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MINISTRY OF SCIENCE AND TECHNOLOGY

DEPARTMENT OF
TECHNICAL AND VOCATIONAL EDUCATION



AR 05014
LANDSCAPE ARCHITECTURE &
ENVIRONMENTAL DESIGN


B. Arch


Architecture


CONTENTS
INTRODUCTION
PART I

CHAPTER I LANDFORM
1.1 Significance
1. Aesthetic character
2. Spatial sensation
3. Views
4. Drainage
5. Microclimate
6. Functional use of the land
1.2 Expression of landform
1.3 Landform types by form
1.4 Functional uses of landform
CHAPTER 2 PLANT MATERIALS
2.1 Significance
2.2 Functional uses of plant material
2.3 Architectural uses of plant material
2.4 Visual plant characteristics
1. Plant size
2. Plant form
3. Plant color
4. Foliage type
5. Plant texture
2.5 Aesthetic uses of plant material
1. Complementors
2. Unifiers
3. Emphasizers
4. Acknowledgers
5. Softener
6. View enframement
CHAPTER 3 BUILDINGS
3.1 Building clusters and spatial definition
1. Distance to building height ratio
2. Plan arrangement
3. Building character
3.2 Building clusters and types of spaces
1. Central open space
2. Focused open space
3. Channeled linear space
4. Organic linear space
3.3 Relating building to a site
1. Landform
2. Plant material
3. Building material
4. Transition space
5. Walls
6. Pavement
CHAPTER 4 PAVEMENT
4.1 Functional and compositional uses
1. Accommodate intense use
2. Provide direction
3. Suggest rate and rhythm of movement
4. Create repose
5. Indicate uses on the ground plane
6. Influence scale
7. Provide unity
8. Serve as a setting, background
9. Establish spatial character
10. Provide visual interest
4.2 Design guidelines for pavement
4.3 Basic pavement materials
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. Plasticity
2. Motion
3. Sound
4. Reflectivity
6.2 General uses of water
6.3 Visual uses of water

Assignment 1
PART II
1. Base Sheet
2. Site Inventory
3. Site Analysis
4. Ideal Functional diagram
5. Site Related Functional Diagram
6. Concept Plan
7. Form Composition
8. Preliminary Master Plan
9. Master Plan

Assignment 2
Reference

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 Location
1.2 Planning arrangement and size
1.3 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
80



LANDSCAPE ARCHITECTURE

INTRODUCTION

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

Landscape architects utilize a variety of physical design elements to meet their objectives
in creating and managing outdoor spaces for human use and enjoyment
The art of design, planning, or management of the land, arrangement of
natural and man-made elements
The landscape architect must possess knowledge and skills in a variety of related
disciplines including art, civil engineering, ecology, geography, sociology,
psychology, horticulture, and business
The landscape architect utilizes two general sets of media to transfer ideas into a
comprehensible form:
o pencil, ink, magic marker, paper, cardboard, computer, and the like used to
portray 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
81




Convex Landform in the ocean


Sandunes
82



Snowy Mountain

Snowy Island
83



Desert Land

Snow Lane
84



Falling Water
85



Lake, as a reflecting pool


Beach
86



Valley Landform









87


Manmade Landscape



88
















CHAPTER 1
LAND FORM (TOPOGRAPHY)
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 and
rocks in a walk

1. Aesthetic character
Has a direct bearing upon the aesthetic character and rhythm of the landscape at any
scale
Mountains, hills, valleys, plains, and prairies are different regional landform types, have
their 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 the
landscape 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 a
strong 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 can
also have a direct effect on the perceptual rhythm of the landscape

90


Example
Italian renaissance gardens
Responded to the hilly landform by being terraced in a series of well-defined levels that
tend 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


91


2. Spatial sensation
Level topography
Lack spatial definition based on landform alone
Only a ground plane element lacking vertical definition
Steep 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 of
ground than on a sloped one
Sloped ground surfaces are often uncomfortable to stand on and frequently induce a
person 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

Affect the location and organization of different functions and land uses of the landscape
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
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 level
landform
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


94


Views may extend uninterrupted for considerable distances long views may help
establish a sense of unity on the level landform
Horizontal lines and forms are harmonious elements
E.g. the prairie house by Frank Lloyd Wright

Vertical element becomes a dominant element and focal point, does not take much height
to 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 all
directions 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
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Can serve as a focal point on the landscape

Create a greater feeling of reverence and Respect for the object or person
For 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
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
97


The ridge tops make logical locations for roads, paths, and other elements of circulation
road, parking, housing unit
As a spatial edge, the ridge acts as a wall dividing one space or valley from another
4. 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 height
and 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
98



The sense of security is rather false because the concave landform is vulnerable from
higher 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 or
room
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










99





4. Functional uses of landform
1. Spatial definition
Space may be created by
o Excavating into the base plane
o Filling (adding) earth
o Building up from the existing base plane
o Complementing existing convex landforms with added high points
o Change elevation to establish terraces or level variations
Perception of space
o The floor area of space
o The steepness of enclosing slopes
o 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 space
o 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 size
o 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
100



The degree of enclosure perceived in any given space depends on the amount of area
within 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 up
on one or both sides of the sight line
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 an
object
Encouraged the viewer to move toward the object with the hope of seeing more of it
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 out
displeasing objects or scenes

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

103






3. Influence Movement
To influence the direction, speed, and rhythm of both pedestrian and vehicular
movement
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
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,

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
Provide the visual qualities
106


Can provide other functions,
o Create space or outdoor rooms
o Block unsightly views
o Stabilize steep slopes
Direct movement through the landscape
o Visually unify a group of building
o Modify exposure to sun and wind

Can solve a number of environmental problems
o Environment
o Clean the air
o Retain moisture in the soil
o Prevent erosion and loss of soil
o Air temperatures
o 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 and
collectively
Ground plane- ground cover or low shrubs may imply spatial definition through
variations in height and material
Vertical plane- can influence the perception of space in several ways
o Tree trunks act as vertical columns
107




o The degree of enclosure will vary with the size of the trunks, their density of
massing, and their pattern of arrangement
o The foliage mass of plants, the density and height of the foliage mass affects the
quality of the space
o The taller the plant and the larger and more closely its leaves or needles are
spaced, 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 trees
o Create ceilings over an outdoor space,
o Limiting the view to the sky
o Affecting the vertical scale of the space
o Trees are placed so strong; canopy overlaps shutting out exposure to the sky
108




Collectively, as outdoors room
The degree of perceived enclosure varies with
o The relative height of the surrounding vegetation
o Its spacing, density, and
o The position of the viewer relative to the surrounding vegetation
A space feels very enclosed when the encircling plant materials are
o Tall, dense, tightly spaces, and
o Placed close to the viewer








109




Basic spatial types created with plants
Open space
Using only low shrubs and ground cover
A space is airy, outward- oriented, lacks privacy, and
Is exposed to the sun and sky

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


110


Similar to the completely open space but is less transparent while strongly
oriented to the open sides
Appropriate for a residential terrace where privacy is required in one direction but
views are desired in another
Canopied space


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

Enclosed canopied space
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

111


Vertical space
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









112


Modify the spaces created by buildings
To subdivide larger spaces delineated by buildings into smaller spaces


Complete the spatial definition and organization
Closure
The completion of a spatial enclosure, articulated by a building or enclosing wall



113


Linkage
Visually connecting separate elements

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

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







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
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



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

117





Intermediate shrubs, 3ft to 6ft tall
Serve as visual transition in a composition between tall shrubs and small trees and low
shrubs

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
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



119



2. Plant form




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 fastigiated
Spreading/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

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
122



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 including
foliage, flowers, fruit, twigs and branches, and trunk bark
Foliage
o The principal color is of course green, dark green to light green including
shades of yellow, blue, and bronze
123


A variety of greens in a composition may used for other design functions
The organization of different shades of green can provide
o Emphasis,
o Establish unity through repetition, or
o Visually link together various portions of the design
o 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 to
moving away visually from the viewer









Dark valued foliage may be used as a solid background material
124





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


Plant color coordinating with plant characteristics

4. 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


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





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
127




Coarse 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

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 masses
of a building by extending lines of a building into surrounding site


2. Unifiers
o Serve as a common thread, visually trying together all the components of an
environment
129




3. Emphasizers
o To emphasize or accentuate certain points in the exterior environment
o By distinct size, form, color texture
o 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 the
environment
130


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

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

6. View enframement
o Revealed the view
o Focus one attention on a particular point by blocking out with their foliage
masses, trunks and branches














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 rooms
o Block unsightly views
o Stabilize steep slopes
Direct movement through the landscape
o Visually unify a group of building
o Modify exposure to sun and wind

Can solve a number of environmental problems
o Environment
o Clean the air
o Retain moisture in the soil
o Prevent erosion and loss of soil
o Air temperatures
o Provide habitats for birds and animals



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 and
collectively
Ground plane- ground cover or low shrubs may imply spatial definition through
variations 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 of
massing, and their pattern of arrangement
o The foliage mass of plants, the density and height of the foliage mass affects the
quality of the space
133


o The taller the plant and the larger and more closely its leaves or needles are
spaced, 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 trees
o Create ceilings over an outdoor space,
o Limiting the view to the sky
o Affecting the vertical scale of the space
o Trees are placed so strong; canopy overlaps shutting out exposure to the sky


Collectively, as outdoors room
The degree of perceived enclosure varies with
o The relative height of the surrounding vegetation
o Its spacing, density, and
o The position of the viewer relative to the surrounding vegetation
A space feels very enclosed when the encircling plant materials are
o Tall, dense, tightly spaces, and
o Placed close to the viewer


134










Basic spatial types created with plants
Open space
Using only low shrubs and ground cover
A space is airy, outward- oriented, lacks privacy, and
Is exposed to the sun and sky

135


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


Similar to the completely open space but is less transparent while strongly
oriented to the open sides
Appropriate for a residential terrace where privacy is required in one direction but
views are desired in another
Canopied space


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

Enclosed canopied space
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
136


Providing feelings of privacy and isolation

Vertical space
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
137











Modify the spaces created by buildings
To subdivide larger spaces delineated by buildings into smaller spaces


138


Complete the spatial definition and organization
Closure
The completion of a spatial enclosure, articulated by a building or enclosing wall



Linkage
Visually connecting separate elements
139



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

3. Privacy control
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

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
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



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

143





Intermediate shrubs, 3ft to 6ft tall
Serve as visual transition in a composition between tall shrubs and small trees and low
shrubs

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
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



145



2. Plant form




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 fastigiated
Spreading/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

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
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 including
foliage, flowers, fruit, twigs and branches, and trunk bark
Foliage
o The principal color is of course green, dark green to light green including
shades of yellow, blue, and bronze
149


A variety of greens in a composition may used for other design functions
The organization of different shades of green can provide
o Emphasis,
o Establish unity through repetition, or
o Visually link together various portions of the design
o 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 to
moving away visually from the viewer









Dark valued foliage may be used as a solid background material
150





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


Plant color coordinating with plant characteristics

4. 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


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





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
153




Coarse 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

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 masses
of a building by extending lines of a building into surrounding site


3. Unifiers
o Serve as a common thread, visually trying together all the components of an
environment
155




3. Emphasizers
o To emphasize or accentuate certain points in the exterior environment
o By distinct size, form, color texture
o 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 the
environment
156


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

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

6. View enframement
o Revealed the view
o Focus one attention on a particular point by blocking out with their foliage
masses, trunks and branches














157

















CHAPTER 3
BUILDINGS

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

Exterior space is created when two or more buildings are clustered together
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


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
160








Feeling and use
Intimate and interior like spacing, 1:3
Public, 6 or over
Exterior deep well, 1or less
Ideal, 2:1
161












2. Plan arrangement
Spatial leaks
Spatial leaks occur when views extend outside an enclosed space
162





Can be minimizes
o Over lapping
o Linkage


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 wall
o Warm in color, finely detailed, proportioned to human
o Thin column and intricate detailing furnish a light quality
o Colonnade, produce a less bulky temperament


164





















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 pedestrian
entering the space to experience or even stop in the space





166


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








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




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





169


Steep landform

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

170




Relating buildings to a site by the correct placement of new or introduced plant material
o 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 of
plant 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 of
tree 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
becoming part of the site
171




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



4. Transition space
A transition space diminishes the break between indoors and outdoors and allows a
person 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 because
this 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 slow
change between the two
A transition space is necessary to physically separate an entrance from other areas and
functions such as a pedestrian walk
Can be created by partially delineating an area outside a building entrance with plant
material, walls, mounding, and/or distinct pavement pattern
Create a space by extending the upper floors of the building over the first floor entrance
area
172


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



5. Walls
Retaining and freestanding walls use to visually and functionally relate a
building to a site
173


Walls extending out into the site from the building, can act like arms reaching out and
hold onto the site
This technique also diminishes the distinction between where the building ends and the
site begins
Another use of either freestanding or retaining walls is to repeat the material in the
building 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 material
outside the building


CHAPTER 4
PAVEMENT
Integrated into the ground plane
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
175











4. Create Repose
Create a sense of repose and rest by pattern
176


Stationary experience, large, non-directional forms or pattern








5. Indicate uses on the ground plane
177


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


6. Influence scale


7. Provide unity
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 ability
o Brick- warm, inviting feeling to a space
o Angle flagstone- irregular, informal atmosphere
o 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
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

180











4.3 Basic pavement materials

1. Loose pavement, gravel and its variations
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
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
Granite
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, thin
Slate and bluestone
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
185
















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




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









188


Interlocking brick
Obtained in a variety of colors: tar, pink
Tile, thin paver
Ceramic tile
Easier to install because of light
Varied size
Slipper to walk on wet
Visually relate indoor and outdoor











3. Adhesive pavement
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

190




191




192




Bituminous concrete (asphalt)
Free form
Does not require expansion joint
Low maintenance
Not popular for its color
Dark background
Heat built up




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

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


195











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

196





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

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 by
wheelchairs, baby strollers, bicycles
Difficult to use for old, children
handicap
Steps acts barriers, preventing free
Dangerous by snow, wet, rain
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



199









200




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
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 separate
o Quiet sitting from the noise
203


o Property line
Provide security






4. Modify climate
Sun and wind
Shade





204




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



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
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
208


Appropriately used in walls, intended to be solid
Stone is used in walls in two ways
o Uncut, rough irregular look naturalistic
o Cut, regular pattern






2. Brick
Create smoother, polished wall surface
209


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

210










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

212








Texture can be imprinted in the concrete
Can be used as precast material
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
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
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 furnished
Beneath a shade tree
Should integrated with other elements
Module seating, takes a large area
Wood is appropriate

216





217



















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 reasons

General 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
J ets 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
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, numerous
possible 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 its
surroundings (land, vegetation, buildings, sky, people, etc.) on the base plane
220



When the surface of the water is glass-smooth, the reflected image may be so
precise
When the water surface becomes ruffled by a breeze or other disturbance it loses
the exact detail of the reflection
In addition to actually reflecting the visual image of its adjoining environment, a
body 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 slope
steepness increases
With higher rates of movement, the visual attraction of water as well as
the 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 edges
push inward and outward in a random pattern

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-defined
constructed container
Is to be geometric in shape

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, depending
on
o the sky condition,
o the surface of the container
o the location of the viewer
223








224





Pond
Design to appear natural or semi-natural


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

226





Falling water
Occurs from water moves over and down a sudden drop in the elevation of the
channel
Has three basic types of falling water
o Free fall
o Obstructed flow
o 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
227




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

228




229




Obstructed fall
Caused by water striking various obstacles or planes while dropping between two
elevations


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




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 of
the jet, Pump size
Basic types of fountains are
o Single orifice
o Spray
o Aerated
o Formed

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


233





Spray

Produced by many fine, mistlike streams of water, result from water being forced
through 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, sparkling
appearance
Used as dominant focal points in the landscape

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

235



















Combination water features
236



237












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 Location
1.2 Planning arrangement and size
1.3 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







Reference:

Booth. Norman K, Basic Elements of Landscape Architectural
Design, 1983, New York

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