LANDSCAPE ARCHITECTURE DESIGN PRINCIPLE

LANDSCAPE ARCHITECTURE DESIGN PRINCIPLE LANDSCAPE ARCHITECTURE DESIGN PRINCIPLE LANDSCAPE ARCHITECTURE DESIGN PRINCIPLE

Table of

contents

• Composite landscape

• Visual properties of plants

• Principle of Visual Composition

• Plant assemblages

1.Composite landscape

Definition

Composite landscape is the sum of the spatial

framework created by landform, vegetation

and built structures It controls our unfolding

experience as we move through a sequence

of spaces and transitions.

1.Composite landscape

Spatial Organization

-If we observe spaces as we move through the landscape we can see that there are a number of fundamentally different kinds of organization The organization depends on the location of spaces relative to each other and to the circulation patterns that will link them.

1.Composite landscape

Linear Organizations

-Linear Organizations is a serial progression of

spaces It is associated with a single circulation

route that can either pass through each space in turn

or follow the line of spaces in parallel giving

separate access to each space The progression

might be straight, angled, curved or irregular but the

line is unbroken and with a beginning and an end.

Ching shows how clustered spaces form a

different kind of organization in which they

are related mainly by their proximity to one

another, to an entry point or to a path He

also describes the role of symmetry as a

means of ordering a cluster The axis of

symmetry acts like a perceptual if not

physical path linking as well as reflecting

the spaces it divides.

Clustered Organizations

1.Composite landscape

1.Composite landscape

Centralized Organizations

One or more spaces can be contained within

a larger, all-embracing enclosure Ching’s

‘centralized organization’ is one kind of

contained organization The contained

spaces can themselves be fully enclosed and

so separate from the surrounding space, or

they can be only separate while still

possessing a domain that is differentiated

from the larger space.

1.Composite landscape

Hierarchy of spaces

Linear, clustered and contained organizations will all have some degree of hierarchy in their constituent spaces That is, there will be differentiation in the status and function of spaces Like a hierarchy of positions within a company organization, a hierarchy of spaces can be

‘vertical’ or ‘horizontal’ The number of levels in the hierarchy depends on the purpose and nature of the spatial organization.

This can be a simple gap in a hedge or other separating planting It can be emphasized or elaborated by creating a ‘gate’ or ‘archway’ using planting Changes in level on the ground can further articulate the transition, separating the two spaces by height as well as by enclosure The width of the gap will determine how concise the transition is A screen can be added that overlaps the entrance and prevents any view at all into the adjacent space A very different approach would be to separate adjacent spaces with a permeable enclosure that allows visual and physical penetration over a wide area, but that still clearly distinguishes one domain from the other.

Transitions between Interlocking Spaces The shared zone between two interlocking spaces can

be defined by low planting in which case a gradual transition would be created allowing a view

of both spaces Because the two spaces overlap, not one but two boundaries would be crossed and we enter the domain of one space before we leave the other’s, so the transition is staged If the shared zone is defined by a continuation of the visual and physical enclosure that delineates the spaces proper, then an overlapping, screened entrance is created If the size of the overlapping zone is large enough and it is clearly distinguished from its parent spaces, it would

be a transitional space in its own right

Transitional Spaces An intermediate, transitional space is separated from the domains it links

by some form of enclosure and has it own distinct character Yet, because it is primarily a route and is subsidiary to the spaces it links, its character is often subdued and it prepares us for the next space, linking the two in our minds as well as physically Together the three spaces form a linear organization, which include two entrances or subsidiary transitions

Entrance Zones Where a concise transition forms a distinct entrance it is usually a strategic and important part of a space It is often a visual focus, and a gathering and meeting area for people serving a similar function to a main entrance into a building The entrance to a larger space gives rise to zones where people come together close to the enclosing elements of the space Because it comes under close scrutiny, the

2/Visual Properties of

Plants

The appearance of an individual plant or a plant group can be analysed in terms of the visual properties of form, line, texture

and colour

Definition

The form of a plant is its three-dimensional shape.

It can be seen from various directions and distances and these different viewpoints and scales affect our comprehension of

the form.

Form

PROSTRATE PLANTS A number of shrubs and perennial herbaceous plants have a distinctly prostrate or flat spreading

form.

They can be used to emphasize detailed ground modelling and their low stature makes them a successful foundation allowing taller, upright plants to grow through to form striking plant

forms and tall specimens.

Prostrate and Carpeting

Forms

Prostrate dwarf shrubs

HUMMOCK FORM The term hummock is useful to refer to clump-forming herbaceous plants and smaller shrubs, and dome to larger shrubs and trees

that have a similar shape of canopy.

DOME FORM This is a larger version of the shape of the hummock plants

Perhaps the classic domed shrub group is the shrubby veronica.

TUSSOCK FORM Also known as bunch form, this shape is common among

monocotyledonous plants, including many grasses and sedges.

Hummock, Dome and

Tussock Forms

Whereas domed, rounded trees and shrubs produce a high

proportion of spreading and low angled branches, erect,

ascending form is characterized by a majority of vertical or

sharp-angled main stems and branches.

Erect or Ascending Form

Many shrubs make vigorous erect stems that, after their initial burst of growth, produce lateral branches and arch over under

their own weight.

Arching Form

This form is, in some ways, similar to the arching habit

described above but distinguished by the clear stem that can

rise up to twenty or more metres.

Palm Form

Rather like palms and tree ferns, many succulents form a group of plants that have a very distinctive range of form

Succulents and Sculptural

Form

A number of shrubs and trees have a generally erect habit of growth but a crown that also spreads laterally and, unlike erect and arching forms, is consistently furnished with side branches

and foliage to near ground level.

Oval Upright Form

Line is closely related to form, being the two-dimensional effect

of edges.To this extent, it is an abstraction from the

three-dimensional reality

Line and Pattern

Plant texture can be defined as the visual roughness or

smoothness of any part of the plant.

Texture, like form, depends on viewing distance.

Texture

Fine Texture

Coarse Texture

Medium Texture

Certain scientific principles are generally accepted although some aspects of the perception of colour remain enigmatic Differences in colour are differences in the properties of light,

mainly wavelength, amplitude and energy

Colour

Given the same hue and a constant value, variation in colour

could still be perceived.

Saturation

The actual colour observed, that is, the characteristics of the light reflected from an object, depend on the light source and,

if this is the sun, on the weather.

Colour Perception

It is mostly accepted that colour hues produce reasonably

predictable effects on the observer The effects of colour depend on value and saturation as well as hue Saturated colours and dark shades tend to advance, like warm hues, whereas dull colours and pale tints tend to recede,

along with cool hues

Colour Effects

3/ Principle of Visual Composition

We put to work in a planting design it will convey a visual

message of one kind or another

Why we need visual characteristic in design

Harmony and

Contrast

Harmony is a quality of relatedness.

It is found between similar plant forms, similar textures, similar characters of

line and closely related colours.

Contrast is found between different plant forms, different qualities and directions of line, texture and colour.

Harmony and contrast go together, they are not mere polarities and neither

can exist without the other.

The visual qualities of plants can be

delightful when related by harmony and contrast to hard

landscape materials

The close relationship of colours and textures shown by the Tree-ferns for colonial New Zealand Wars

Emphasis and accent planting can be effective by virtue of its intrinsic striking qualities or by careful arrangement and grouping which brings the eye to rest at the chosen location.

This is often called accent planting and it can be

used to draw attention to elements like entrances, steps,

seating or water.

Emphasis and Accent

Emphasis can be given by prominent form, coarse texture or

careful grouping

Sequence is the way that the appearance of a planting

composition changes or unfolds before the observer

Sequence is essential to the dynamic qualities of composition It

is an expression of change It relates the parts to the whole, not only within a static picture, but also over time.

Sequence

In landscape design generic scale refers to the size

relationships between the various parts of a whole space and within a plant association.

Scale can be understood most simply as relative size The

amount of detail that we can perceive depends on the viewing distance

Scale

The designer must also take into account the angles at which

planting will be seen.

These are affected by movement through the landscape and

while we are in motion our range of focused attention is more

restricted than when static.

Movement and Viewing

Angles

4/ Plant

Assemblages

• Examine some of the key ecological and horticultural factors that determine the success of plant assemblages

• Understanding technical aspects will ensure imagined planting develops and employing resources effectively

directly or indirectly with the

other members of the community.

Two designed principles

- Complete cover of the ground area at one or more levels under favourable conditions.

1st: The groundcover principle

2nd: The complexity principle

- Plant communities in favourable environmental conditions tend to become more complex as they develop over time

- Complexity can be assessed by three main criteria:

• the variety of species present: species diversity

• the number of canopy layers present: structural diversity

• diversity through the seasons: seasonal diversity.

Two designed

principles

https://www.lomos.co.in/post/spatial-organizations-in-architecture Visual characteristics of plants - Front Desk Architects

https://onlinelibrary.wiley.com/doi/full/10.1111/ddi.13060

Từ ý đến hình trong thiết kế cảnh quan.pdf

planting-design-handbook.pdf

References

Thank

You!

khanh.ta207801@hcmut.edu.vn0706168345