landscape architecture and environmental design

7/27/2019 Landscape Architecture and Environmental Design

1/165

MINISTRY OF SCIENCE AND TECHNOLOGY

DEPARTMENT OF

TECHNICAL AND VOCATIONAL EDUCATION

AR 05014

LANDSCAPE ARCHITECTURE &

ENVIRONMENTAL DESIGN

B. Arch

Architecture


2/165

CONTENTS

INTRODUCTION

PART I

CHAPTER I LANDFORM1.1 Significance

1. Aesthetic character2. Spatial sensation3. Views4. Drainage5. Microclimate6. Functional use of the land

1.2 Expression of landform1.3 Landform types by form1.4 Functional uses of landform

CHAPTER 2 PLANT MATERIALS

2.1 Significance2.2 Functional uses of plant material2.3 Architectural uses of plant material2.4 Visual plant characteristics

1. Plant size2. Plant form3. Plant color4. Foliage type5. Plant texture

2.5 Aesthetic uses of plant material1. Complementors2. Unifiers3. Emphasizers4. Acknowledgers5. Softener6. View enframement


3/165

CHAPTER 3 BUILDINGS

3.1 Building clusters and spatial definition1. Distance to building height ratio2. Plan arrangement3. Building character

3.2 Building clusters and types of spaces

1. Central open space2. Focused open space3. Channeled linear space4. Organic linear space

3.3 Relating building to a site

1. Landform2. Plant material3. Building material4. Transition space5. Walls6. Pavement

CHAPTER 4 PAVEMENT

4.1 Functional and compositional uses

1. Accommodate intense use2. Provide direction3. Suggest rate and rhythm of movement4. Create repose5. Indicate uses on the ground plane6. Influence scale7. Provide unity8. Serve as a setting, background9. Establish spatial character10.Provide visual interest

4.2 Design guidelines for pavement

4.3 Basic pavement materials


4/165

CHAPTER 5 SITE STRUCTURES

5.1 Steps

5.2 Ramps

5.3 Walls and fences

5.4 Retaining walls

5.5 Design guidelines

5.6 Wall and fence materials

5.7 Seating

CHAPTER 6 WATER

6.1 General Characteristics

1. Plasticity2. Motion3. Sound4. Reflectivity

6.2 General uses of water

6.3 Visual uses of water

Assignment 1

PART II

1. Base Sheet2. Site Inventory3. Site Analysis4. Ideal Functional diagram5. Site Related Functional Diagram6. Concept Plan7. Form Composition8. Preliminary Master Plan9. Master Plan

Assignment 2

Reference


5/165

Assignment 1.

Student is to analyze the landscape design of anywhere with the title of

Analysis of Landscape Design of -----------------------------------

example

Analysis of Landscape Design of Hlawgar Park with the following title

Content

Introduction

Chapter 1 Factors for selected area

1.1 Location1.2 Planning arrangement and size1.3 Other factors

Chapter 2 Analysizing the selected area with Basic Elements of Landscape

Design

2.1 Analyze with Landform

2.2 Analyze with Plant materials

2.3 Analyze with Buildings

2.4 Analyze with Pavement

2.5 Analyze with Site Structure

2.6 Analyze with Water

2.7 Overall analysis of selected area

Chapter 3 Factors for Maintenance of selected area

3.1 Maintenance

3.2 Water supply

3.3 Other factors

Conclusion

Reference


6/165

80

LANDSCAPE ARCHITECTURE

INTRODUCTION

Deals with integrating people and the outdoor environment, Continuous compositionof solid masses and open voids

Landscape architects utilize a variety of physical design elements to meet their objectivesin creating and managing outdoor spaces for human use and enjoyment

The art of design, planning, or management of the land, arrangement ofnatural and man-made elements

The landscape architect must possess knowledge and skills in a variety of relateddisciplines including art, civil engineering, ecology, geography, sociology,

psychology, horticulture, and business

The landscape architect utilizes two general sets of mediato transfer ideas into acomprehensible form:

o pencil, ink, magic marker, paper, cardboard, computer, and the like used toportray a design intent in a graphic or model form,

o Landform, plant materials, buildings, pavement, site structures (stamps, ramps,walls, etc.) and water used to create the actual three-dimensional reality of the

design.

LANDSCAPE CHARACTER

Natural Landscape Manmade Landscape

The design of landscape architecture also has the design principles such as

Harmony and contrast Balance Rhythm Pattern, etc...

NATURAL LANDSCAPE


7/165

81

Convex Landform in the ocean

Sandunes


8/165

82

Snowy Mountain

Snowy Island


9/165

83

Desert Land

Snow Lane


10/165

84

Falling Water


11/165

85

Lake, as a reflecting pool

Beach


12/165

86

Valley Landform


13/165

87

Manmade Landscape


14/165

88

CHAPTER 1

LAND FORM (TOPOGRAPHY)


15/165

89

1.1 Significance

The base for all outdoor activity Both an artistic and utilitarian element in its design applications Landform, topography, the lay of the land Regional scale, macro landform

o Valleys, mountains, rolling hills, prairies, and plains Site scale, micro landforms

o Mounds, berms, slopes, level areas, or elevation changes via steps and ramps Smallest scale, mini-landforms

o Subtle undulations or ripples of a sand dune, the textural variation of stones androcks in a walk

1. Aesthetic character

Has a direct bearing upon the aesthetic character and rhythm of the landscape at anyscale

Mountains, hills, valleys, plains, and prairies are different regional landform types, havetheir own unique

Level areas and hilly or mountainous areas

Level areas

Level sites and regions, like the oceans or large lakes, Appear quite open and expansive One can often see great distances to the horizon or other enclosing higher point of

ground

Have a strong internal sense of visual continuity and unity, different parts of thelandscape can be seen and appreciated as smaller parts of the whole

The sky is a dominant element of prairie like regions where clouds and the sun form astrong ceiling and light source

Hilly and mountainous areas

To provide a sensation of separation and isolation from one valley to another A person in the valley between higher points of ground, the mountain slopes take on

visual importance, the sky is reduced to a smaller area directly overhead

The size and spacing of the valleys and ridges within a hilly or mountainous region canalso have a direct effect on the perceptual rhythm of the landscape


16/165

90

Example

Italian renaissance gardens

Responded to the hilly landform by being terraced in a series of well-defined levels thattend to be outward orientation

Use of falling water acknowledges the gravitational movement down the slopes

French renaissance gardens

Level gently rolling landform Evolved easily lends itself to the hard, stiff, geometry Long, straight axes and vistas, large bodies of still water, intricate patterns express level

landform


17/165

91

2. Spatial sensation

Level topography

Lack spatial definition based on landform alone Only a ground plane element lacking vertical definitionSteep Topography

Slopes and higher points of ground occupy a portion of the vertical plane Have the ability to define and enclose space The steeper and/or higher the slope, the greater the sensation of outdoor space created

Landform affects the feeling of a space

Smooth, flowing landforms produce a sensuous and relaxed sensation Bold, rugged landforms are apt to nurture a feeling of excitement and aggressiveness in a

space

Spatial feeling

A person is more apt to feel secure and at ease when standing on a level portion ofground than on a sloped one

Sloped ground surfaces are often uncomfortable to stand on and frequently induce aperson to move

Guggenheim Museum, New York

3. Views

The vertical plane

Create sequential viewing of an object Completely hide undesirable elements

4. Drainage

The steeper the ground, the more the quantity and the faster the rate of runoff Little slope, wet from insufficient drainage Poor drainage is unacceptable despite its appearance and quality of spaces

5. Microclimate

Affects sun exposure, wind exposure, and precipitation

6. Functional use of the land


18/165

92

Flat flexible and capable for development Steep restrictions

2.2 Expression of landform

1. Contour lines

2. Ratio method

A ratio between the horizontal distance and the vertical elevation change within the slope

Applied to the slopes on a small scale project site

2:1 absolute maximum slope allowed on a site without experiencing erosion.

- Should be covered with ground cover or other plant material to prevent erosion

3:1 preferred maximum slope for most lawn and planting areas

4:1 maximum slope maintainable with a lawn mower

3. Percentage method

Vertical elevation change / horizontal distance = percent of slope


19/165

93

A slope rises 10 vertical feet within 50 horizontal feet would be expressed as a 20%slope

3. Landform types by form

1. Level landform

Lack of any distinct elevational variation Static, nonmoving, in balance with the earths gravitational forces

A person feels comfortable and surefooted when standing on or walking across a levellandform

No extra energy has to be expended to balance their weight Lack of the third dimension of a level landform Creates an open, spacious, exposed feeling No definition of enclosed space, no sense of privacy, no protection from objectionable

sights and sounds, no defense against sun and wind

Must be altered and/or other design element to alleviate the problems


20/165

94

Views may extend uninterrupted for considerable distances long views may helpestablish a sense of unity on the level landform

Horizontal lines and forms are harmonious elementsE.g. the prairie house by Frank Lloyd Wright

Vertical element becomes a dominant element and focal point, does not take much heightto attract attention

The visual neutrality allows it to be peaceful and restful The peaceful aspect of level landform allows it to serve as a setting or backdrop to the

eye-catching use of other elements

Can be described as multidirectional, allow for equal choices of movement in alldirections to and from a particular point

2. Convex landform

Include Knolls, knobs, buttes, mountain hill summits Positive space (mass, negative space, (filled space) Dynamic exiting landform


21/165

95

Can serve as a focal point on the landscape

Create a greater feeling of reverence and Respect for the object or personFor example, Churches, important structures are placed on top of convex landforms give

the feeling of being looked up to

Define space by slope

Can be enhanced by other elements such as buildings or trees on the summit

Accentuated and diminish


22/165

96

Outward Orientation

Use for dynamic and exiting falling water Modifies microclimate in the exterior environment, sun and wind exposures

3. Ridge

High point of ground, linear in its overall mass A stretched out version of a convex landform Defines edges of outdoor space Modifies microclimate on its slope and in the surrounding environment Provides vantage points, have a feeling of outward orientation into the surrounding

landscape

Has the ability to capture the eye and lead it along its length


23/165

97

The ridge tops make logical locations for roads, paths, and other elements of circulationroad, parking, housing unit

As a spatial edge, the ridge acts as a wall dividing one space or valley from another4. Concave landform

Negative solid and positive space (void), Can be create by earth excavation or Two convex land place near to another

The degree of spatial enclosure in a concave landform depends upon the relative heightand steepness of the surrounding slopes

Inward orientated and self-centered space Focuses the attention of any one in the space toward its center or bottom floor Produces the feeling of seclusion, isolation, confinement, privacy and protection from

the surrounding environment


24/165

98

The sense of security is rather false because the concave landform is vulnerable fromhigher ground surrounding it

Has a weak connection to other nearby spaces and functions

Hold a person in its space by convex landform The enclosure and inward orientation of a concave landform make it ideal for staging

performances on its bottom floor

Direct exposure to the wind blown over the top of the space Warmer, less windy than others and has disadvantages of wet, drainage basin, lake, pond

5. Valley

Like the concave landform, a low area in the landscape, functions as Positive space orroom

The valley is also linear and directional Is a suitable location for movement The valley floor is often fertile ground and consequently the location of very productive

agricultural land

Drainage, care for road


25/165

99

4. Functional uses of landform

1. Spatial definition

Space may be created byo Excavating into the base planeo Filling (adding) eartho Building up from the existing base planeo Complementing existing convex landforms with added high pointso Change elevation to establish terraces or level variations

Perception of spaceo The floor area of spaceo The steepness of enclosing slopeso The horizon, silhouette line

The floor area of the space is the bottom or base plane of the space, usable area Slope assumes the function of the vertical plane, acting as walls of an exterior space

o The steeper the slope, the more pronounced the delineation of spaceo The horizon/silhouette line represents the edge between the perceived top of the

landform and the sky

o The upper edge of the slope, or rim of space, regardless of its sizeo Its position with respect to height and distance from the position of the viewer

affects views out of the space and the perceived spatial limits

All three variables interact simultaneously with one another to enclose space


26/165

100

The degree of enclosure perceived in any given space depends on the amount of areawithin the field of vision filled by the floor area, horizon/silhouette line, and slope

2. Control views

To enframe views to a particular focal point in the environment, landform can be built upon one or both sides of the sight line


27/165

101

Landform may be used to show off or exhibit a particular object or scene Objects placed on a high point or summit are easily seen from great distances Objects located on the side slopes of a valley or ridge are seen from lower areas

To establish spatial sequences, alternately reveal and hide views of objects or scenes

Can be created a sense of anticipation and curiosity when one sees only a portion of anobject

Encouraged the viewer to move toward the object with the hope of seeing more of it


28/165

102

To create a sequence of changing views as one moves toward an object Can hide an object at the toe of the slope from the more distant vantage points on top of

the high point

Landform may be built up in the form of earth mounds or berms to screen outdispleasing objects or scenes

The crest of a slope itself can screen views of objectionable objects located at the toe ofthe slope for vantage points on top of the hill


29/165

103

3. Influence Movement

To influence the direction, speed, and rhythm of both pedestrian and vehicularmovement

The level landform permits the greatest degree of flexibility in movement Slope of the ground surface increases movement more difficult Circulation across sloped surfaces should be minimized To affect the rate of movement in a design


30/165

104

4. Affect Microclimate

5. Aesthetic Uses

Landform can be used as a compositional and visual element Can be shaped into soft, sensuous forms Can be molded into hard forms with rock and concrete May also produce different visual effects under the influence of light and climate The molding of the earths surface, referred to as site sculpture, earth art, or earth

works,


31/165

105

CHAPTER 2

PLANT MATERIALS

2.1 Significance

Provide a touch of life and beauty in an environment Included ground cover to three Varied elements: size, form, color, texture, and overall character with seasons and with

growth

Provide a feeling of nature within an environment Provide relative softness in a controlled, rigid environment Has a quality of irregularity Maintenance are required

2.2 Functional uses of plant material

id h i l li i


32/165

106

Can provide other functions,o Create space or outdoor roomso Block unsightly viewso Stabilize steep slopes

Direct movement through the landscape

o Visually unify a group of buildingo Modify exposure to sun and wind

Can solve a number of environmental problemso Environmento Clean the airo Retain moisture in the soilo Prevent erosion and loss of soilo Air temperatureso Provide habitats for birds and animals

2.3 Architectural uses of plant material

- Organization of outdoor environment

- Create outdoor space

1. Creation of space

Created by modifying ground plane, vertical plane, overhead plane both individually andcollectively

Ground plane- ground cover or low shrubs may imply spatial definition throughvariations in height and material

Vertical plane- can influence the perception of space in several wayso Tree trunks act as vertical columns


33/165

107

o The degree of enclosure will vary with the size of the trunks, their density ofmassing, and their pattern of arrangement

o The foliage mass of plants, the density and height of the foliage mass affects thequality of the space

o The taller the plant and the larger and more closely its leaves or needles arespaced, the stronger the feeling of enclosure

o Enclosure is to occur with seasonal variation

The overhead plane- the foliage mass and branches in the canopy of treeso Create ceilings over an outdoor space,o Limiting the view to the skyo Affecting the vertical scale of the spaceo Trees are placed so strong; canopy overlaps shutting out exposure to the sky


34/165

108

Collec tively, as outdoors room

The degree of perceived enclosure varies witho The relative height of the surrounding vegetationo Its spacing, density, ando The position of the viewer relative to the surrounding vegetation

A space feels very enclosed when the encircling plant materials areo Tall, dense, tightly spaces, ando Placed close to the viewer


35/165

109

Basic spatial types created with plants

Open spa c e

Using only low shrubs and ground cover A space is airy, outward- oriented, lacks privacy, and Is exposed to the sun and sky

Sem iop en spa c e

Partially enclosed on one or more sides with taller plant materials acting asvertical walls blocking views into and out from the space


36/165

110

Similar to the completely open space but is less transparent while stronglyoriented to the open sides

Appropriate for a residential terrace where privacy is required in one direction butviews are desired in another

Canop i ed spa ce

Using a mass of shade trees with a dense canopy Has a feeling of breadth sandwiched between the overhead plane of the tree

canopy and the ground plane for a person moving through and among the tree

trunks

Establishes a strong sense of vertical scale by capping the spatial height

This space tends to be dark, through the canopy and light seeping in from theSides, with the exception of filtered sun

Is cool and permits filtered views into and from it through the sides Create tunnel space by shade trees along a road or walk

Enc losed c anop ied spa c e

Same characteristics as the canopied space It is enclosed on the sides with medium and lower-sized plant materials Is quite dark and oriented in upon itself Providing feelings of privacy and isolation


37/165

111

Vertic a l spa c e

Using tall, narrow plant materials Create an outdoor space, vertical in orientation and open to the sky

Creation of numerous types of spatial character using only plant materials


38/165

112

Mo d i fy the spa c es c rea ted b y b u ild ings

To subdivide larger spaces delineated by buildings into smaller spaces

Com p le te the sp a t ia l d ef in i tion a nd o rg a n iza t ion

Closure

The completion of a spatial enclosure, articulated by a building or enclosing wall


39/165

113

Linkage

Visually connecting separate elements

2. Screening

To conceal unattractive objects or scenes in the environment A vertical barrier can control views

3. Privac y c on tro l

The techniques of encircling a well-defined area with plants To isolate the space from its surrounding Eliminate freedom of movement through enclosed space


40/165

114

2.4 Visual Plant Characteristics

Plant size, form, color and texture

1. Plant size

Directly affects the scale of a space, compositional interest, overall framework of a

design

Large and intermediate trees, 40ft tall

Establishing the basic structures and skeleton of an outdoor environment Can serve as focal point among smaller plant materials

Carefully placed, biggest impact on the appearances To enclosed space in the overhead and vertical planes To provide shade for outdoor space


41/165

115

Small trees and ornamental, 15ft to 20ft

Define space in both vertical and overhead planes Canopy height, spatial edges in the vertical plane Serve as visual and compositional accents result from a size contrast plant Used as a piece of sculpture or abstract sign at the end of a linear space to lead

people

Provide as a focal point


42/165

116

Tall shrubs, 10ft to 15ft

Lack of canopy Used as walls to furnish spatial enclosure in the vertical plane Light and sunny with upward to sky Create strong corridor like spaces Screening and privacy control Compositional accents, possessing distinct color and texture Act as neutral background for other special objects in front


43/165

117

Intermediate shrubs, 3ft to 6ft tall

Serve as visual transition in a composition between tall shrubs and small trees and lowshrubs

Low shrubs, 3ft

Define space or separate spaces without in habiting views Used along a walk or path to contain pedestrians on the walk without affecting the line of

visions

Compositionally to connect other unrelated elements visually Subordinate element Give a composition a spotty appearance


44/165

118

Ground cover, 6 in to 12 in

Floor material of an outdoor space To imply spatial edges Outlining a desired shape on the ground To define non walking surface, lawn and pavement To provide visual interest based on distinct color or texture As background To link visually separate elements or group of element To stabilize the soil, prevent erosion


45/165

119

2. Plant form


46/165

120

Fastigiated

Upright, narrow, tapers to a point at its top Emphasize the vertical by leading the eye skyward Give a sense of verticality and height to both a plant mass and to a space they enclose Acts as accents and exclamation points Should not placed throughout a composition

Columnar

Same as fastigiatedSpreading/horizontal

Horizontal habit To give a feeling of breadth and extent Used in a composition Used for contrast with vertical fastigate Harmony with flat landforms, long lines extending across the horizon, low horizontal

buildings


47/165

121

Round, globular

Design composition, design unity No directional, neutral Harmony with other curvilinear forms

Pyramidal/conical

Very sharp and distinct in their outline Visual accents Echo pyramidal building forms Visual level region where mountain are lacking Harmony with design of stiff, geometric shapes

Weeping

Predominantly pendulous, downward-arching, branches Found in and associated with low points of ground, like the weeping willow along edges

of water bodies

Lead the eye toward the ground Used in water to reflect the undulating form, to symbolized


48/165

122

Pic turesque

Sculpture in shape Irregular, gnarled, windblown Best used allocated at a prominent point within a design No more than one picturesque plant formed should be planed to avoid busy or chaotic

scene

3. Plant color

The most notable visual characteristic of plant material Directly affects the feeling and mood of an outdoor space Bright colors convey a light, cheerful atmosphere; dark colors portray a more somber

feeling

Color is present in plant materials through different parts of the plant includingfoliage, flowers, fruit, twigs and branches, and trunk bark

Foliageo The principal color is of course green, dark green to light green including

h d f ll bl d b


49/165

123

A variety of greens in a composition may used for other design functionsThe organization of different shades of green can provide

o Emphasis,o Establish unity through repetition, oro Visually link together various portions of the designo Can act as the anchor posts of a design

o Dark green give a quiet, peaceful,o Dark hues tend to move toward the viewer

Light green foliage gives a feeling of cheerfulness, gaiety, and excitement in addition tomoving away visually from the viewer


50/165

124

A neutral tone green, used as the unifying thread by visually tying all other colorstogether

Plant color coordinating with plant characteristics4. Foliage Type

Deciduous plants

Loses its leaves in autumn and regains in spring seasonal appearance affect the design Can define space serve as accents backgrounds, acts as a common foliage type Ability to allow sunlight to create a glowing effect Have distinct and a dark background can show off intriguing branch habits Branch can give a shadow to pavement and wall


51/165

125

Coniferous evergreen

Needlelike foliage Do not have flowers Dark foliage, absorb much of the light To give visual weight and solidity as color Should be group at various locations Used as background to lighter colors Static and stable, give a feeling of permanence effective in blocking views and air circulation


52/165

126

5. Plant texture

Visual roughness and smoothness of plants Influenced by leaf size, twig, branch size, bark configuration overall habit of growth, the

distance at which the plant material is view

Alter in season


53/165

127

Co a rse texture

Created by large leaves, thick, massive branches open habit of growth Highly visible, bold, aggressive Used as a focal point to attract and hold attention Cause the sensation of moving toward the viewer Should not place in small space Appear open, loosen, less distinct in outline

Medium texture

Medium size leaves, branches, dense habit of growth Less transparent and stranger in silhouette Make up the largest proportion of texture in a planting composition


54/165

128

Fine texture

Many small leaves, tiny, thin branches, twigs tight, dense habit of growth The last plant noticed in composition Lost in distance Clear silhouette

5. Aesthetic uses of plant material

To relate a building form to its surrounding site Unify and coordinate a discoordinate environment Reinforce certain points and areas in the landscape Reduce the harshness of hard architectural elements Emframent selected views

Aesthetic functions of plant materials

1. Complementors

o Complete a design and furnish a sense of unity by repeating the forms and massesof a building by extending lines of a building into surrounding site

2. Unifierso Serve as a common thread, visually trying together all the components of an

environment


55/165

129

3. Emphasizers

o To emphasize or accentuate certain points in the exterior environmento By distinct size, form, color textureo Do at the entrance to a site, at an intersection, near a building entrance

4. Acknowledgers

o Point out or acknowledge the importance and location of a space or object in theenvironment


56/165

130

o Make the space more obvious, easily recognizedo Size, form, color, texture or arrangement

5. Softenero To soften the harness and rigidity of architecture shapes and forms

6. View enframement

o Revealed the viewo Focus one attention on a particular point by blocking out with their foliage

masses, trunks and branches


57/165

131

CHAPTER 2

PLANT MATERIALS

2.1 Significance

Provide a touch of life and beauty in an environment Included ground cover to three Varied elements: size, form, color, texture, and overall character with seasons and with

growth

Provide a feeling of nature within an environment Provide relative softness in a controlled, rigid environment Has a quality of irregularity Maintenance are required

2.2 Functional uses of plant material

Provide the visual qualities Can provide other functions,

o Create space or outdoor roomso Block unsightly viewso Stabilize steep slopes

Direct movement through the landscapeo Visually unify a group of buildingo Modify exposure to sun and wind

Can solve a number of environmental problemso Environmento Clean the airo Retain moisture in the soilo Prevent erosion and loss of soilo Air temperatureso Provide habitats for birds and animals


58/165

132

2.3 Architectural uses of plant material

- Organization of outdoor environment

- Create outdoor space

1. Creation of space

Created by modifying ground plane, vertical plane, overhead plane both individually andcollectively

Ground plane- ground cover or low shrubs may imply spatial definition throughvariations in height and material

Vertical plane- can influence the perception of space in several ways

o Tree trunks act as vertical columns

o The degree of enclosure will vary with the size of the trunks, their density ofmassing, and their pattern of arrangement

oThe foliage mass of plants, the density and height of the foliage mass affects thequality of the space


59/165

133

o The taller the plant and the larger and more closely its leaves or needles arespaced, the stronger the feeling of enclosure

o Enclosure is to occur with seasonal variation

The overhead plane- the foliage mass and branches in the canopy of treeso Create ceilings over an outdoor space,o Limiting the view to the skyo Affecting the vertical scale of the spaceo Trees are placed so strong; canopy overlaps shutting out exposure to the sky

Collec tively, as outdoors room

The degree of perceived enclosure varies witho The relative height of the surrounding vegetationo Its spacing, density, ando The position of the viewer relative to the surrounding vegetation

A space feels very enclosed when the encircling plant materials areo Tall, dense, tightly spaces, ando Placed close to the viewer


60/165

134

Basic spatial types created with plants

Open spa c e

Using only low shrubs and ground cover A space is airy, outward- oriented, lacks privacy, and Is exposed to the sun and sky


61/165

135

Sem iop en spa c e

Partially enclosed on one or more sides with taller plant materials acting asvertical walls blocking views into and out from the space

Similar to the completely open space but is less transparent while stronglyoriented to the open sides

Appropriate for a residential terrace where privacy is required in one direction butviews are desired in another

Canop i ed spa ce

Using a mass of shade trees with a dense canopy Has a feeling of breadth sandwiched between the overhead plane of the tree

canopy and the ground plane for a person moving through and among the tree

trunks

Establishes a strong sense of vertical scale by capping the spatial height This space tends to be dark, through the canopy and light seeping in from the

Sides, with the exception of filtered sun

Is cool and permits filtered views into and from it through the sides Create tunnel space by shade trees along a road or walk

Enc losed c anop ied spa c e

Same characteristics as the canopied space It is enclosed on the sides with medium and lower-sized plant materials Is quite dark and oriented in upon itself


62/165

136

Providing feelings of privacy and isolation

Vertic a l spa c e

Using tall, narrow plant materials Create an outdoor space, vertical in orientation and open to the sky

Creation of numerous types of spatial character using only plant materials


63/165

137

Mo di fy the spa c es c rea ted b y bui ld ings

To subdivide larger spaces delineated by buildings into smaller spaces


64/165

138

Com plete the spa t ia l d ef in it ion and orga n izat ion

Closure

The completion of a spatial enclosure, articulated by a building or enclosing wall

Linkage

Visually connecting separate elements


65/165

139

2. Sc ree ning

To conceal unattractive objects or scenes in the environment A vertical barrier can control views

3. Privac y c ontrol

The techniques of encircling a well-defined area with plants To isolate the space from its surrounding Eliminate freedom of movement through enclosed space

2.4 Visual Plant Characteristics

Plant size form color and texture


66/165

140

1. Plant size

Directly affects the scale of a space, compositional interest, overall framework of a

design

Large and intermediate trees, 40ft tall

Establishing the basic structures and skeleton of an outdoor environment Can serve as focal point among smaller plant materials

Carefully placed, biggest impact on the appearances To enclosed space in the overhead and vertical planes To provide shade for outdoor space


67/165

141

Small trees and ornamental, 15ft to 20ft

Define space in both vertical and overhead planes Canopy height, spatial edges in the vertical plane Serve as visual and compositional accents result from a size contrast plant Used as a piece of sculpture or abstract sign at the end of a linear space to lead

people

Provide as a focal point


68/165

142

Tall shrubs, 10ft to 15ft

Lack of canopy Used as walls to furnish spatial enclosure in the vertical plane Light and sunny with upward to sky Create strong corridor like spaces Screening and privacy control Compositional accents, possessing distinct color and texture Act as neutral background for other special objects in front


69/165

143

Intermediate shrubs, 3ft to 6ft tall

Serve as visual transition in a composition between tall shrubs and small trees and lowshrubs

Low shrubs, 3ft

Define space or separate spaces without in habiting views Used along a walk or path to contain pedestrians on the walk without affecting the line of

visions

Compositionally to connect other unrelated elements visually Subordinate element Give a composition a spotty appearance


70/165

144

Ground cover, 6 in to 12 in

Floor material of an outdoor space To imply spatial edges Outlining a desired shape on the ground To define non walking surface, lawn and pavement To provide visual interest based on distinct color or texture As background To link visually separate elements or group of element To stabilize the soil, prevent erosion


71/165

145

2. Plant form


72/165

146

Fastigiated

Upright, narrow, tapers to a point at its top Emphasize the vertical by leading the eye skyward Give a sense of verticality and height to both a plant mass and to a space they enclose Acts as accents and exclamation points Should not placed throughout a composition

Columnar

Same as fastigiatedSpreading/horizontal

Horizontal habit To give a feeling of breadth and extent Used in a composition Used for contrast with vertical fastigate Harmony with flat landforms, long lines extending across the horizon, low horizontal

buildings


73/165

147

Round, globular

Design composition, design unity No directional, neutral Harmony with other curvilinear forms

Pyramidal/conical

Very sharp and distinct in their outline Visual accents Echo pyramidal building forms Visual level region where mountain are lacking Harmony with design of stiff, geometric shapes

Weeping

Predominantly pendulous, downward-arching, branches Found in and associated with low points of ground, like the weeping willow along edges

of water bodies

Lead the eye toward the ground Used in water to reflect the undulating form, to symbolized


74/165

148

Picturesque

Sculpture in shape Irregular, gnarled, windblown Best used allocated at a prominent point within a design No more than one picturesque plant formed should be planed to avoid busy or chaotic

scene

3. Plant color

The most notable visual characteristic of plant material Directly affects the feeling and mood of an outdoor space Bright colors convey a light, cheerful atmosphere; dark colors portray a more somber

feeling

Color is present in plant materials through different parts of the plant includingfoliage, flowers, fruit, twigs and branches, and trunk bark

Foliageo The principal color is of course green, dark green to light green including

h d f ll bl d b


75/165

149

A variety of greens in a composition may used for other design functionsThe organization of different shades of green can provide

o Emphasis,o Establish unity through repetition, oro Visually link together various portions of the designo Can act as the anchor posts of a design

o Dark green give a quiet, peaceful,o Dark hues tend to move toward the viewer

Light green foliage gives a feeling of cheerfulness, gaiety, and excitement in addition tomoving away visually from the viewer


76/165

150

A neutral tone green, used as the unifying thread by visually tying all other colorstogether

Plant color coordinating with plant characteristics4. Foliage Type

Deciduous plants

Loses its leaves in autumn and regains in spring seasonal appearance affect the design Can define space serve as accents backgrounds, acts as a common foliage type Ability to allow sunlight to create a glowing effect Have distinct and a dark background can show off intriguing branch habits Branch can give a shadow to pavement and wall


77/165

151

Coniferous evergreen

Needlelike foliage Do not have flowers Dark foliage, absorb much of the light To give visual weight and solidity as color Should be group at various locations Used as background to lighter colors Static and stable, give a feeling of permanence effective in blocking views and air circulation


78/165

152

5. Plant texture

Visual roughness and smoothness of plants Influenced by leaf size, twig, branch size, bark configuration overall habit of growth, the

distance at which the plant material is view

Alter in season


79/165

153

Co a rse texture

Created by large leaves, thick, massive branches open habit of growth Highly visible, bold, aggressive Used as a focal point to attract and hold attention Cause the sensation of moving toward the viewer Should not place in small space Appear open, loosen, less distinct in outline

Medium texture

Medium size leaves, branches, dense habit of growth Less transparent and stranger in silhouette Make up the largest proportion of texture in a planting composition


80/165

154

Fine texture

Many small leaves, tiny, thin branches, twigs tight, dense habit of growth The last plant noticed in composition Lost in distance Clear silhouette

5. Aesthetic uses of plant material

To relate a building form to its surrounding site Unify and coordinate a discoordinate environment Reinforce certain points and areas in the landscape Reduce the harshness of hard architectural elements Emframent selected views

Aesthetic functions of plant materials

1. Complementors

o Complete a design and furnish a sense of unity by repeating the forms and massesof a building by extending lines of a building into surrounding site

3. Unifierso Serve as a common thread, visually trying together all the components of an

environment


81/165

155

3. Emphasizers

o To emphasize or accentuate certain points in the exterior environmento By distinct size, form, color textureo Do at the entrance to a site, at an intersection, near a building entrance

4. Acknowledgers

o Point out or acknowledge the importance and location of a space or object in theenvironment


82/165

156

o Make the space more obvious, easily recognizedo Size, form, color, texture or arrangement

6. Softenero To soften the harness and rigidity of architecture shapes and forms

6. View enframement

o Revealed the viewo Focus one attention on a particular point by blocking out with their foliage

masses, trunks and branches


83/165

157

CHAPTER 3BUILDINGS

To describe the various types of outdoor spaces created by building To provide some design guidelines for organizing building in a composition To outline different methods for integrating buildings and the landscape together into

one well coordinate element

To help properly site the building and design its environ

3.1 Building clusters and spatial definition

Creation space

A single building does not create space

E t i i t d h t b ildi l t d t th


84/165

158

Outdoor space

Articulated with exact sharp edges Lack dramatic seasonal variety Wall alter little Relates to the effect of windows on spatial perception Changing light in day and night


85/165

159

Quality of space

Depend on the distance to build height ratio The arrangement of buildings The character of building facades

1. Distance to building height ratio

Enclosure

Full enclosure, 1:1 distance to height ratio Loss enclosure, 4:1


86/165

160

Feeling and use

Intimate and interior like spacing, 1:3 Public, 6 or over Exterior deep well, 1or less Ideal, 2:1


87/165

161

2. Plan arrangement

Spatial leaks

Spatial leaks occur when views extend outside an enclosed space


88/165

162

Can be minimizeso Over lappingo Linkage


89/165

163

3. Building character

Character of building faade that contain the space Color, texture, detailing and proportion of a building faade Space can be made to feel cold, harsh, inhuman if the buildings wall

o Massive, gray, lack fine detail

Can be made to feel delicate, airy, inviting if the building wallo Warm in color, finely detailed, proportioned to humano Thin column and intricate detailing furnish a light qualityo Colonnade, produce a less bulky temperament


90/165

164


91/165

165

3.2 Building clusters and types of spaces

1. Central open space

Group buildings, Same as concave landform, inward orientated Spatial enclosure is minimized the spatial leaks

Wind mill spaces, strengthening the enclosure of the spaces and forces the pedestrianentering the space to experience or even stop in the space


92/165

166

Central open space is strongest when the hollowness of the space is reinforced


93/165

167

2. Focused open space

Open in one side Not to make too large, will lose enclosure Sufficient buildings walls

3. Channeled linear space

Long and narrow space, opening one or both ends Straight does not bend Can see either end, movement Persons attention is squeezed and channeled long linear side


94/165

168

4. Organic linear space

Not simple, straight space from one point to another Continuous around corners, frequently disappear out of sight Corners, changing view, spatial surprise

3.3 Relating building to a site

1. Land form

Visual and functional relationship between buildings and the site

Level landform


95/165

169

Steep landform

2. Plant material

Relating a building or group of buildings to existing plant material on a site


96/165

170

Relating buildings to a site by the correct placement of new or introduced plant materialo Vegetation can relate a building to the surrounding site by carrying

lines, forms and spaces into the site

o A roof line or wall mass can be extended into the adjoining site by masses ofplant material repeating lines and masses of the building itself

o The ceiling of an interior space can be extended into the site through the use oftree canopies

3. Building design

Should be taken into account

Include the functional relation between indoors and outdoors The interpenetration of space between building and site The use of windows A simple, flat-planed box has a weaker spatial relation to its site In a flat planed building, the separation between indoor and outdoor space is clean and

definite

No interlocking of the two spatial volumes The building is seen more as an object sitting on the site than one interacting with and

b i t f th it


97/165

171

Portions of the building mass are pushed inward or pulled outward, indoor and outdoorsspace begin to interpenetrate each other

4. Transition space

A transition space diminishes the break between indoors and outdoors and allows aperson entering or leaving a building to make the change between them in a gradual

manner

Is undesirable to force a person to move abruptly between two different settings becausethis establishes both a physical and a psychological separation between the two

It is undesirable to create a space that is neither indoors not outdoors, allowing for a slowchange between the two

A transition space is necessary to physically separate an entrance from other areas andfunctions such as a pedestrian walk

Can be created by partially delineating an area outside a building entrance with plantmaterial, walls, mounding, and/or distinct pavement pattern

Create a space by extending the upper floors of the building over the first floor entrance


98/165

172

This space is protected from the weather and produces an interconnection betweenbuilding mass and exterior space

5. Walls

Retaining and freestanding walls use to visually and functionally relate abuilding to a site


99/165

173

Walls extending out into the site from the building, can act like arms reaching out andhold onto the site

This technique also diminishes the distinction between where the building ends and thesite begins

Another use of either freestanding or retaining walls is to repeat the material in thebuilding faade in the walls located throughout the site, establishes visual recall and

visually links the building to the other walls

6. Pavement

Can be employed to unify a building and its site Pavement material can be the same as that on the building faade as a method for

unification

To repeat the material used on the floor inside the building as a pavement materialoutside the building

CHAPTER 4

PAVEMENT


100/165

174

Hard structural element Durable surface, Permanent quality Materials: Gravel, brick, tile, stone, concrete, asphalt, wood decking Able to define exact edges of shapes and forms on the ground Expansive comparison with vegetative ground surface Hotter than vegetative ground surface Reflect or causing glare

4.1 Functional and compositional uses

1. Accommodate intense use

Can use with wheeled On foot, can go anywhere Perform throughout the year Undue maintenance

Drawback

Cannot use in wet weather

2. Provide direction

Indicate where and how to move from one point to another Pedestrian through a sequence of space Character of movement

3. Suggest rate and rhythm of movement

Rhythm of movement, depend on design and layout of pavement


101/165

175

4. Create Repose

Create a sense of repose and rest by pattern


102/165

176

Stationary experience, large, non-directional forms or pattern

5. Indicate uses on the ground plane


103/165

177

Movement, rest, sitting, gathering, focal area, by color, texture, or the pavementmaterials

6. Influence scale

7 Provide unity


104/165

178

8. Serve as a setting, background

9. Establish spatial character

Its surface and edges detail design can have impact on the feeling of outdoor space Different materials and patterns can give spatial feeling refined, rugged, quiet,

aggressive, urban, rural

Material abilityo Brick- warm, inviting feeling to a spaceo Angle flagstone- irregular, informal atmosphereo Concrete- cold, impersonal sensation

10. Provide visual interest

Attention to ground From upper story window Pavement can stimulus and give a sense of space

4.2 Design guidelines for pavement

Should be weighed with overall objective


105/165

179

Material used in a given area of a design should help unity Too much variation cause visual chaos and disorder One pavement should dominate in a design, for visual contrast

To help visually and functionally integrated into entire scheme Selections a paving pattern, should study in both plan and eye level perspective Plan, visually attractive pattern, coordinative with other Edge and lines of building, coordinated with pavement

Visual characteristic


106/165

180

4.3 Basic pavement materials


107/165

181

Least expansive Available in a range of shape, size, colors Whole and crush Allows surface runoff, economy and ecology Naturalistic character Provide texture interest Used as surface material in difficult

To grow lawn or groundcover

2. Unit pavers, stone, brick, tile

Stone, natural, available in many size, shapes, color


108/165

182

Sedimentary stone, deposit from water

Sand and line stone Suitable for pedestrian area

Metal or phic stone- rock transformed by intense pressure

Marble Hard and durable Heavy and expansive, difficult to cut Limited amount is used

Igneous stone, rock formed by cooling of hot material


109/165

183

Strength and durable Used in location exposed to unusual weathering Can be cut and obtained varied sizes

Classification of Stone

Field stone

Very irregular in shape Used as found, with no cutting or finishing Difficult to use in pavement, hard to fit Not use in public space

River stone, 1 to 3 in

Rounded by action of running or falling water Rough texture Used in the bottom or along the sides

And edges of pools

Flagstone

Layered, thinSl t d bl t


110/165

184

Can be cut in any shape, rectangle, triangle, irregular Used in number of situation,

Pedestrian, non-public area

Cobble stone, rounded by moving water

Like river stone Used as a street pavement Difficult to walk, rough and texture Difficult to drain

Cut stone

Cut into blocks, give strongly texture surface Cut slabs or paves, obtained in varied sizes and colors


111/165

185


112/165

186

Brick

Manufacture Warm, friendly color Modular, common fixed shape and size Used in rectilinear forms and patterns Can be used in radiator or circular patterns


113/165

187

Drawback - difficult to keep the surface clear

Used in numbered of patterns Running bond is align the rows of brick perpendicular to line of sight Used for small, intimate gardens to large urban place Relate monumental scale in place


114/165

188

Interlocking brick

Obtained in a variety of colors: tar, pinkTile, thin paver

Ceramic tile Easier to install because of light Varied size Slipper to walk on wet

Visually relate indoor and outdoor


115/165

189

Portland cement concrete

Free form shapes Covering large area quickly Low cost Less maintenance Expansion joints and scoring line

Drawback, reflect sunlight

Uncomfortable to walk across concrete pavement, heat Percolation Uninviting, drab color Enhance with other materials to avoid monotones Imprint pattern Color added Exposed aggregate mixed, texture

Precast concrete, integration grass or ground cover


116/165

190


117/165

191


118/165

192

Bituminous concrete (asphalt)

Free form Does not require expansion joint Low maintenance Not popular for its color Dark background Heat built up


119/165

193

CHAPTER 5

SITE STRUCTURES

Three dimensional constructed elements Hard, fixed, permanent features Steps, ramps, walls, fences, sitting elements Sun shelter, decks, small building

5.1 Steps

To move up and down in a safe and efficient Has tread, riser, landing or platform Tread and riser relationship with interior and exterior 2R + T = 26 in Riser should be 4 in minimum, 6 maximum Dimension of risers in a set of steps should remain constant

Number of risers in set, should not have one riser, not to be noticed Maximum number of risers in a set should be height 4 ft, feel tired and turned away Break monotony by landing, provide rest eye and legs


120/165

194

Landing of step influence the visual and walking rhythm Tread 11 located perpendicular to the direction of movement

Design and safety aspect, cheek wall, handrails


121/165

195

Can define the limits of outdoor space Spatial separation Acts as gate ways or doors Aesthetic function, focal point


122/165

196

Create strong horizontal line, pattern Dynamic element by varying sun and shadow Casual sitting surfaces Social meeting place


123/165

197

Advantages

Provide a series of level surfaces Sure footing Maintenance a sense of balance Require small horizontal distances Can be constructed with several

material, stone, and brick, concrete,

wood

Disadvantages

Cannot be negotiated bywheelchairs, baby strollers, bicycles

Difficult to use for old, childrenhandicap

Steps acts barriers, preventing free Dangerous by snow, wet, rain


124/165

198

5.2 Ramps Freedom of movement Spaces continuous Require large horizontal area Can slip unless non slip material Unsightly cause of it length Ramp gradient should not exceed 8 percent,

12:1, 3ft height require 36 ft distance

Maximum length, 30 ft length, 5 ft landing length

Can be integrate with steps


125/165

199


126/165

200


127/165

201

5.3 Walls and fences Walls, vertical plane, freestanding or retaining walls Fences, vertical plane, wood and metal

1. Define space

Enclosed space Depend on their height, material, detailing Distance to height ratio


128/165

202

Should 6 ft tall Hard, well defined planes Space with precise, exact edges

2. Screen views

Tall

Total screen, unsightly industrial equipment Creating necessary privacy Take less space

Partial screen view

3. Separate functions

Walls can be used to separateo Quiet sitting from the noise


129/165

203

o Property line Provide security

4. Modify climate

Sun and wind Shade


130/165

204


131/165

205

5. Sitting elements

Should be 18 in above the ground 12 in wide

6. Visual elements

Background for attractive plant or sculpture Visually connector for unrelated element


132/165

206

Visual interest layout of wall, move in, around Used with pattern for shadow Painted graphic

5.4 Retaining walls

To hold back a portion of higher ground from a lower one Define spatial edges and spaces Provide background Seating space

5.5 Design guidelines


133/165

207

Base, wall or fence surfaces, cap or top Pattern texture

5.6 Wall and fence materials

1. Stone

Appearances from highly textured texture Providing an earthy gray or brown tone in a strong textural pattern


134/165

208

Appropriately used in walls, intended to be solid Stone is used in walls in two ways

o Uncut, rough irregular look naturalistico Cut, regular pattern

2. Brick

Create smoother, polished wall surface


135/165

209

To visually relate it to brick facades of adjoining or nearby buildings Employed in a number of potential patterns


136/165

210


137/165

211

Portland cement concrete

Can be utilized as cast in place concrete wall The layout of a cast-in place concrete wall can be rectilinear, curved, or irregular Indentation, protrusions


138/165

212

Texture can be imprinted in the concrete Can be used as precast material


139/165

213

Block

Wood

Naturalistic, smooth to formal on finish Lightweight Less cost in construction Available Can be used as solid or transparent Has pattern and rhythm


140/165

214

Disadvantage

Not durable Maintenance Difficult to makes curve

Wrought iron

Transparent fences

Seating

Serve as clear, dry, stable surface To rest or wait, converse, observe, and study to eat,

Rest or wait

Urban and rural situation At building entrance

Converse

Conversation and discussion To face one another


141/165

215

Quiet and afford some degree of privacy

Observe

Observe people, view Along a major walk, busy corner Require security

Study or eat

Study lie, put books, and goods

Table are furnishedBeneath a shade tree

Should integrated with other elements

Module seating, takes a large area

Wood is appropriate


142/165

216


143/165

217


144/165

218

WATER

Highly varied design element May take on such diverse forms as flat, quiet pools, falling water, and jets of

water Used in the landscape as a purely aesthetic element Used for functions as cooling the air, buffering sound, irrigating the soil,

providing a means of recreation

Humans seem to be drawn toward water for both utilitarian and visual reasonsGeneral characteristics

Plasticity

Having no shape

Its forms is determined by the characteristics of its container Can be different qualities depending on the size, color, texture, and location of the

container

To create water characteristic, design its container The particular form and appearance is direct result of the influence of gravity

Motion(static, quiet, nonmoving) or (dynamic, moving, changing)

Static water

Found in lakes, ponds, pools, or gently flowing rivers Peaceful, relaxing, mellow in character with a soothing effect on human emotions Balance and equilibrium with the force of gravity

Dynamic water

Its motion is moving, flowing, or falling water Found in rivers and streams or cascading down waterfalls Jets of water Energetic and emotionally stimulating Easily captures the attention of the eye Accompanied by sound emitted through the motion of water Being exciting and dramatic as a result of its sound and its interaction with color

and light


145/165

219

The greater the imbalance with gravity, the faster the movement of dynamic water

Sound Emit sound when it is in motion or when it abruptly strikes a fixed object or

surface

Depending on the amount of movement and volume of water involved, numerouspossible sounds can be produced that complement and enhance the visual aspects

of an outdoor space

Rhythmic motion of waves against a shoreline may be quiet and peaceful The roar of a waterfall may be motivating Common sounds created by water include trickle, dribble, bubble, gurgle, roar,

gush, splash, and babble

Reflectivity

In a quiet, static state, water can function as a mirror, repeating an image of itssurroundings (land, vegetation, buildings, sky, people, etc.) on the base plane


146/165

220

When the surface of the water is glass-smooth, the reflected image may be soprecise

When the water surface becomes ruffled by a breeze or other disturbance it losesthe exact detail of the reflection

In addition to actually reflecting the visual image of its adjoining environment, abody of water figuratively reflects the characteristics of its container and

surroundings by responding to the following factors

Slope (gravity)

Any slope causes water to move, with its speed intensifying as slopesteepness increases

With higher rates of movement, the visual attraction of water as well asthe sound produced become greater

Moving water is a potential source of energy as well as a force of erosion

Container shape and size

The edge traced by a body of water is irregular when the containing edgespush inward and outward in a random pattern


147/165

221

General uses of water

Consumption Irrigation Climate control

Sound control

Visual uses of water

Flat, static water

Pool

Used for a body of water of any size placed in a hard, well-definedconstructed container

Is to be geometric in shape


148/165

222

Pools may be used in the outdoor environment for the purposes Quiet, still water used as a plane of reflection for the sky and/or nearby

elements: buildings, trees, sculpture, and people

Reflecting pools provide planes of either light value or dark value, dependingon

o the sky condition,o the surface of the containero the location of the viewer


149/165

223


150/165

224

Pond

Design to appear natural or semi-natural

The shape of a pond is typically free-form or curvilinear


151/165

225

Used to create a feeling of repose and tranquility in an outdoor space Used to unifying link between different areas of the environment

Flowing water

Any moving water confined to a well-defined channel Results when the channel and its bottom are sloped, allowing the water to move in

response to gravity

Streams, creeks, and rivers The behaviour and characteristics of flowing water depend on

o volume of water,o steepness of slope channel size,o and properties of channel bottom and sides


152/165

226

Falling water

Occurs from water moves over and down a sudden drop in the elevation of thechannel

Has three basic types of falling watero Free fallo Obstructed flowo Sloped fall

Free-fall This type of falling water drops directly from one elevation to another in an

uninterrupted manner

The character of free-falling water depends on volume, velocity, height of fall,and edge condition over which the water falls


153/165

227

Another variable that influences the sight and sound of free-falling water is thesurface on which the water falls


154/165

228


155/165

229

Obstructed fall

Caused by water striking various obstacles or planes while dropping between twoelevations


156/165

230

Sloped fall

Water dropping along and down a steeply sloped surface

Similar to flowing water but occurs occurson a steeper slope in smaller controlled

volumes

For small volume of water, the visual result is a surface looks wet and glistens in the light

For larger volumes, distinct patterns of moving water result


157/165

231

Jets, fountain jets

Created by forcing water up into the air through a nozzle in defiance of gravity Used as focal points in a design composition based on their verticality and

interplay with light

The exact amount of attention depends on the volume of water and the force ofthe jet, Pump size

Basic types of fountains areo Single orificeo Sprayo Aeratedo Formed


158/165

232

Single-orifice

Water forced through a single opening nozzle Produces a clear stem of water, simple but striking in appearance The height is limited upon a factor of bothe water volume and pressure The sound produced is a distinct dribbling or dripping one made as the falling

water of the jet strikes the surrounding water

Used as accents in quiet garden settings or restful outdoor spaces Used in combinations of more than one jet


159/165

233

Spray

Produced by many fine, mistlike streams of water, result from water being forcedthrough a nozzle with many small openings

Has a fine texture

Aerated

Similar to a single orifice jet, the nozzle has one opening The opening of the nozzle in the aerated jet is much larger, producing a turbulent,

white water effect

Attractive by the white water interacts with sunlight to create a fresh, sparklingappearance

Used as dominant focal points in the landscape


160/165

234

Formed

Shaped to furnish a special effect Appear exact and studies, requiring special attention in their location Best used in spaces where a formal, precise shape is required


161/165

235

Combination water features


162/165

236


163/165

237


164/165

238

Assignment 1.

Student is to analyze the landscape design of anywhere with the title of

Analysis of Landscape Design of -----------------------------------

example

Analysis of Landscape Design of Hlawgar Park with the following title

Content

Introduction

Chapter 1 Factors for selected area

1.1 Location1.2 Planning arrangement and size1.3 Other factors

Chapter 2 Analysizing the selected area with Basic Elements of Landscape

Design

2.1 Analyze with Landform

2.2 Analyze with Plant materials

2.3 Analyze with Buildings2.4 Analyze with Pavement

2.5 Analyze with Site Structure

2.6 Analyze with Water

2.7 Overall analysis of selected area

Chapter 3 Factors for Maintenance of selected area

3.1 Maintenance

3.2 Water supply

3.3 Other factors

Conclusion

Reference


165/165

Reference:

Booth. Norman K, Basic Elements of Landscape Architectural

Design, 1983, New York

landscape architecture and environmental design

Documents