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Landscape Gardening

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 Commercial Horticulture, pp 513-520
© 2016, Editors, N.L. Patel, S.L. Chawla and T.R. Ahlawat
New India Publishing Agency, New Delhi, India

37
Landscape Gardening
M.A. Patel
Navsari Agricultual University, Navsari (Gujarat)

Introduction
Landscape gardening is a very fascinating and interesting subject. It is a money spinner
business and people who are involved in designing and preparing landscape gardens are
earning handsome money. It is an aesthetic branch of horticulture which deals with
application of garden forms, different styles, methods and materials with a view to
improve the landscape. Frescos of flowers of old times reveal the association of human
with flowering plants which they used in making gardens and planting on road side. In
India, the landscape gardening is a developing subject and as such offers much scope
for improvement. A beautiful landscape is a vital part of your home and community. A
well-planned landscape can save your money by reducing energy consumption.
Landscape designer work on the canvas that is distinctly different from other art forms.
The “art” is always changing as the plants grow environmental conditions change and
people use the space. For this reason, landscape designers use a design process that
systematically considers all aspects of the land, environment, growing plants needs of
the user to ensure a visually pleasing, functional and ecologically healthy design.
The fundamental concept of landscape design is problem solving through the use of
horticultural science, artful composition and spatial organization to create attractive and
functional outdoor “rooms” for different uses. The elements (visual qualities)—line,
form, texture and colour principles (guidelines) — rhythm, balance, proportion, unity,
focal point, mass effect and level of design are used to create spaces, connect them and
make them visually pleasing to the eye.
514 Commercial Horticulture

Elements of Landscape Design

The elements of composition are the visual qualities that people see and respond to
when viewing a space. Visual qualities can illicit many different emotions and feelings,
and the more positive those feelings, the more likely people are to enjoy and use a
space.

1. Line
Line creates all forms and patterns can be used in a variety of ways in the landscape.
Line in the landscape is created by the edge between two materials, the outline or
silhouette of a form or a long linear feature. Lines are a powerful tool for the designer
because they can be used to create an infinite variety of shapes and forms; they control
movement of the eye and the body. Landscape designers use lines to create patterns,
develop spaces, create forms, control movement, establish dominance and create a
cohesive theme in a landscape. Lines are a powerful design element that define rooms
and connect people to the landscape. For a professional touch, use sweeping bold lines
and curves rather than small zig zags and wavy curves.
The properties of lines determine how people respond to the landscape, both emotionally
and physically. Straight lines are structural and forceful; they create a formal character,
are usually associated with a symmetrical design and lead the eye directly to a focal
point. Straight lines are most often found in hardscape edges and material. Curved lines
create an informal, natural, relaxed character that is associated more with nature and
asymmetrical balance. Curved lines move the eye at a slower pace and add mystery to
the space by creating hidden views. Vertical lines move the eye up, making a space feel
larger. Vertical lines in the landscape include tall, narrow plant material such as trees or
tall structures, an arbour or a bird house on a pole. Horizontal lines move the eye along
the ground plane and can make a space feel larger. Low lines are created by low
garden walls, walkways and short hedges.

2. Form
Shape is created by an outline that encloses a space while form is the three-dimensional
mass of that shape. Form is found in both hardscape and plants and it is typically the
dominant visual element that spatially organizes the landscape and often determines the
style of the garden. The form of structures, plant beds and garden ornaments also
determines the overall form theme of the garden. Formal geometric forms include circles,
squares, and polygons. Informal naturalistic forms include meandering lines, organic
edges and fragmented edges. Plants create form in the garden through their outlines or
silhouettes but form can also be defined by a void or negative space between plants.
Meandering lines often mimic the natural course of rivers or streams and can be described
as smooth lines with deeply curved undulations. These lines can add interest and mystery
to a garden by leading viewers around corners to discover new views and spaces.
 Landscape Gardening 515

• Horizontal and spreading forms emphasis the lateral extent and breath of space.
They are comfortable because it corresponds with the natural direction of eye
movement.
• Rounded forms are most common in plant materials. They allow for easy eye
movement and create a pleasant undulation that leads itself to plant groupings.
• Vase-shaped trees define a comfortable “people space” beneath the canopy.
• Weeping forms lead the eye back to the ground. Below the weeping form often
becomes a focal point.
• Pyramidal forms direct the eyes upward so use sparingly. Grouping pyramidal
will soften the upward influence. They will look more natural in the surroundings
with foliage to the ground.

3. Texture
Texture can be defined as the relationship among the foliage, twig size and mass of the
plants. Close up texture comes from the size and shape of the leaves, the size of twigs,
spacing of leaves and twigs, the colours and shading, the gloss or dullness of leaves, etc.
At a distance, texture comes from the entire mass effect of plants and the qualities of
light and shadows. Texture is used to provide variety, interest, and contrast. The plant’s
foliage, flowers, bark and overall branching pattern all have texture. The size and shape
of the leaves often determine the perceived texture of the plant. A plant can generally
be described as having a coarse, medium or fine texture. Plant characteristics that
create coarse texture include large leaves; leaves with very irregular edges; bold, deep
veins; variegated colours; thick twigs and branches; leaves and twigs with spines or
thorns; and bold, thick, and/or irregular forms. Coarse-textured plants attract the eye
and tend to hold it because the light and dark contrasts of the shadows provide more
interest. Most plants are medium texture, in that they cannot be described as having
either coarse or fine texture. They are characterized by medium-sized leaves with
simple shapes and smooth edges. Medium-textured plants act as a background to link
and unify the coarse and finetextured plants. Characteristics that create fine texture
includes small foliage; thin, strappy leaves (grasses) or tall, thin stems; tiny, dense twigs
and small branches; long stems (vines) and small, delicate flowers. Fine texture
exaggerates distance and gives the feeling of a larger, more open space. Rough texture
minimizes distance—plants appear closer and the space feels smaller or enclosed. Texture
is also found in the hardscape, including on buildings, patios, walls and walkways.

4. Colour
Colour in plant material and hardscape adds interest and variety to the landscape. It is
the most conspicuous and temporary element in the landscape, usually lasting only a
few weeks to a year for individual plants. The use of colour is guided by colour theory
516 Commercial Horticulture

(use of the colour wheel) to create colour schemes. A simple description of the colour
wheel includes the three primary colours of red, blue and yellow; the three secondary
colours (a mix of two primaries) of green, orange and violet; six tertiary colours (a mix
of one adjacent primary and secondary colour) such as red-orange. Colour theory explains
the relationship of colours to each other and how they should be used in a composition.
The basic colour schemes are monochromatic, analogous and complementary. Colour
is found in the flowers, foliage, bark and fruit of plants. Foliage typically provides the
overall background colour for flower. Various shades of green foliage is the dominant
colour by quantity, but other colours capture attention more readily because of their high
contrast to the colour green.

Monochromatic scheme
A monochromatic colour scheme uses only one colour. In landscaping, this usually
means one other colour besides the green colour in the foliage. One colour can has
many light and dark variations, which can add interest. An example of a monochromatic
scheme is a white garden with white flowers, white variegated foliage and white garden
ornaments.

Analogous scheme
Analogous (sometimes called harmonious) colour schemes have any three to five colours
that are adjacent on the colour wheel such as red, red-orange, orange, yellow-orange,
yellow, blue or blue-violet and violet. The colours are related to each other because they
typically include two primary colours mixed to form a secondary and two tertiary colours
which means they share common properties.

Complementary scheme
Complementary colours are those that opposite each other on the colour wheel. They
tend to have high contrast between them. The most common sets are violet and yellow,
red and green, blue and orange. Complementary colours are often found naturally in
flowers and a common pair is yellow and violet.

Principles of Design
Design principles guide designers in organizing elements for a visually pleasing landscape.
A harmonious composition can be achieved through the principles of proportion, order,
repetition and unity. All of the principles are related to even other and applying one
principle helps achieve the others. Physical and psychological comforts are two important
concepts in design that are achieved through use of these principles. People feel more
psychologically comfortable in a landscape that has order and repetition. Psychological
comfort is also affected by the sense of pleasure that a viewer perceives from a unified
or harmonious landscape. Users feel more physically comfortable, function better and
feel more secure in a landscape with proportions compatible to human scale.
 Landscape Gardening 517

1. Rhythm
Repetition of same object at equidistance is called rhythm. Repetition is created by the
repeated use of elements or features to create patterns or a sequence in the landscape.
Repeating line, form, colour and texture create rhythm in the landscape. Repetition
does not always create a pattern; sometimes it is simply the repeated use of the same
colour, texture or form throughout the landscape using the same plant. In Mogul gardens,
fountains and water canals have also been extensively used to create such effects.
Now-a-days other objects like lights are also used to create the effect of rhythm.

2. Balance
Balance is the concept of equal visual attraction and weight usually around a real or
imaginary central axis. Form, colour, size and texture all affect balance. Balance can be
symmetrical, asymmetrical or perspective. Order can also be achieved by massing
features or elements into distinct groups and arranging them around a central point.
• Symmetrical or formal balance is achieved when identical elements are positioned
equidistantly from the central axis. For making the balance with the plants, their
form, colour and texture are kept in view.
• Asymmetrical or informal balance creates the same amount of interest on both
sides of the outdoor room, but does not create an exact duplication of elements. A
tree on one side is balanced by planting a group of shrubs on the an other side.

3. Proportion or scale
Relative proportion is the size of an object in relation to other objects. Absolute proportion
is the scale or size of an object. An important absolute scale in design is the human scale
(size of the human body) because the size of other objects is considered relative to
humans. Plant material, garden structures and ornaments should be considered relative
to human scale.
Proportion can be found in plant material relative to people, the surrounding plants and
the structure or building. When all three are in proportion, the composition feels balanced
and harmonious. A feeling of balance can also be achieved by having equal proportions
of open space and planted space. Benches, tables, pathways, arbours, gazebos, etc.
work best when people can use them easily and feel comfortable. Human scale is also
important for psychological comfort in voids or open spaces.

4. Unity
Unity is achieved by linking elements and features to create a consistent character in
the composition. It is sometimes referred to as harmony—the concept of everything
fitting together. By comparison, scattered groupings of plants and unrelated garden
ornaments are the opposite of unity.
518 Commercial Horticulture

Interconnection, the concept of physical linkage (touching) of various features is present

in all designs. Hardscape is important to interconnection because it typically serves to
organize and link spaces in the garden. Features that are grouped in threes, or in other
groups of odd numbers, such as in groups of five or seven, feel more balanced to the
eye and give a stronger sense of unity. Odd numbers allow for staggered variations in
height, such as small, medium and large that provide more interest.

5. Focal point
Focal point is an object or feature in the garden that draws the eye and leads the visitor
towards them. The ability of an object to capture attention usually depends on contrast
with adjacent objects. Garden ornaments also work well to attract attention because
they are often dramatically different from plant material. Dominant features that capture
attention are called focal points. Focal points are used to draw attention to a particular
location, move the eye around the space or guide circulation. Emphasis is created through
contrast in size, colour, form or texture. Plants that draw attention are with unique form,
size or texture often called specimen plants.

6. Mass effect
The use of one general form of plant material in large numbers in one place is done to
have mass effect. Mass effect is the grouping of features based on similarities and then
arranging the groups around a central space or feature. A good example is the organization
of plant material in masses around an open circular lawn area or an open gravel seating
area. To see that mass arrangements do not become monotonous, the sizes of masses
should be varied.

7. Level
The landscaping of a sloping garden will be far more expensive than that of a flat site if
it involves building and levelling. On the other hand, a sloping garden has far greater
inherent interest than a flat one, and slopes can act as host to many exciting garden
features: steps, ramps and dynamic water projects in the form of streams, pools, cascades,
waterfalls, even water staircase etc. In a flat garden, it is possible to introduce artificial
changes in level, either by importing soil or by the ‘cut and fill’ technique- which involve
digging out soil and mounding it up beside the excavation. The classic result is a mound
or rock garden alongside a sunken garden.

Applying the Principles and Elements of Design

While it is useful to know the elements and principles of design, it is sometimes difficult
to understand how to apply them to your ideas for garden development. Each site
presents challenges and opportunities for individual design, expression, requires unique
application of the elements and principles. Studying how the elements and principles
have been applied in an existing design that appeals to you is a good place to start.
 Landscape Gardening 519

Personal style and knowledge

To discover and identify your personal style, think about other landscapes you enjoy.
Observe the landscapes and study those that appeal to you and note the features and
types of plant material. Also try to identify the elements of design, such as colour,
texture, form and determine how line is used in the landscape. Study the view and try to
determine how balance and rhythm are created. Also, look for dominance and try to
figure out how unity is produced. Visit demonstration gardens and botanical gardens to
look for interesting and appealing plant groupings. The landscape designer should have
sufficient knowledge regarding the plants and their cultivation requirements. Note the
type of micro climate for each group to determine if it will work in your garden.

Site conditions
It is an important factor and according to site, suitable design is made. Topography of
the site also affects the design.
Second, look at the shape and size of the footprint (outline) of your house in relation to
your lot size and shape. For this, you will need an official boundary survey that shows
the exact footprint with dimensions and it’s location within the property boundaries.
This will tell you if you have room for the features, you desire where those features can
be located.
Third, thoroughly understand your site and how do you want to use the space. Begin
with a site inventory and analysis. Note all the conditions of the space and analyze how
the conditions might affect your design. Each condition can be seen as an opportunity—
a positive condition that will help achieve your design or a constraint—a negative condition
that might impact your design, but could possibly be turned into an opportunity. Examples
of opportunities and/or constraints include land forms, such as slopes and flat areas, and
natural features such as trees and rocks, or built features such as swimming pools and
fences. Depending on the desired design, each could present an opportunity or a
constraint.

Locating features and defining outdoor rooms

Once you have determined the architectural style, the shape of the garden spaces and
the opportunities of your site, you can begin to locate the features and give them form.
Most features will have a logical location based on the use or type of feature and the
site opportunities. The elements and principles of design are particularly useful when
creating rooms because they help to define spaces, add interest, and create a unified,
functional, and aesthetically pleasing landscape. Colour and texture can also be used to
differentiate spaces by making each area visually unique or distinct. Spaces can be
connected through the use of lines, such as pathways, or they can be visually connected
through the use of emphasis (focal points) that captures attention and leads the eye or
through repetition of elements that connects spaces through similar objects.
 520 Commercial Horticulture

Climate
The climate of particular space affects the selection of plant material accordingly. Ideally
suited plant material according to climate should be selected.

Soil
According to characteristics of soil type, suitable plants should be selected. So, the
detail analysis of the existing soil and soil require to be filled from outside should be
carried out in advance.

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