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Prepared by:

RICHARD VINCENT I. DEYTIQUEZ


KEVIN SOLANOY
BSA-IV

Prepared to:
AR.ARCENIO SACRO
INSTRUCTOR


AKLAN STATE UNIVERSITY
COLLEGE OF INDUSTRIAL TECHNOLOGY
Kalibo, Aklan

DEPARTMENT OF ARCHITECTURE AND
ENGINEERING
A POWERPOINT
PRESENTATION
ABOUT
LANDSCAPE DESIGN
INTRODUCTION
LANDSCAPE DESIGN

Landscaping is a service industry. It serves people by fabricating
environments where they can live, work, play, or just pass time.
Landscaping is a vital part of the site development. In addition to its
aesthetic qualities, landscaping can improve energy conservation, moderate
noise, frame desirable views, block undesirable views, create privacy fashion
outdoor spaces, provide shade, retard erosion, and visually connect a
building to its site. It is also required in some communities.
The use of landscaping to moderate , the microclimate wall discussed earlier
and included the use of deciduous trees to block sunlight in summer while
allowing it to enter a building in the winter.


LANDSCAPING also refers to any activity that modifies the visible
features of an area of land, including:
living elements, such as flora or fauna; or what is commonly known
to as gardening, the art and craft of growing plants with a goal of
creating a beautiful environment within the landscape.
natural elements such as landforms, terrain shape and elevation, or
bodies of water;
human elements such as structures, buildings, fences or other
material objects created and/or installed by humans; and
abstract elements such as the weather and lighting conditions.
Landscaping is both science and art, and requires good observation
and design skills. A good landscaper understands the elements of
nature and construction and blends them accordingly.



UNDERSTANDING THE LAND

Landscaping requires study and observation. It is not the same in
different parts of the world. Landscaping varies according to
different reigons.

Therefore normally local natural experts are
recommended if it is done for the first time. Understanding of the
site is one of the chief essentials for successful landscaping.
Different natural features like terrain, topography, soil qualities,
prevailing winds, depth of the frost line etc. must be taken into
account.Sometimes the land is not fit for landscaping. In order to
landscape it, the land must be reshaped. This reshaping of land is
called grading.
Removing of earth from the land is called cutting while when earth
is added to slope, it is called filling. Sometimes grading process
may involve removing of excessive waste, soil and rocks, so
designers should take into account while at planning stage.


LANDSCAPE SYMBOLS
Needled Evergreens
Broadleaved Evergreens
Deciduous Shrubs
Deciduous Trees
Vines
Trailing Groundcovers

Needled Evergreens
When recalling the appearance of a pine or spruce tree, it is easy to understand
the symbols commonly used to represent needled evergreens
(Figure 35). The symbols suggest the spiny leaves and rigid growth
habit of these plants, which are green throughout the year. These symbols can be
used to represent both trees and shrubs as long as they are needled and evergreen.
Broadleaved Evergreens
Another group of plants are green throughout the year, but have wider and
usually thicker, fleshy leaves. Plants such as the hollies, rhododendrons, and
camellias exemplify the category of broadleaved evergreens. The symbols used to
represent them suggest the larger leaf size and semirigid growth habit of the
plants (Figure 36). As with the needled evergreens, these symbols can be used for
both broadleaved evergreen trees and shrubs.

Deciduous Shrubs
Deciduous shrubs drop their leaves in the autumn. As a category of
plants, they are much more numerous and diverse than either of the evergreen
categories; therefore the symbols used to represent them tend
to be more generic or general. The edge of the symbol is loose and irregular,
suggestive of the less rigid growth habit of most deciduous shrubs
(Figure 37). With this symbol, as with all plant symbols, a prominent dot in the
center marks the spot on the plan where the plant is to be set into the ground.

Deciduous Trees
Like deciduous shrubs, deciduous trees also lose their leaves during the winter season. Unlike most
shrubs, trees usually have only a central trunk rather than multiple stems. Also, trees are generally taller
than shrubs. All of these differences are suggested in the symbols selected by designers to represent
deciduous trees (Figure 38). The symbols for trees are usually wider because trees are commonly larger
than shrubs. The lines representing them may be thicker and/or darker too, reflecting their greater
height and prominence within the design. Depending upon how much detail must be shown beneath
them, the tree symbols may be simple and plain, or intricately detailed to show branches and/or leaves.
Vines
Trees and shrubs tend to grow radially out from their centers. That is why the compass and circle
template are so useful in forming their symbols. However, vines grow in a linear manner, and they do not
hold to a predictable shape. Their symbols are shaped to suggest that rambling
linearity (Figure 39).
Trailing Groundcovers
Groundcovers are those plants, usually 18 inches or less in height, that fill the planting bed beneath the
trees and shrubs. Like vines, many groundcovers are shapeless, linear plants that would have little impact
on the design if used alone, but when grouped in masses and given time to fill in, they become an
important textural component of the design. The symbols used to represent trailing groundcovers are
therefore more textural than structural (Figure 310). The texture is applied to all areas
in the design where groundcover plants will be used.
Symbol styles for needled evergreens.
Symbol styles for deciduous trees.
Trailing
Groundcover
Trailing
Groundcover
Groundcover of
Low Shrubs
Vines Against a Building Wall
Vines on a Fence

PLANT FORMS
SITE FEATURES AND CHARACTERISTICS

The first step in becoming acquainted with a site is to take an inventory
of what is there. Though the property owners can be an important
source of information about the site, it is best for the designer to make
the first visit to the site without the owner or client tagging along. It is
too easy for the designer to begin seeing the site through the eyes of the
owner and thereby assimilating his or her opinions and biases about
the site. The designer needs to remain apart from the preconceptions of
the sites potential and instead have an organized method to assess the
many and varied nuances of each site.
SUSTAINABLE LANDSCAPE
ARCHITECTURE


Sustainable landscape architecture is a category of
sustainable design concerned with the planning and
design of outdoor space.
This can include ecological social, and eco
Separating the features and characteristics of a site into categories is
a logical place to begin. Some of the sites characteristics are natural
features,
and others are man-made. Still others are cultural (resulting from
or associated with human society). Some features are totally physical,
though others are most significant as visual features. Some features are
unmistakably positive factors, and others are definitely negative in their
impact. Many have a neutral quality until they are judged in the context
of the proposed design.
A partial list of the features and characteristics that are inventoried
and later evaluated during the site analysis includes the following.

Hardscape
Design materials that are not living plant materials are often referred
to as hardscape. They include such things as pavings, fencing and
wall materials, furnishings, lighting, and water features. Like plant
symbols, hardscape symbols attempt to suggest how the materials or
objects will actually appear in the landscape. They need to be scaled
appropriately to allow the graphic to look realistic. When the scale of
the plan is so small that it becomes impossible to draw each brick,
stone, or similar feature to its exact size, then a textural interpretation
may be used to suggest the hardscape rather than interpret it literally.
HARDSCAPE MATERIALS
Brick
Outdoor Grill
Fencing with Gate Picnic Table Loose Aggregates and
Mulches
(Crushed Stone, Marble Chips,
Wood Chips)
Steps and Landing
Decking Stonework
Natural Features
a. terrain (rise and fall of the land)
b. topography (the record of an areas terrain)
c. slopes (their steepness as measured at different locales within
the site)
d. erosion (both present and potential areas on the site)
e. directions of surface water drainage
f. areas of puddling or drought
g. soil qualities (pH, nutrient level, stoniness, depth of the topsoil,
texture)
h. existing plant materials (quantity, quality, species names, sizes,
locations)
i. microclimates (protected or exposed area, where plant growth may
be affected)
j. prevailing winds
k. annual rainfall and snowfall on the site
l. depth of the frost line
m. off-site views
n. sunlight and shadow patter
Man-made Features
a. existing buildings (size, architectural style, color, materials)
b. utilities (above and below ground)
c. paved areas, such as drives, existing patios, basketball or tennis
courts
d. existing landscape features, such as walls, pergolas, fences,
pools
e. building details, such as the location of doors, windows, utility
meters,
air conditioners, downspouts, dryer vents, exterior mounted lights
f. current storage spaces for trash containers, garden tools,
recreational
vehicles
g. adjacent property development
SOURCES OF SITE INFORMATION
As the preceding list illustrates, the features of a site are varied. Some
are easy to measure and evaluate, but others are more complex and
may even be beyond the capability of the designer or landscape firms
staff to assess without assistance. It is not uncommon for the input for
a site inventory to come from multiple sources. Typically, things that
require onsite counting or measuring or sample collecting can be done

PERFORMING A SITE ANALYSIS
Once a general understanding of what constitutes the characteristics of
a site is gained, the landscaper must actually walk the site and inventory
those features. To assure that nothing is overlooked, many landscapers
will use a checklist that assures a consistent assembly of site
data every time. Such a checklist also allows different people within the
company to conduct the site analyses with some assurance of consistency.
Functional diagrams begin the
arrangement of the clients
program

Some designers refer to these as bubble
diagrams, because they use loosely drawn freeform shapes to represent
the use areas or spaces that will accommodate the clients program
features. More concerned with relationships between the spaces than
with the specifics of how those spaces will be developed, functional
diagrams
help the designer make important logical decisions concerning layout of
the site, size requirements of each use area, circulation patterns
between use areas and throughout the total site, potential conflicts
of use or circulation, and the relationship of off-site features to
on-site areas
Preliminary designs
break the bubbles to reveal the designers first
draft vision of how each area of the landscape will be shaped. Development
of the outdoor rooms of the landscape (as described in the next
chapter) begins at this stage. Using the functional diagram as the basis
for location and intended uses of each room, the designer gives the
landscape its form. Decisions are made regarding the types of materials
to be used to create the screenings, ceilings, and surfacings. The principles
of design (as discussed in Chapter 8) are applied to the use areas.
The designer begins to think in three-dimensional terms, planning
not only the horizontal relationships between objects and areas, but the
vertical relationships as well (Figure 56). Though the graphic delineation
of the preliminary design is simplistic and detailed specifics are
lacking, the preliminary design encapsulates the concepts intended by
the designer. It is a suitable drawing to present to the client for review.
To carry the design any further without getting feedback from the client
would be foolish, because few preliminary designs pass the all important
client test without modification. With difficult projects (or difficult
clients) there may be a number of preliminary designs created before
the project advances to the final stage.
Final plans
Incorporate all of the suggestions and reactions of the
client into a master drawing that is graphically detailed and completely
specific in its intent for the landscape. Plant and hardscape materials
are precisely identified. Paving patterns and enrichment features are
explained and diagrammed. Graphic styling is designed to impress and
to aid the clients visualization of how the completed landscape will
appear. Accompanying the final plan may be a series of construction
drawings or interpretive drawings to aid the client and/or the contractor
in understanding how the design is to be built.
By properly and patiently working through the design process, a
landscape architect or landscape designer can create an imaginative
and workable solution to almost any project challeng
Sun Orientation The objective of the designer is to maximize
the number of hours each day and the number of days per year
that this area can serve the residents. Comfort is key, and for
properties in the temperate areas of the country, that means that
a southern exposure is the ideal. The second best sun orientation
is facing west, because the afternoon sun is the warmest. An
eastern orien tation would leave parts of the area cool in the
afternoon
due to shadows cast by the house, trees, and other structures.
Service Area The function of the service area is utilitarian. It may
house the storage shed for garden tools, a dog yard for the family
pet,
a garden for vegetables or cut flowers, a clothesline or compost pile,
or it may provide storage for a camper trailer.

The Principles of Design
THE FOUNDATION FOR DESIGNING
Many texts address the subject of design principles, and each does it in
a slightly different way. Because the names and number of principles
vary from book to book, the reader might begin to wonder if any one
source is complete or totally correct. Though each author may present
the subject in a slightly different way, by chapters end most have
explained the principles fully even if the terminology fails to match
completely. As discussed in this chapter, principles refer to standards
by which designs can be created, measured, discussed, and evaluated.
Because design is at times very personal, it can be difficult to evaluate
objectively. Whether someone likes or dislikes a certain plant select ion
or paving pattern does not necessarily credit or discredit the design.
Only when the design can be shown to be in compliance with or in violation
of the principles that guide all design can it be judged as good,
bad, or in between. Only when a judgment can be offered that the design
is good or bad because it applies or fails to apply one or more of
Balance is a state of being as well as seeing. We are physically
uncomfortable
when we are off balance. Whether while held hostage on top
of
the see-saw by a heavier playmate when we were children, or
tipping
over in a canoe when the contents shifted unexpectedly, we
experience
a lack of balance at various times in our lives, and we do not
like it. It
follows that we are most appreciative of and comfortable in
landscape
settings that are visually balanced.
Symmetric balance. One side of the outdoor room is
a mirror image of the opposite side.
Asymmetric balance. One side of the outdoor room has as much
interest as the opposite side, but does not duplicate it exactly.
Symmetric balance -One side of the outdoor room is
a mirror image of the opposite side.
Focalization of Interest
Anything that is designed well has a focal point, one place within the
composition where the viewers eye is first attracted.
Simplicity
As with the principle of balance, simplicity seeks to make the viewer
feel comfortable within the landscape
Rhythm and Line
Rhythm is readily understood if discussing music. Familiar songs that
are fun to sing or easily danced to remain with us for life, largely because
their rhythm is easy to recognize and remember.
Proportion
Proportion is concerned with the sizerelationships between all of the features of
the landscape.
Unity
As a principle of design, unity is the easiest to measure if the other five
principles have been applied properly and comprehensively to the design.


The repeating parallel arcs of turf, pavement, and
flowers add rhythm and line to the design
Asymmetric balance is more natural in
appearance. (Courtesy of Pellettieri Associates, Inc.)
Proximal/distal balance. The foreground tree
counterbalances the distant mountain.

Focalization. Plants are arranged in an
asymmetrical stepdown manner
to move the viewers eye toward the entry, which
is the intended focal point.
Placing the fountain
in line with the entry
reinforces
the focus of interest rather
than
competing with it.
Proportion. Each component of the landscape
must be in
the proper size relationship with all other
elements. The large tree is
appropriate with the multi-storied house B, but
is too large to be so close
to the single-storied house A.

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