Unity is obtained by the effective use of components in a design to express a main idea through consistent style. Unity is emphasized by consistency of character between units in the landscape. Use of elements to express a specific theme within units creates harmony. Unity can be achieved by using mass planting and repetition.
Unity means that all parts of the composition or landscape go together; they fit. A natural feeling evolves when each activity area belongs to and blends with the entire landscape. Everything selected for a landscape must complement the central scheme and must, above all, serve some functional purpose.
Balance in design refers to the equilibrium or equality of visual attraction ( Figure 6 ). Symmetrical balance is achieved when one side of the design is a mirror image of the other side. There is a distinct dividing line between the two sides. Equal lines, forms, textures or colors are on each side of a symmetrical design.
Figure 6
Asymmetrical balance uses different forms, colors and textures to obtain balance of visual attraction. These opposing compositions on either side of the central axis create equal attraction. For example, mass may be opposed by color or linear dimension by height.
The landscape designer must skillfully manipulate the design elements to create asymmetrical balance. The central axis must be predetermined and then developed by the elements of art and other principles of design discussed in this publication.
Transition is gradual change. Transition in color can be illustrated by the radial sequence on the color wheel (monochromatic color scheme) previously discussed. Transition can be obtained by the arrangement of objects with varying textures, forms, or sizes in a logical sequential order. For example, coarse to medium to fine textures, round to oval to linear structural forms, or cylindrical to globular to prostrate plants. An unlimited number of schemes exist by combining elements of various size, form, texture and color to create transition ( Figure 7 ). Remember, transition refers to the 3-dimensional perspective of composition, not just the flat or facial view.
Figure 7
It is possible to use transition to extend visual dimensions beyond actual dimensions. For example, radical lines in the private area of the landscape can be used to enframe and/or focalize a lake scene. Transition of plant materials along these lines can make the scene become a part of the landscape ( Figure 8 ). Transition from taller to shorter plants with textural changes from coarse to fine along focal lines emphasizes the beauty of a lake scene. Transition from shorter to taller plants and from fine to coarse textures would enframe the scene and make it appear closer, like a painting on a wall. Generally, transition assists in the gradual movement of a viewers eye to the design and within it.
Figure 8
Proportion refers to the size of parts of the design in relation to each other and to the design as a whole. One large towering oak may compliment an office building but would probably dwarf a single story residence ( Figure 9 ). A three-foot pool would be lost in a large open lawn but would fit beautifully into a small private area. And of course, a colossal fountain would dominate a private garden but could enhance a large city plaza.
Figure 9
Proportion in landscape design usually relates to people and their activities. The desired size relationships of components in a design should pose little problem for the designer who considers this principle routinely in systematic thought processes.
Rhythm is achieved when the elements of a design create a feeling of motion which leads the viewers eye through or even beyond the designed area. Tools like color schemes, line and form can be repeated to attain rhythm in landscape design. Rhythm reduces confusion in the design.
Focalization involves the leading of visual observation toward a feature by placement of this feature at the vanishing point between radial or approaching lines. Straight radial lines as in Figure 10 create a strong focalization when compared to curved lines. The viewers eye is quickly forced along straight lines to a focal point. Generally, weaker or flowing lines of focalization are desirable in the residential landscape. Transition of plants or other objects along these lines can strengthen or weaken the focalization. Curved lines are stronger when curved toward each other than when curved outward. Indirect focalization is created by lines curved in the same direction. Focalization can be adjusted by plant materials along the lines to create symmetrical or asymmetrical focalization. Asymmetrical focalization is indirect while symmetrical focalization is more direct, creating stronger focalization.
Figure 10
Since focalization can be used to direct attention to a point, traffic in an area is usually directed to that point. Therefore, focalization could be used to direct traffic in a garden area. Guidance of view toward features of commercial, aesthetic or cultural value may attract the eye of the unaware without conscious effort.
Repetition refers to the repeated use of features like plants with identical shape, line, form, texture and/or color. Too much repetition creates monotony but when used effectively can lead to rhythm, focalization or emphasis. Unity can be achieved better by no other means than repetition. Think of repetition as not having too much variety in the design which creates a cluttered or busy appearance.
Simplicity goes hand-in-hand with repetition and can be achieved by elimination of unnecessary detail. Too much variety or detail creates confusion of perception. Simplicity is the reduction of a design to its simplest, functional form, which avoids unnecessary cost and maintenance.
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