it often aligns with the original goals and concepts of the design Although unconventional, this aesthetic is not a novel idea; many classical English gardens have embraced similar themes.
"ruins" specially constructed to create a sense of belonging to an earlier time (Figure 3.14)
In Stuttgart, Germany, wall units are strategically positioned within the landscape to form a visually striking fall-out composition While the blocks present challenges for mowing, they create a captivating image of organized chaos, highlighted by the unique shape of the wall's opening and the contrasting arrangement of the blocks below.
Figure 3 15 The fall-out composition in Stuttgart, Germany
The stone garden in Sindelfingen, Germany, showcases a remarkable variety of shapes, textures, and colors in rock formations Notably, the tilted, partially buried cube within the garden conveys a deeper message, adding to the overall significance of the installation.
Figure 3 16 The stone garden in Sindelfingen, Germany
The fallen obelisk depicted in Figure 3.17 symbolizes a static representation of a dynamic process Its deliberate fracture line and slight bend away from a straight line create a striking visual impact as it rests against the wall.
Figure 3 17 The fallen obelisk in Germany
The jolt of the unexpected is a goal of the designer who takes new-looking materials and familiar structures and makes them appear aged, broken, partially destroyed, or decayed (Figure 3.18)
Figure 3 18 Structure in Wellington, New Zealand
The structure depicted in Figure 3.19 serves as a fascinating example of deconstructive architecture while also highlighting the seismic vulnerability of Wellington, New Zealand.
Figure 3 19 The wall in Wellington, New Zealand.
Social and Political Landscapes
People's Park in Berkeley, California, emerged in the early 1970s without a mastermind designer; instead, its unique form developed from a social phenomenon This area, covering half a city block near the university, had remained muddy and vacant for years before its transformation.
Figure 3 20 People's Park in Berkeley, California, in the early 1970s
The 1989 National Garden Show in Frankfurt, Germany featured a theme garden that highlighted environmental degradation This garden was divided into two halves: the left side depicted a vibrant, lush green environment, while the right side starkly contrasted with scenes of total devastation.
Figure 3 21 The lush green place and half total devastation.
Eccentric Landscapes
Eccentric individuals, often perceived as unusual yet harmless, bring a unique creativity and energy to their surroundings The landscapes they create frequently defy conventional norms, incorporating intriguing and unconventional elements of form, color, and texture that captivate the imagination.
This owner-built patio features a significant slope, leading to unevenly supported furniture The wall showcases a whimsical mix of masonry and ceramic materials, including teacups, located in Auckland, New Zealand.
Figure 3 22 The structure in Auckland, New Zealand
Stone pebbles and colored glass are the basic veneer materials for this garden in Seattle, Washington
Figure 3 23 Some stone pebbles and colored glass.
Landscapes of Distortion and Illusion
Spatial illusions play a significant role in outdoor environment design, as altering the shape and vertical rhythm of a long, narrow space can create the perception that its end is either closer or farther away.
Wellington, New Zealand, is renowned for its captivating outdoor mural art, transforming vacant lots into imaginative seascapes that create illusions of expansive space and seashells floating in mid-air.
Figure 3 25 The city of Wellington, New Zealand
Contextual distortion involves familiar objects being utilized in unconventional ways or settings For instance, the mannequin garden depicted in Figure 3.26 may evoke offense or discomfort for some, and its practicality is questionable However, it is likely to astonish most viewers due to this unexpected contextual deviation, as seen in Frankfurt, Germany.
Figure 3 26 The mannequin garden in Frankfurt, Germany
In Figure 3.27, the designer of this maze garden is playing a trick of scale distortion (Frankfurt, Germany)
Figure 3 27 The garden with a trick of scale distortion
The round stones depicted in Figure 3.28 create a stable garden archway, demonstrating an impressive design that conveys an illusion of fragility Despite appearances, the archway is highly secure, showcasing the cleverness of its construction (Russell, New Zealand).
Figure 3 28 The round stones in Russel, New Zealand
Designers frequently face creative blocks and may rely on familiar solutions, but it is essential to move beyond past successes and challenge assumptions about what is possible Embracing a defiant mindset allows them to explore alternative ideas, question the status quo, and seek innovative approaches This process may include intentionally crafting unsettling images to inspire new perspectives.