Es & Pps

L s
Elements and principles
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Elements: LINE. TEXTURE. FORM.COLOR
Principles : . ORDER. UNITY. RHYTHM.
The design process begins by determining the needs and desires of the user and the conditions of the site.
With this information, the designer then organizes the plants and hardscape materials, which are
collectively referred to as the features. The features can be physically described by the visual qualities of
line, form, color, and texture—the elements of design. The principles are the fundamental concepts of
composition—proportion, order, repetition, and unity—that serve as guidelines to arrange or organize the
features to create an aesthetically pleasing or beautiful landscape. Knowledge of the elements and
principles of design is essential to designing a landscape and working through the design process.

The   design   principles   of   ORDER,   UNITY,   and   RHYTHM   are   guidelines   for   the   design   composi?on   of  
forms,  materials,  and  material  pa@erns  of  the  spaces  and  elements.
ORDER
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SYMMETRY. ASYMMETRY.
Order   is   defined   as   the   “big   picture”   or   overall   framework   of   a   design.   It   is   the   underlying   visual  
structure  of  a  design.    
ORDER
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SYMMETRY. ASYMMETRY.
There  are  two  ways  order  can  be  established  in  a  design  composi?on:  Symmetry  and  Asymmetry  
ORDER
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SYMMETRY. ASYMMETRY.
SYMMETRY  :    Symmetry  establishes  balance  in  a  design  composi?on  by  arranging  the  elements  of  the  
design   equally   around   one   or   more   axes.   Typically,   what   occurs   on   one   side   of   the   axis   is   repeated   by   a  
mirror  image  on  the  other  side  of  the  axis.  This  automa?cally  produces  balance  because  both  sides  of  
the  axis  are  equal.    
When  used  in  a  design,  symmetry  provides  a  formal  character.  Any  axis  of  a  symmetrical  layout  also  
has  the  ability  to  direct  views  to  an  end  point  or  terminus  in  the  landscape.  
ORDER
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SYMMETRY. ASYMMETRY.
ORDER
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SYMMETRY. ASYMMETRY.
ASYMMETRY   :   The   other   primary   way   balance   can   be   treated   in   a   design   composi?on   is   by   asymmetry.  
Compared   to   symmetry,   a   design   balanced   by   asymmetry   tends   to   feel   more   casual   and   informal.   In  
addi?on,   an   asymmetrical   design   layout   does   not   have   only   one   or   two   major   vantage   points   as   a  
symmetrical  design  does.  Instead,  there  are  numerous  points  to  view  the  design,  each  with  a  different  
perspec?ve.   Consequently,   an   asymmetrical   design   tends   to   invite   movement   through   it   to   discover  
other  areas  and  points  of  interest.
ORDER
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SYMMETRY. ASYMMETRY.
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
Unity   is   the   harmonious   rela?onship   among   the   elements   of   a   design   composi?on.   Whereas   order  
establishes   the   overall   organiza?on   of   a   design,   unity   provides   an   internal   feeling   of   oneness   within   the  
design.   The   principle   of   unity   influences   how   the   size,   shape,   color,   and   texture   of   any   element   of   a  
design   will   appear   in   the   context   of   other   elements   of   the   design.   When   unity   is   achieved   in   a  
composi?on,  all  the  elements  of  the  design  will  feel  as  if  they  were  meant  to  go  together.  

Unity   in   landscape   design   is   established   using   the   principles   of   dominance,   repe??on,  

interconnec?on,  and  unity  of  three.
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
DOMINANCE:   Dominance   is   created   in   a   design   composi?on   by   making   one   element   or   a   group   of  
elements  more  prominent  in  comparison  with  others.    
The  dominant  element  is  an  accent  or  focal  point  of  the  composi?on.  A  dominant  element  establishes  a  
sense   of   unity   in   that   all   other   elements   in   the   composi?on   appear   subordinate   or   secondary   to   it.  
Without   a   dominant   element   in   a   composi?on,   the   eye   tends   to   wander   restlessly   throughout   the  
composi?on.    
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
The  principle  of  dominance  can  be  applied  to  landscape  design  in  a  number  of  ways.  One  way  is  in  the  
spa?al  organiza?on  of  a  design.  Without  a  dominant  space,  all  the  spaces  seem  rather  equal  in  visual  
importance  and  func?on.    
 
A  good  landscape  design  typically  possesses  a  hierarchy  of  spa?al  sizes  with  one  or  more  spaces  being  
dominant  within  the  hierarchy.  On  some  sites,  a  rela?vely  large  area  of  lawn  establishes  the  dominant  
space  .  On  other  sites,  it  is  more  appropriate  for  other  spaces  to  be  dominant,  such  as  the  outdoor  entry  
foyer   space   and   the   outdoor   living   and   entertaining   space.   Dominance   can   also   be   created   using   an  
aNrac?ve  water  feature,  a  piece  of  sculpture,  a  prominent  rock,  or  a  spot  of  light  at  night.  Each  can  draw  
the  eye’s  aNen?on  in  the  landscape.  In  plan?ng  design,  dominance  can  be  created  by  shade  trees,  or  by  
aNrac?ve  plants  such  as  ornamental  trees,  flowering  shrubs,  flowers,  or  other  unique  plant  forms  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE

An  example  of  the  outdoor  entry  foyer  serving  as  

the  dominant  space.  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE

An  example  of  the  outdoor  living  and  entertaining  

space  serving  as  the  dominant  space.  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE

An  ornamental  tree’s  unique  habit  of  growth  allows  it  to  serve  as  a  dominant  visual  element.  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
REPETITION   :   Repe??on   is   the   principle   of   using   similar   elements   or   elements   with   similar  
characteris?cs  throughout  a  design  composi?on  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE

A  design  composi?on  should  have  a  balance  between  variety  and  repe??on.  

UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
The  principle  of  repe??on  can  be  used  in  landscape  design  in  several  ways.  
First,  the  number  of  different  elements  and  materials  should  be  minimized  in  any  area  of  a  design.  For  
example,  only  one  or  two  pavement  materials  should  be  used  in  an  outdoor  space  because  too  many  
pavement   materials   can   be   visually   disrup?ve.   The   designer   should   also   limit   the   number   of   different  
plant   materials   used   in   any   one   area.   Having   limited   the   number   of   elements   and   materials   used   in   a  
design,  the  next  step  should  be  to  skillfully  repeat  these  throughout  the  design.  When  the  eye  sees  the  
same  element  or  material  placed  at  various  loca?ons  in  the  design,  visual  recall  is  created.  That  is,  the  
eye  and  mind  make  a  connec?on  between  the  two  loca?ons  and  mentally  link  them  together.  This,  in  
turn,  provides  unity.    
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
INTERCONNECTION  :  Interconnec?on  is  the  principle  whereby  various  elements  or  parts  of  the  design  
are   physically   linked   or   ?ed   together.   When   interconnec?on   is   used   successfully,   the   eye   can   move  
smoothly  from  one  element  to  another  without  interrup?on.  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
Interconnec?on  can  be  appreciated  in  the  third  dimension  as  well.  A  mass  of  shrubs,  fence,  wall,  and  so  
on   can   be   used   to   physically   link   what   otherwise   would   be   separate   elements   of   a   landscape  
composi?on.  
UNITY
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DOMINANCE. REPETITION. INTERCONNECTION. UNITY OF THREE
UNITY   OF   THREE   :   Whenever   three   similar   elements   are   grouped   together,   a   sense   of   unity   is   almost  
automa?cally   achieved.   Three   of   a   kind,   as   opposed   to   two   or   four   of   a   kind,   provides   a   strong   sense   of  
unity.   When   the   eye   perceives   an   even   number   in   a   grouping,   there   is   a   tendency   to   divide   it   in   half   .   A  
quan?ty  of  three  is  not  easily  split  in  half  and  therefore  is  seen  as  one  group  .    
RHYTHM
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REPETITION. ALTERNATION. INVERSION. GRADATION
Whereas   order   and   unity   deal   with   the   overall   organiza?on   of   a   design   and   the   rela?onship   of   the  
elements   within   that   organiza?on,   rhythm   in   a   composi?on   addresses   the   factors   of   ?me   and  
movement.  When  we  experience  a  design,  whether  it  be  a  two-­‐dimensional  graphic  layout  or  a  three-­‐
dimensional  spa?al  composi?on,  as  is  the  case  in  residen?al  site  design,  we  do  so  over  a  period  of  ?me.  
But  we  rarely  see  and  experience  a  complete  landscape  design  instantaneously.  We  tend  to  view  various  
por?ons  of  a  composi?on  in  sequence,  oVen  mentally  collec?ng  them  to  form  paNerns.  It  is  the  spacing  
and  ?ming  of  these  paNerns  that  give  a  design  a  dynamic,  changing  quality  
 
Four   ways   rhythm   can   be   created   in   landscape   design   are   repe??on,   alterna?on,   inversion,   and  
grada?on.
RHYTHM
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REPETITION. ALTERNATION. INVERSION. GRADATION
The  principle  of  repe??on  as  it  applies  to  rhythm  differs  slightly  from  the  use  of  repe??on  for  unity.  To  
develop  rhythm,  repe??on  is  used  by  repea?ng  elements  or  a  group  of  elements  within  a  design  to  
create  an  obvious  sequence.  
RHYTHM
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REPETITION. ALTERNATION. INVERSION. GRADATION
The   second   type   of   rhythm   is   alterna?on.   To   create   this,   it   is   easiest   to   first   establish   a   sequen?al  
paNern  based  on  repe??on.  Then,  certain  elements  of  the  sequence  are  changed  or  altered  on  a  regular  
basis   .   Thus,   a   rhythmic   paNern   based   on   alterna?on   has   more   varia?on   and   some?mes   more   visual  
interest  than  one  based  only  on  repe??on.  The  altered  elements  can  furnish  an  aspect  of  surprise  
and  relief  in  the  sequence.    
RHYTHM
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REPETITION. ALTERNATION. INVERSION. GRADATION
Inversion   is   a   par?cular   type   of   alterna?on   in   which   selected   elements   are   changed   so   their  
characteris?cs   are   in   contrast   to   the   ini?al   elements   of   the   sequence.   In   other   words,   the   altered  
elements   are   inverted   in   comparison   with   the   other   elements.   Big   becomes   small,   wide   becomes  
narrow,   tall   changes   to   short,   and   so   on.   Consequently,   the   changes   that   occur   in   this   type   of   sequence  
can  be  drama?c  and  no?ceable.  Inversion  can  be  incorporated  in  a  landscape  design  in  various  ways  
RHYTHM
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REPETITION. ALTERNATION. INVERSION. GRADATION
Grada?on   is   created   by   a   gradual   change   in   one   or   more   characteris?cs   of   the   repeated   element   of   the  
sequence.   For   example,   the   repeated   element   in   a   rhythmic   sequence   may   slowly   increase   in   size.   Or  
the   characteris?cs   of   color,   texture,   and   form   may   also   vary   as   the   sequence   progresses.   The   change  
that   occurs   in   grada?on   provides   visual   s?mula?on,   but   without   causing   sudden   or   incongruous  
rela?onships  among  the  elements  of  the  composi?on.