An extract from Study Book 2 of
Garden Design 1
2.1 Introduction
Design elements and principles provide the foundation for the creation
of all designed gardens, environments and objects ~ as does in fact, the successful
design of anything. The 'elements' can be viewed as the tools of design, with the
'principles' providing the vehicle by which the elements can be utilised in an aesthetically
pleasing manner. An analogy that helps to explain this relationship would be to
consider the elements as the ingredients of a recipe, with the principles serving
as the recipe itself. ~ the 'how' of combining selected elements to achieve particular
effects and experiences.
It is important to note that no element or principle works
alone. We will be addressing them independently in this study book for the sake
of clarity and understanding but, as any design begins to develop, there will always
be several elements and principles apparent at any one time. These elements and
principles will influence one another so that one may enhance the other or make it
more or less dominant visually. We will look again at the applications of these in
later study books.
A significant distinction that should be identified at this point is that when discussing
a garden that is 'designed' we are referring to gardens that have been developed
with quite intentional experiential and functional aspects in mind. A designed garden
requires a particular thought process, a 'design process,' which we are working through
in this part of the course.
The important distinction is that many gardens you will
encounter are not intentionally designed to achieve particular goals but may evolve
through the input of those contributing to the garden effort, the focus of which
may be on the horticultural interest of certain plant materials, plant collections,
food-
The aim of this course module is to provide the student with an understanding
of the basic tools and methods necessary for successful garden design. Comprehensive
horticultural knowledge is assumed, flair, imagination, creativity and aptitude are
down to you and the other important requirement, experience, is enriched on a daily
basis.
This particular study book is concerned with the practical and technical activity
of design which can be viewed concisely as "the organisation of materials and forms
in such a way as to fulfil a specific purpose" (Bevlin, 1989, 16). This definition
encompasses the four essential aspects of design:
(1) the fulfilment of a purpose
(2) a
process to organise inputs
(3) ordering elements and principles and
(4) materials.
2.2 Design Elements
Line
Line is considered to be the most fundamental of the elements
and usually forms the starting point of any design, both as a graphic starting point
as linework to evolve and give shape to our design, as well as in terms of the physical
features that the lines represent on the page.
The element of line can be real or
illusionary when applied to the design of 'real' environments. 'Real' lines can
be created where two materials meet on the ground, such as where turf and paving
meet, or on a vertical plane, such as on a garden wall with an accent line created
by the addition of a contrasting brick.
Line can also be illusionary, such as in the
visual 'line' that we see as our eyes trace the outline a curving wall creates in
the landscape, with the line being formed by the contrast between wall and sky. Although
we see these lines visually for different reasons, each can be as significant and
as meaningful as any other in creating a particular effect and in making the element
of line an important component of the design.
Line is a dominant element in the landscape and conveys important information about
the world around us. Line can be seen in the tracery of tree branches, in the silhouette
of tree canopies backlit in the sky, in the contour lines of windblown sand dunes
and on the horizon line when earth and sky appear to meet but never do.
Line, as a design element, can be very expressive and can impart a particular feeling
or character to a design. For example, line character can be flowing, rhythmic,
organic and sensual, or it can be very dynamic, angular, exciting and erratic. It
may surprise you, but studies indicate that our responses to particular types of
lines tend to be universal ~ most of us appear to attribute similar qualities and
respond similarly to lines of various character.
When used as a design element,
line can function as a tool to create emphasis (a design principle to be addressed
later in this study book) by giving greater prominence or importance to a component
of the design through the use of texture, or the suggestion of movement and direction.
Line can be used to indicate direction and create movement by drawing the eye along
linear components of the design and encouraging our movement through the space.
Lines
of various sizes and character can be used repeatedly to form a pattern on a material
surface and so create surface texture.