BASIC PRINCIPLES OF LANDSCAPE

DESIGN
Gail Hansen

Landscape designers work on a 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, the environment, the growing plants, and the needs of the
user to ensure a visually pleasing, functional, and ecologically healthy design.

ELEMENTS AND PRINCIPLES

The design process begins by determining the needs and desires of the user and the
conditions of the site. With this information, the designer then organizes the plants and
hardscape materials, which are collectively referred to as the features. The features can be
physically described by the visual qualities of line, form, color, texture, and visual weight—
the elements of design. The principles are the fundamental concepts of composition—
proportion, order, repetition, and unity—that serve as guidelines to arrange or organize the
features to create an aesthetically pleasing or beautiful landscape.

Knowledge of the elements and principles of design is essential to designing a landscape and
working through the design process. This publication describes each of the elements and
explains the principles and their application.

ELEMENTS OF 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. Perhaps the
most common element in a composition is line. Line creates all forms and patterns and can
be used in a variety of ways in the landscape.

LINE

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, and 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.
Landscape lines are created several ways: when two different materials meet on the ground
plane, such as the edge of a brick patio meeting an expanse of green turf; or when the edge of
an object is visible or contrasts with a background, such as the outline of a tree against the
sky; or by the placement of a material in a line, such as a fence. Figure 1 shows common
landscape lines, including bedlines, hardscape lines, path lines, sod lines, and fence lines.
Lines can have one or more characteristics, such as those described below, but they typically
serve different purposes.

Figure 1. Lines in the landscape.

PROPERTIES OF LINES

The properties of lines determine how people respond to the landscape, both emotionally and
physically.

STRAIGHT LINES

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. Diagonal
lines are straight lines with an intentional direction. Straight lines are most often found in
hardscape edges and material.

CURVED LINES

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

Vertical lines move the eye up, making a space feel larger. An upward line can emphasize a
feature and has a feeling of activity or movement. Vertical lines in the landscape include tall,
narrow plant material, such as trees, or tall structures, such as an arbor or a bird house on a
pole.

HORIZONTAL LINES

Horizontal lines move the eye along the ground plane and can make a space feel larger. Low
lines are more subdued and create a feeling of rest or repose. Horizontal lines can spatially
divide a space or tie a space together. Low lines are created by low garden walls, walkways,
and short hedges.

Lines are used to draw forms on a plan. In plan view, they define plant beds and hardscape
areas. Lines are also created by the vertical forms of built features and plant material. There
are three primary line types that create form in the landscape: bedlines, hardscape lines, and
plant lines. Bedlines are created where the edge of the plant bed meets another surface
material, such as turf, groundcover, gravel, or patio pavers. Bedlines connect plant material
to the house and hardscape because the eye follows the line, moving the gaze through the
landscape. Hardscape lines are created by the edge of the hardscape, which delineates the
built structure. Line can also be created by long and narrow materials, such as a fence or
wall.

FORM
Shape is created by an outline that encloses a space, and 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.

GEOMETRIC FORMS
CIRCULAR FORM

Circles can be full circles, or they can be divided into half circles or circle segments and
combined with lines to create arcs and tangents. Figure 2 shows the use of circle segments
for hardscape and lawn panels. Circles can also be stretched into ovals and ellipses for more
variety and interest. Circles are a strong design form because the eye is always drawn to the
center, which can be used to emphasize a focal point or connect other forms.

Figure 2. Circular forms in hardscape and lawn panels.

SQUARE FORM

Squares are used for a variety of features, including stepping stones, bricks, tiles, and timber
structures, because they are an easy form to work with for construction. The square form can
also be segmented and used repeatedly to create a grid pattern. Unlike circles, squares are
stronger on the edges, which can be lined up or overlapped to create unique patterns and
more complex forms.

IRREGULAR POLYGONS

Polygons are many-sided forms with straight edges. Triangles, for example, are three-sided
polygons. The angled edges of polygons can make interesting shapes, but they should be
used cautiously because the forms can become complex; simplicity is best.

NATURALISTIC FORMS
MEANDERING LINES

Meandering lines often mimic the natural course of rivers or streams and can be described as
smooth lines with deeply curved undulations. Meandering lines (Figure 3) work well for
pathways, plant bedlines, and dry stream beds. Meandering lines can add interest and
mystery to a garden by leading viewers around corners to discover new views and spaces.

Figure 3. Meandering lines in the landscape.

ORGANIC EDGES

Organic edges mimic the edges of natural material, such as foliage, plant forms, and rocks,
and can be described as rough and irregular. Organic lines can be found in rock gardens and
along dry creek beds or purposely created on hardscape edges.

Figure 4. Organic edges: irregular edge of rock garden.

FRAGMENTED EDGES

Fragmented edges resemble broken pieces scattered from the edge, such as stones or pavers,
and are often used to create a gradually disappearing edge on patios or walkways.
Figure 5. Fragmented edges: stepping stones in pathway.

PLANT FORMS

Form is the most enduring quality of a plant. Common plant forms are well established and
standardized, as form is the most consistent and recognizable characteristic of plants. Form
can also be created through the massing of plants, where the overall mass creates a different
form than an individual plant. A strong form that contrasts with the rest of the composition
will have greater emphasis within the composition. A highly contrasting form must be used
with care—one or two work well as a focal point, but too many create chaos. Natural plant
forms, rather than over-trimmed forms, should establish the bulk of the composition. The
relevance of overall form is more or less dependent on the viewing perspective—the form of
a tree can appear quite different to a person standing under the canopy versus viewing the
tree from a distance in an open field. Vertical forms add height; horizontal forms add width.
Plant forms also create and define the void or open spaces between the plants, creating either
convex or concave forms in the voids. High-arching tree branches typically create a concave
open space under the branches, and a round canopy with low branches fills the space to
create a convex form in the open space under the tree.
TREE FORMS

Common tree forms (Figure 6) include round, columnar, oval, pyramidal, vase shaped, and
weeping. Different tree forms are used for visual appeal, but the form is also important for
function. Creating a shady area in the garden requires a round or oval tree, while a screen
usually requires a more columnar or pyramidal form, and a weeping tree form makes a good
focal point.

Figure 6. Tree forms.

SHRUB FORMS

Shrub forms (Figure 7) include upright, vase shaped, arching, mounding, rounded, spiky,
cascading, and irregular. Choosing shrub forms often depends on whether the shrub will be
used in a mass or as a single specimen. Mounding and spreading shrubs look best in a mass,
and cascading and vase-shaped shrubs do well as specimen plants.
Figure 7. Shrub and groundcover forms.

GROUNDCOVER FORMS

Groundcover forms (Figure 7) include matting, spreading, clumping, sprawling, and short
spikes. Almost all groundcovers look better in masses because they are typically small,
ground-hugging plants that have very little impact as individual plants.

PROPERTIES OF FORM

Form is very powerful because people can often recognize and identify a feature based on an
outline or silhouette. People can often perceive a form when only a portion of it is visible.
Familiarity and the suggestion of a form is enough for the eye to fill in the rest. Repetition of
form is essential to the creation of pattern, which is the basic organizational structure of the
landscape.
Form is also the primary determinant of a formal or informal garden. Geometric forms with
straight edges are typical of formal gardens that are based on an established style, such as
contemporary or Italian gardens. An informal garden has more naturalistic, organic forms
that are normally found in gardens that mimic nature. Form compatibility is also a major
component of unity in design—one or two strikingly different forms are good for contrast
and emphasis, but generally all other forms should have some similarities for a unified look.

TEXTURE
Texture refers to how coarse or fine the surface of the plant or hardscape material feels
and/or looks. 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 determines the perceived texture of the plant. A plant can generally be described as
having a coarse, medium, or fine texture. Coarse texture is more dominant than fine and also
tends to dominate color and form, while fine texture is more subordinate to other qualities
and tends to unify compositions. Coarse-textured plants attract the eye and tend to hold it
because the light and dark contrasts of the shadows provide more interest. 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.

COARSE TEXTURE

Plant characteristics that create coarse texture include large leaves; leaves with very irregular
edges; bold, deep veins; variegated colors; thick twigs and branches; leaves and twigs with
spines or thorns; and bold, thick, and/or irregular forms. Each leaf of a coarse-textured plant
breaks up the outline, which gives the plant a looser form. Examples of plants with coarse
texture include philodendrons, agaves, bromeliads, hollies, palms, and hydrangeas.
Hardscape with coarse texture includes rough-cut stone, rough-finished brick, and unfinished
wood with knots and a raised grain. Aged or old construction material that maintains a
weather-beaten surface is often coarse in texture.

FINE TEXTURE

Characteristics that create fine texture include small foliage; thin, strappy leaves (grasses) or
tall, thin stems; tiny, dense twigs and small branches; long stems (vines); and small, delicate
flowers. They are often described as wispy and light or with a sprawling, vining form. Fine-
textured plants sometimes have a stronger form because the small individual leaves are
densely packed (e.g., boxwoods) to create a solid edge. Plants with a fine texture include
grasses, ferns, Japanese maples, many vines, and junipers with fine needles. Hardscape with
fine texture includes smooth stone, wood or ceramic pots, and glass ornaments. Smooth
water, such as that found in a reflecting pool, or water with a very fine spray is considered
fine textured.

MEDIUM TEXTURE
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. The average-sized branches are not densely spaced nor widely spaced, and the overall
form is typically rounded or mounding. Medium-textured plants act as a background to link
and unify the coarse- and fine-textured plants. Plants with medium texture include
agapanthus, ardisia, camellia, euonymus, pittosporum, and viburnum. Hardscape with a
medium texture includes standard flagstone pavers, broom-brushed concrete, and finished
woods.

PROPERTIES OF TEXTURE

Texture affects the perception of distance and scale. To make a space feel larger, locate
plants so that the fine textures are along the outer perimeter, the medium textures are in the
middle, and the coarse textures are closest to the viewer. The small size of the fine texture
recedes in the landscape and is perceived as being farther away. To make a space feel
smaller, place the coarse textures along the outer perimeter and the fine textures closest to the
viewer. The detail of the coarse texture makes the plants appear closer and makes the space
feel smaller. The perceived texture of plants can also change with the distance from the plant.
Plants that are coarse close-up can look fine textured from a distance. Bold colors increase
the contrast and make the texture appear coarser, while muted colors can flatten texture.
Hardscape with a coarse texture—such as very rough rocks and bold, large timbers—tends to
make all plant material appear more medium textured. Designers often develop a texture
study (Figure 8) on paper to help decide the arrangement of plant materials. The drawing
mimics texture by using different line weights and spacing to represent fine, medium, and
coarse textures.
Figure 8. Texture study.

COLOR
Color in plant material and hardscape adds interest and variety to the landscape. Color is the
most conspicuous element in the landscape and is usually the focus of most homeowners;
however, it is also the most temporary element, usually lasting only a few weeks a year for
individual plants. The use of color is guided by color theory (use of the color wheel) to create
color schemes. A simple description of the color wheel includes the three primary colors of
red, blue, and yellow; the three secondary colors (a mix of two primaries) of green, orange,
and violet; and six tertiary colors (a mix of one adjacent primary and secondary color), such
as red-orange. Color theory explains the relationship of colors to each other and how they
should be used in a composition. The basic color schemes are monochromatic, analogous,
and complementary.

MONOCHROMATIC SCHEME
A monochromatic color scheme uses only one color. In landscaping, this usually means one
other color besides the green color in the foliage. A garden that is all green depends more on
form and texture for contrast and interest. One color can have 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) color schemes are any three to five colors that are
adjacent on the color wheel, such as red, red-orange, orange, yellow-orange, and yellow, or
blue, blue-violet, and violet. The colors are related to each other because they typically
include two primary colors mixed to form a secondary and two tertiary colors, which means
they share common properties.

COMPLEMENTARY SCHEME

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

COLOR IN PLANTS AND HARDSCAPE

Color is found in the flowers, foliage, bark, and fruit of plants. Foliage typically provides the
overall background color for flower colors. Green foliage in all its various shades is the
dominant color by quantity, but other colors capture attention more readily because of their
high contrast to the color green.

Color is also found in buildings, rocks, pavers, wood, and furniture. Most colors in natural
materials, such as stone and wood, are typically muted and tend to be variations of brown,
tan, and pale yellow. Bright colors in the hardscape are usually found in man-made materials,
such as painted furniture, brightly colored ceramic containers or sculptures, and glass
ornaments.

PROPERTIES OF COLOR

Color is an important element for creating interest and variety in the landscape. Colors have
properties that can affect emotions, spatial perception, light quality, balance, and emphasis.
One property of color is described relative to temperature—colors appear to be cool or warm
and can affect emotions or feelings. Cool colors tend to be calming and should be used in
areas for relaxation and serenity. Warm colors tend to be more exciting and should be used in
areas for entertaining and parties. The "temperature" of colors can also affect the perception
of distance. Cool colors tend to recede and are perceived as being farther away, making a
space feel larger. Warm colors tend to advance and are perceived as being closer, making a
space feel smaller.
Color can also be used to capture attention and direct views. Focal points can be created with
bright colors. For example, bright yellow, which has the highest intensity, also has a high
contrast with all other colors (often described as a "pop" of color) and should be used
sparingly. A small amount of intense color has as much visual weight as a large amount of a
more subdued or weaker color. Color schemes in the garden can change with the seasons.
Summer colors are usually more varied and bright with more flowers, while winter colors
tend to be monochromatic and darker with more foliage. Color is also affected by light
quality, which changes with the time of day and time of year. Brighter, more intense summer
sun makes colors appear more saturated and intense, while the filtered light of winter makes
colors appear more subdued. When choosing a color scheme, consideration should be given
to the time of day the yard will be used. Because color is temporary, it should be used to
highlight more enduring elements, such as texture and form. A color study (Figure 9) on a
plan view is helpful for making color choices. Color schemes are drawn on the plan to show
the amount and proposed location of various colors.

Figure 9. Color study.

VISUAL WEIGHT

Visual weight is the concept that combinations of certain features have more importance in
the composition based on mass and contrast. Some areas of a composition are more
noticeable and memorable, while others fade into the background. This does not mean that
the background features are unimportant—they create a cohesive look by linking together
features of high visual weight, and they provide a resting place for the eye. A composition
where all features have high visual weight often looks chaotic because the eye tends to
bounce between the features. High visual weight usually comes from a group of plants with
one or a few of the following characteristics: upright or unusual forms, large size, bright
colors, bold texture, and diagonal lines. Low visual weight is found in low horizontal lines,
prostrate or low forms, fine texture, and subdued or dull colors (Figure 10).

Figure 10. Visual weight by mass and contrast.

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, and applying one principle helps
achieve the others. Physical and psychological comfort 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. Organized landscapes with
predictable patterns (signs of human care) are easier to "read" and tend to make people feel at
ease. 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.

PROPORTION
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.
Other important relative proportions include the size of the house, yard, and the area to be
planted.

PROPORTION IN PLANTS

Proportion can be found in plant material relative to people (Figure 9), the surrounding
plants, and the house. 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. Using markedly different plant sizes can help to achieve dominance
(emphasis) through contrast with a large plant. Using plants that are similar in size can help
to achieve rhythm through repetition of size.

PROPORTION IN HARDSCAPE

Features are most functional for people when they fit the human body. Benches, tables,
pathways, arbors, and gazebos work best when people can use them easily and feel
comfortable using them (Figure 11). The hardscape should also be proportional to the house
—a deck or patio should be large enough for entertaining but not so large that it doesn't fit
the scale of the house.
Figure 11. Proportion in plants and hardscape.

PROPORTIONS IN VOIDS

Human scale is also important for psychological comfort in voids or open spaces. People feel
more secure in smaller open areas, such as patios and terraces. An important concept of
spatial comfort is enclosure. Most people feel at ease with some sort of overhead condition
(Figure 11) that implies a ceiling. The enclosure does not have to be solid; in fact, an implied
enclosure, such as tree branches, serves as a good psychological enclosure that still allows
light and views of the sky.

ORDER
Order generally refers to the spatial layout or organization of the design and is most often
achieved through balance. Balance is the concept of equal visual attraction and weight,
usually around a real or imaginary central axis. Form, color, 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 BALANCE

Symmetrical balance is achieved when the same objects (mirror images) are placed on either
side of an axis. Figure 12 shows the same trees, plants, and structures on both sides of the
axis. This type of balance is used in formal designs and is one of the oldest and most desired
spatial organization concepts. This is because the mind naturally divides space by assuming a
central axis and then seeks an even distribution of objects or mass (visual weight). Many
historic gardens are organized using this concept.

Figure 12. Symmetrical balance around an axis.

ASYMMETRICAL BALANCE
Asymmetrical balance is achieved by equal visual weight of nonequivalent forms, color, or
texture on either side of an axis. This type of balance is informal and is usually achieved by
masses of plants that appear to be the same in visual weight rather than total mass. Figure 13
shows groupings of trees and structures that are approximately equal in visual weight on
either side of the axis. The mass can be achieved by combinations of plants, structures, and
garden ornaments. To create balance, features with large sizes, dense forms, bright colors,
and coarse textures appear heavier and should be used sparingly, while small sizes, sparse
forms, gray or subdued colors, and fine texture appear lighter and should be used in greater
amounts.

Figure 13. Asymmetrical balance around an axis.

PERSPECTIVE BALANCE

Perspective balance is concerned with the balance of the foreground, midground, and
background. When looking at a composition, the objects in front usually have greater visual
weight because they are closer to the viewer. This can be balanced, if desired, by using larger
objects, brighter colors, or coarse texture in the background. In most cases, either the
foreground or background should be dominant.

MASS COLLECTION

Mass collection 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.

REPETITION
Repetition is created by the repeated use of elements or features to create patterns or a
sequence in the landscape. Repeating line, form, color, and texture creates rhythm in the
landscape. Repetition must be used with care—too much repetition can create monotony, and
too little can create confusion. Simple repetition is the use of the same object in a line or the
grouping of a geometric form, such as a square, in an organized pattern.

Repetition can be made more interesting by using alternation, which is a minor change in the
sequence on a regular basis—for example, using a square form in a line with a circular form
inserted every fifth square. Inversion is another type of alternation where selected elements
are changed so the characteristics are opposite the original elements. An example might be a
row of vase-shaped plants and pyramidal plants in an ordered sequence.

Gradation, which is the gradual change in certain characteristics of a feature, is another way
to make repetition more interesting. An example would be the use of a square form that
gradually becomes smaller or larger.

Repetition does not always create a pattern; sometimes it is simply the repeated use of the
same color, texture, or form throughout the landscape. Figure 14 illustrates repetition of a
square form in an entry courtyard, lawn panels, a patio, and a water feature.
Figure 14. Repetition of square form.

REPETITION IN PLANTS AND HARDSCAPE

Using the same plant repeatedly in a landscape is simple repetition. A grass garden is a good
example of subtle plant repetition. Gradation can be achieved with a gradual change in height
or size (e.g., using small grasses in front, backed by medium grasses, and then large grasses).
A more obvious gradation is plants that transition from fine to coarse texture, or from light
green to dark green.

Material can be used repeatedly throughout the yard for unity, but interest can be created by
slightly varying the size, texture, or color of hardscape material. Repetition and pattern can
be made most obvious in the hardscape because duplication is easiest with built materials that
are manufactured to exact dimensions.

UNITY
Unity is achieved by linking elements and features to create a consistent character in the
composition. Unity 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. Unity is achieved by using dominance, interconnection, unity of three
(described below), and simplicity to arrange colors, textures, and form. Although hardscapes
and plants can be unified by the blending of similar characteristics, some variety is also
important to create interest. The simplest way to create unity is through the use of a design
theme or a design style. Design themes and styles have a well-defined set of features that
have maintained their popularity over time because they are visually pleasing to many.

UNITY BY DOMINANCE

Dominance or emphasis is the property of a plant or object that attracts and holds attention,
making the object an important feature. The ability of an object to capture attention usually
depends on contrast with adjacent objects. A typical example for a garden would be a very
brightly colored ceramic pot among green foliage.

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, color, form, or texture.

Plants that draw attention are often called specimen plants. These are plants with a unique
form, size, or texture that stand out from the surrounding plants. Ordinary plants can also be
used for emphasis by isolating the plant in a container (Figure 15) or an open space.
Purposefully placing plants in this way draws attention to the plant. Specimen plants are
usually used to draw attention to entrances, pathways, or statuary. Garden ornaments also
work well to attract attention because they are often dramatically different from plant
material. Form and color are usually the characteristics that contrast the most with plants.
Sculptures, planters, and furniture have forms that are easily recognizable and distinguishable
from plants.
Figure 15. Emphasis by isolation of plant material in a container.

UNITY BY INTERCONNECTION

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

all designs. Although all features are linked to other features, the key is to make the linkage
seamless so that the features blend or fit together. Hardscape is important to interconnection
because it typically serves to organize and link spaces in the garden. Continuation of a line,
such as a path, the edge of a built object, or a defined edge of a plant bed, can create unity
through interconnection.

UNITY OF THREE

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. Odd numbers are often seen or perceived as a group and are not as easily split or
visually divided as even numbers.
UNITY BY SIMPLICITY

Simplicity is the concept of reducing or eliminating nonessentials to avoid a chaotic look.

This brings clarity and purpose to the design. Many designers achieve simplicity by
thoughtfully removing features from a design while still preserving its integrity.

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 your yard. Each site presents challenges and
opportunities for individual design and expression and 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. The best way to create a good
design is to borrow ideas from designs that you find attractive and adapt them to your
particular site conditions.

PERSONAL STYLE AND SENSE OF PLACE

To discover and identify your personal style, think about other yards or landscapes you
enjoy. Observe the landscapes in your neighborhood and other neighborhoods in your
community. 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 color, texture, and 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.
Studying landscapes in your neighborhood and community is important because most people
feel more comfortable when they "fit in" with their neighbors. There is often a strong social
desire to feel like part of the community and contribute to the neighborhood fabric. The
concept of fitting in is referred to as "genus loci," or having a sense of place. Sense of place
also refers to the regional context—the surrounding landscapes, both natural and planned,
that have an influence on the design and plant materials to be used.

Other sources of inspiration include demonstration gardens or landscapes, local botanical

gardens, and displays at local nurseries. Avoid the large national chain store nurseries, as
their plants are not often grown locally, and their plant selection may not be as suitable to
your area. They can be good, however, for buying temporary annuals for small areas. Visit
demonstration gardens and botanical gardens to look for interesting and appealing plant
groupings. Note the type of microclimate for each group to determine if it will work in your
yard. Because these gardens are designed for your area, you can use the exact combination of
plant material, as long as it fits the sun and shade requirements. Ask about growing and
maintenance requirements to determine if the plants will fit your needs. At local nurseries,
you can gather and arrange several potted plants to see how they look together. Although
they are small, you can still get a good idea about texture and color composition.
Another way to identify your personal style is to look through magazines and books for
ideas. Study the images and note the details. What do you like about the design? Will it work
in your space? You will not be able to duplicate the exact design because your site will be
different in location, size, and shape, but there are often many features you can adapt to your
site. Appropriate hardscape materials and plants for your region can be substituted for those
in the sample design by choosing materials and plants with the same characteristics. Try to
picture how the features will look in your yard and where they might be placed. Several
different ideas may be knitted together to create a final design. It is important to keep in mind
that the gardens and yards you see in magazines and books are chosen because they are
outstanding examples, and they are typically gardens that are cared for by people with
extensive gardening knowledge. Keep in mind your (or your contractor's) maintenance
abilities and knowledge and adjust the design appropriately.

SITE CONDITIONS

How do you know if a design you like will work in your yard? First, compare the
architectural style of the houses and try to find similarities between your house and the
sample house. Study the hardscape materials in the sample design. Do the same colors and
materials work with your house? If necessary, what substitutions could you use and still
retain the desired look? Imagine your house with the same or similar plant materials—
remember that the plants can be arranged differently to fit the dimensions of your yard. For
more information on plant selection, see Right Plant, Right Place: The Art and Science
of Landscape Design – Plant Selection and Siting (https://edis.ifas.ufl.edu/EP416).

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 and where those features can be located. Pay
particular attention to the shape of the spaces or voids between your house and the property
lines. These are the areas where your features will be located and will help determine the
potential form or shape for those features. For example, a rectangular yard may look best
with rectangular shapes in the hardscape. The shape of the house will also provide clues as to
the type of shape you should use in the yard. If the house has diagonal walls or hexagon
shapes, this could inspire a diagonal or hexagon shape in the landscape. Designers will often
draw lines on the plan that extend from the house edges or corners to the property lines.
Figure 16 illustrates lines used to delineate the shape of spaces and locate the patio and focal
features. These are called regulating lines because they help regulate space and define forms
that extend from the house or between the house and the property lines.
Figure 16. Regulating lines from house walls and doors.

Third, thoroughly understand your site and how 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 yard 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 yard is typically considered an extension of the house, and it makes sense
to locate the most heavily used features of the yard close to backdoor entrance. For example,
the outdoor dining/seating area (patio or deck) is typically located adjacent to the house for
convenience and physical comfort. Other features, such as dog runs and vegetable gardens,
are often located on the side of the house to hide them from view, and play or recreation
areas are often located in full view of the kitchen or family rooms so that parents can watch
children at play.

Spatially dividing a yard into separate uses is often referred to as creating outdoor rooms
(Figure 17) and is a fundamental concept of outdoor design. Logical arrangement of the
"rooms" creates a functional and aesthetically pleasing landscape. Spaces can be delineated
through the use of different materials, such as the edge of a stone patio against a lawn panel;
through a change in elevation (steps); through the use of a form, such as a square lawn panel;
through the use of a feature, such as a low garden wall or small trees; or through the use of
plants to create implied walls and ceilings. 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.

Figure 17. Outdoor rooms for separate uses.

Color and texture can also be used to differentiate spaces by making each area visually
unique or distinct. The hierarchy of spaces or rooms can also be delineated through the use of
visual weight. Areas of high importance can include features and elements that give them
high visual weight and attract attention. Scale and proportion are also useful principles for
spatial organization and hierarchy. A space with a distinctly different size relative to the
other spaces tends to assume more importance because of the contrast. Scale is also very
important in determining the type of features that can be used in the landscape; different uses
require different square footage to be functional. For example, features such as swimming
pools, dog runs, and vegetable gardens have a minimum required size, and a patio has a
minimum size depending on the number of people expected to use the patio at one time.

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. Another
important concept of outdoor design is direction or physical movement within a space.
Movement or circulation can be controlled through the use of different materials, spatial
organization, focal points, and intentional marking of pathways. Using all of the elements
and principles will tie the entire landscape together in a unified, functional manner.

SUMMARY
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, color, and visual weight, and principles (guidelines) —proportion, order, repetition,
and unity of design are used to create spaces, connect them, and make them visually pleasing
to the eye.
LANDSCAPE DESIGN: TEN
IMPORTANT THINGS TO CONSIDER
Gail Hansen de Chapman

When designing a residential landscape, the most important step is to put a plan on paper.
Developing a master plan will save you time and money and is more likely to result in a
successful design. A master plan is developed through the 'design process': a step-by-step
method that considers the environmental conditions, your desires, and the elements and
principles of design. The goal is to organize the natural and man-made features in your yard
into an aesthetic, functional, and environmentally sustainable landscape.

THE DESIGN PROCESS

The five steps of the design process include: 1) conducting a site inventory and analysis, 2)
determining your needs, 3) creating functional diagrams, 4) developing conceptual design
plans, and 5) drawing a final design plan. The first three steps establish the aesthetic,
functional, and horticultural requirements for the design. The last two steps then apply those
requirements to the creation of the final landscape plan.

The process begins with a site inventory and analysis of soil, drainage, climate conditions,
and existing vegetation. This is a critical step for both plant selection and placement and
locating family activities and functions. It's important because the same climate conditions
that affect the plants—temperature, humidity, rain, wind, and sunlight—also affect you, the
user. The next step is to make a list of your needs and desires—this helps you determine how
your yard and landscape will be used. The site and user analyses will also help you establish
a theme for the form and style of your design. The functional diagram is then used to locate
the activity spaces on the site and from this diagram a conceptual plan is developed. The last
step is a final design that includes all the hardscape and planting details that are necessary for
installation. Throughout the design process there are ten important things to consider:

1. Understand your site for plant selection and activity location

2. Remember the user by considering what you want and need
3. Use a form and/or style theme to help determine shapes and organize spaces
4. Create and link spaces by designating activity areas and linking with elements
5. Consider the function of plants for both the environment and the user
6. Structure the plantings by using massing and layering techniques
7. Highlight important points such as transition areas and focal points
8. Pay attention to detail in the materials, the colors, and the surface textures
9. Take time into account for the growth and maintenance of plants
10. Protect your resources by using sustainable design practices
UNDERSTAND YOUR SITE
A thorough inventory and analysis of the site is important to determine the environmental
conditions for plant growth and the best use of the site. Issues of concern include the soil
type, topography, and regional climate. The type of soil determines the nutrients and
moisture available to the plants. It is always best to use plants that will thrive in the existing
soil. Although soil can be amended, amendment is often costly and most times ineffective.
Existing vegetation can provide clues to the soil type. Where plants grow well, note the soil
conditions and use plants with similar growing requirements. Pay particular attention to areas
where plants are not doing well and adjust when choosing new plants. Topography and
drainage should also be noted and all drainage problems corrected in the proposed design. A
good design will move water away from the house and re-route it to other areas of the yard.

Climate concerns begin with temperature: plants must be able to survive the average high
and, most importantly, the average low temperatures for the region. Use the USDA Plant
Hardiness Zone Map (planthardiness.ars.usda.gov) as a starting point to choose plants
appropriate for your zone, but remember microclimates within your yard can offer
alternatives. Sun/shade patterns, the amount and length of exposure to sun or shade (Figure
1), create microclimates (sometimes called microhabitats). Recording site conditions and
existing vegetation on a base map will reveal the location of microclimates in the yard. Plants
usually fall into one or two of four microclimate categories-full sun, partial shade, shade, and
deep shade. It is important to remember that sun/shade patterns change with the seasons and
over time as trees get larger.
Figure 1. Sun and shade patterns.
Credit: Gail Hansen, UF/IFAS

It is essential to note all the existing conditions on an accurate base map when doing the site
inventory (Figure 2). Utilities such as power lines, septic tanks, underground utilities and
roof overhangs determine plant location. Use a surveyor's plat of your property for the
boundaries and location of your home. Measure and note on the survey other structures and
hardscape such as patios, driveways, or sidewalks. It is very important to hire a surveyor if
you do not have a plat; guessing the location of boundaries can be a costly mistake.
Figure 2. Site inventory.
Credit: Gail Hansen, UF/IFAS

REMEMBER THE USER

The users are typically you, your family, the family pets, and visitors, and each have their
own needs. There are five things to consider: 1) how do you currently use the yard, 2) how
do you want to use the yard, 3) aesthetically, how do you want it to look, 4) what is your
maintenance style, hands-off or hands-on, and 5) what is your budget.

It is very important to consider how you currently use the yard. For example-which entry is
used by whom, where do the kids play and where does the dog usually run? (Figure 3)
Thinking about how you currently use the yard, and how you want to use the yard in the
future (Figure 4), determines the need to re-organize old spaces into new spaces and
amenities. It is also important to remember the vehicles used by your family; driveways and
parking are space intensive. Budget concerns include the materials, initial installation costs
and the on-going maintenance costs. Determine the time and money you are willing to put
into maintaining the plants and hardscape-be realistic about your intentions and ability.
Figure 3. Current use areas.
Credit: Gail Hansen, UF/IFAS
Figure 4. Proposed use areas.
Credit: Gail Hansen, UF/IFAS

USE A FORM AND/OR STYLE THEME

There are many different landscape design themes- from simple to complex, but it is helpful
to choose one to guide your plant and material selection. Think of a theme as the inspiration
for your garden. Many people find it helpful to look in gardening magazines and books for
ideas. This is a good start, but be aware that the gardens in the photos were picked because
they are outstanding examples. Look at the photos with a critical eye to gather ideas that you
can adapt to your passion level, your budget and your site. Before choosing a theme it is
important to look at the surrounding views of your property. Decide if you want to open your
yard, close your yard, or a little of both, to these views. In other words, do you want the
garden to enclose the space around you and relate mostly to the house, or do you want the
garden to open views and look outward, relating to the surroundings? This will give you a
starting point to think about a theme. Care should be taken to choose appropriate themes for
your yard based on the architecture, the type of neighborhood, the topography, and the
regional landscapes. This is called "sense of place", which means it fits with the
surroundings.

There are both form themes and style themes. Every garden should have a form theme, but
not all gardens have a style theme. In fact, many residential gardens have no particular style
except to blend with the house by repeating details from the architecture such as materials,
color, and form. All gardens, however, should use a form theme to create spaces for
activities. In a form theme the organization and shape of the spaces in the yard is based either
on the shape of the house, the shape of the areas between the house and the property
boundaries, or a favorite shape of the homeowner. The form theme determines the shape and
organization (the layout) of the spaces and the links between them.

Common themes include geometric, such as a circle, square, and rectangle; or naturalistic
such as irregular (organic edge) or curvilinear (meandering lines) (Figure 5). Form themes
are sometimes combined; geometric shapes are used for the hardscape and naturalistic shapes
for the plantings. For example, plant bedlines are often curvilinear while the hardscape is
square in form.

Figure 5. Naturalistic form theme.

Credit: Gail Hansen, UF/IFAS
Style themes are most often related to the architecture and they often simplify the design of a
residential yard because materials and form are to some extent pre-determined. Many style
themes today are a contemporary version of traditional garden designs. Architecture is
usually the primary source of a theme, but themes can also represent a time, a culture, a
place, or a feeling, such as serenity or calmness. The advantage to using a traditional style
theme is the established set of forms and elements have historically worked well together and
endured the test of time.

Because architectural styles typically fall into a formal or informal category, the landscape
theme tends to be either formal or informal (Figure 6). Formal architectural and garden styles
that can be used for inspiration include French, Spanish, Italian, and Middle Eastern. Less
formal designs include Oriental, English, and American. Style themes can also apply to the
planting plan and may include tropical, desert, meadow, woodland, marsh, or coastal
plantings. Themes can be as simple as a color mix or plants with a distinct character- such as
grasses-used repeatedly in the composition.

Figure 6. Formal style theme.

Credit: Gail Hansen, UF/IFAS
CREATE AND LINK SPACES

The yard is an extension of the home where a variety of activities take place. A yard can
generally be divided into three areas: public (the front yard), private (the back yard), and
service (typically the side yard). The location of activity areas depends primarily on the type
of area, the size of space needed, the type of activity, and the desired proximity to other
activities and structures. A few examples of spaces include the front entry area that brings
you and your visitors to your home, a cooking/eating/entertaining area (patio or deck), a play
area, a dog run, a secret garden/relaxation area, a vegetable garden or hobby area, and a
trash/compost/work area.

Perhaps the most important spatial concept for successful garden design is the creation of
outdoor rooms in the yard. These spaces are often separated through the use of plant beds,
sod areas, trees, planters, garden walls, arbors, level changes, and paved surfaces (Figure 7).
The features are used to enclose or define the spaces and give them a room-like feel. For
psychological comfort, creating spaces that are of human scale is important because most
people prefer to be in places that feel protected and sheltering, rather than open and exposed.
The outside wall of the house often serves as the first wall or starting point of an outdoor
room. Incompatible uses should be separated, and related activities, such as cooking and
dining, should be put together to make the yard more efficient and enjoyable. When using
hardscape to create spaces, use construction material similar to that used in the house for
continuity from the house into the garden.
Figure 7. Outdoor rooms.
Credit: Gail Hansen, UF/IFAS

Pedestrian circulation in the landscape should move people through the yard and provide
organizational structure. Outdoor rooms are typically linked by pathways, steps, and
walkways, or openings with gates or arbors that encourage exploration and use of the entire
yard (Figure 8). These spaces can also be linked by visual features such as a creek bed (wet
or dry) that meanders through or beside several spaces, or a garden wall that begins at a
patio, moves along a turf area and ends along a planted area.
Figure 8. Linked spaces.
Credit: Gail Hansen, UF/IFAS

Using similar hardscape features and repeating plants pulls the eye around the garden.
Important points along the way can be emphasized with plantings or features that draw
attention and encourage movement in a particular direction. Moving along the path takes a
person from one area to the next and allows the user to have a variety of experiences. In an
informal garden the curves and bends of the path should partially conceal what lies ahead.
This provides a sense of mystery that promotes exploration and discovery of the landscape.

CONSIDER THE FUNCTION OF PLANTS

From a design perspective, plant materials have three major functions in the landscape:
aesthetic, structural and utilitarian. Aesthetically, plants create a visually pleasant
environment and structurally plants organize and define spaces. Plants are utilitarian because
they can transform the environment for the comfort of the user by modifying light,
temperature and humidity. Plants can also be used to control noise and odor, and provide
food for homeowners and wildlife.
For psychological comfort plants are used as physical or implied barriers for privacy and
safety. Physical barriers block both the view and access to a space and include fences, walls
and plant hedges. Implied barriers, typically low growing plants, block access but not the
view (Figure 9). Other functions of plants include cleaning the air, preventing erosion and
soil loss, retaining moisture in the soil, and returning organic matter to the soil.

Figure 9. Physical and implied barriers.

Credit: Gail Hansen, UF/IFAS

For these reasons, the types of plants to be used (such as trees, shrubs, or groundcovers)
should be chosen in the early stages of planning. Plant types are chosen for their functional
capabilities so that their future purpose and required space can be considered at the same
time.

For structure and utility, trees and large to medium shrubs are the most important plants in
the landscape, they contribute the most to microclimates (Figure 10), spatial organization,
and security concerns. The size, form and texture (density) are the three dominant
characteristics that determine how the plant can be used to make more pleasant
microclimates and create a more functional, organized, energy efficient yard.
Figure 10. Microclimates.
Credit: Gail Hansen, UF/IFAS

STRUCTURE THE PLANTINGS

Plants provide structure in the garden in the same way as do the walls of a building. Shrubs
can act as walls in a space and the branches of trees form a ceiling canopy overhead. The
overhead plane, the vertical plane and the ground plane should all be considered to create
enclosure. Once the shape of a plant bed has been established, the plants should be massed
(grouped) and layered to achieve visual unity and the desired amount of enclosure. The size
of a plant mass will depend on the total size of the yard, the size of the individual plants in
the mass, and the emphasis or impact desired from the plant material. Overlapping the
masses of plants so that they are layered, both horizontally (Figure 11) and vertically (Figure
12) links the plants with an interconnecting pattern. Each plant mass is in front of, behind, or
next to, another mass.
Figure 11. Horizontal plant layers.
Credit: Gail Hansen, UF/IFAS
Figure 12. Vertical plant layers.
Credit: Gail Hansen, UF/IFAS

Repeating plants within a mass and repeating masses with similar plants ties the garden
together.

The individual plant characteristics must be considered to successfully layer and mass plants.
Each plant should complement or contrast a neighboring plant.

All plant compositions begin with the main structure plants, the large, mostly evergreen
background plants-such as the trees and large shrubs. These plants separate or enframe
spaces, control the size of the space, and provide the starting point for choosing the
appropriate characteristics of the second layer, midground plants, for massing and infill. The
final layer of plants, the foreground plants, includes the low growing plants that often provide
emphasis or focal points.

HIGHLIGHT IMPORTANT POINTS

Important points in the garden should be highlighted by the use of unique plants, distinct
structures, or garden ornaments. Marking thresholds or entrances to spaces can be done with
gates, arbors, and steps, or through the use of unique and colorful plants. The form and/or
style theme of the garden will often help determine the important points and how they should
be highlighted. Some styles have signature elements, such as a type of statuary or water
feature, that are the hallmark of the style. Other important places in the yard are focal points,
which is used to visually organize a landscaped area. The type of focal point often depends
on the viewing perspective. Different perspectives or viewpoints can reveal different
compositions in the landscape that may require a variety of focal points. Contrasting texture,
shape, size and color will capture and hold the eye.

PAY ATTENTION TO DETAIL

Detail in the landscape is derived from the visual quality of plants, hardscape, and garden
ornaments. Sensual qualities such as scent, sound, and touch also add detail to the landscape.
Various combinations of form, color, texture, and size create aesthetic qualities. Plants come
in various forms-such as round, columnar, weeping, and spreading, that compliment or
contrast with each other depending on how similar or different they are (Figure 13). Form is
the most enduring quality of a plant and thus the most important characteristic.

Figure 13. Plant forms.

Credit: Gail Hansen, UF/IFAS
After form, texture is the next dominant feature of a plant; coarse, medium and fine textures
can be used for contrast and emphasis in the landscape. Form and texture both trump color in
the garden for most of the year. However, during certain seasons, color will be the most
noticeable characteristic of the garden. To extend color displays throughout the year, use
plants that have color in numerous plant parts, such as the foliage, bark, and fruit.

Various color schemes, based on color theory, are used for contrast or unity in a garden.
Typically one color, two contrasting colors, or several analogous (similar) colors are repeated
throughout the garden. Both color and texture affect distance and can change the perceived
size of a space-warm colors and/or coarse texture make a space feel smaller; cool colors
and/or fine texture make a space feel larger. The characteristics of individual plants affect
balance, unity and emphasis in the composition. Dark colors and coarse textures make a plant
look heavier and larger (more visual weight) and must be balanced with the same or with a
larger mass of bright or light colors with fine or medium texture. Massing plants with similar
colors and textures provides unity, but contrasting plants should be included to provide
emphasis at important points.

To fully appreciate and experience a garden, all of the senses must be considered. The
pleasant scent of plants, the sound of wind in the trees, the sound and texture of water, and
the colors and textures of sculptures, pots and garden furniture all add to the experience of
the garden. One detail that is often overlooked is the effect of light on the aesthetics of the
plants. Light shining through a plant, such as a feathery grass, can change its appearance. The
entire garden changes in function and appearance over the course of the day, and the course
of a year, as the light and temperature change from morning to night and season to season.

TAKE TIME INTO ACCOUNT

Plant selection must consider a plant's growth rate, its mature size and form, and the
maintenance it will require. Fast growing plants may or may not be desirable depending on
the size of the site, the design intent, and the expected level of maintenance. It is important to
know the eventual mature size of plants so they can be placed in the right location and spaced
properly when they are installed.

Giving plants room to grow is a challenge because the common mature size is typically based
on optimal growing conditions and the environmental conditions of a site may cause a plant
to grow larger or stay smaller. If plants are spaced too closely (to simulate a fully grown
landscape) the overcrowded plants will present a maintenance issue. Provide enough space so
that, when fully mature, the plants are barely touching their neighbors and a somewhat solid
growing mass is formed (Figure 14). It is important, however, to leave space so the plant
does not touch the side of the house-this space allows for air circulation and home
maintenance. Another common mistake is to plant too close to utilities such as AC units and
meters.
Figure 14. Plant spacing.
Credit: Gail Hansen, UF/IFAS

PROTECT YOUR RESOURCES

Be a good steward of the land through the wise use of plants, water, and building materials.
The three areas of greatest impact are the use of resource-efficient plants, the management of
water, and the use of environmentally sound hardscape materials. Before you remove any
plant material, consider how you might be able to enrich your existing ecological capital.
That is, look at what you have and decide if it is worth saving. Some plant material may
simply be in the wrong place and can be transplanted for more favorable conditions. Look for
resource-efficient plants when choosing new plants. Florida-friendly plants are long lived,
insect and disease resistant, and don't demand frequent trimming, fertilizing, and watering.

The design phase is the time to consider incorporating the development of a rainwater
catchment system. The availability of water will no doubt be limited in the future so you
must decide the role of water in your design: where will you get irrigation water, how will
you manage it, and how will you use it? The most obvious source will be rainwater and the
use of a harvesting system to capture, move, and store it. The system can be an aesthetic
design element if planned for early in the process. It is typically the first element to be
installed because it sometimes requires earthmoving and underground piping.

Protecting resources also includes the use of environmentally friendly hardscape materials
and non-toxic preservatives, stains, paints, and cleaners. Reusing construction materials will
reduce the environmental impact of using new materials and keep old materials out of the
waste stream. Before any demolition starts on your old patio, pool deck, arbors, or structures,
consider how you might reuse the material in your new design. In addition to helping the
environment it will also help your budget. If you will not be doing any demolition work in
your yard, look for other sources of used material in your community.

SUMMARY
Your yard is a very important natural resource that adds value to your home and enjoyment
to your life. It contributes to a desirable, healthy community. Several important concepts will
help you create an aesthetically pleasing, functional, and sustainable design. First remember
to put your ideas on paper: create a design plan. Use the design process to identify and
understand your site and your needs. Use a theme to guide your decisions; professional
designers always look to the existing conditions for inspiration and material and plant
choices. Create spaces that serve as outdoor rooms-this is an essential concept of design-both
for functionality and psychological comfort human scaled spaces are the most desirable. Use
plant material to create the walls, ceilings and floors of the rooms for a physically
comfortable microclimate. Remember that plants change over time, plan for this and you will
find that observing the changes is one of the most rewarding aspects of your garden. In many
of our urban areas private yards represent the last remnants of green space, think about how
your yard fits into the big picture and what you can do to have a positive impact on the
environment in your neighborhood.

SOURCES
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Bertauski, T. (2005). Designing the Landscape: An Introductory Guide for the

Landscape Designer. Pearson Education, Inc. Upper Saddle River, New Jersey

Booth, N. (1983). Basic Elements of Landscape Architectural Design. Waveland Press,

Inc. Prospect Heights, Illinois

Chaplin, L.T., & Slack, W. (1998). Landscaping, Southern Living Garden Guide.
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Erler, C. T. (2007). Creative Homeowner: Design Ideas for Home Landscaping. Upper
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Levy, C. (2001). Landscaping Your Home, Fine Gardening Design Guides. The
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Scarfone, S. (2007). Professional Planting Design: An Architectural and Horticultural

Approach for Creating Mixed Bed Plantings. John Wiley & Sons, Inc., Hoboken, New
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Smith, C., Clayden, A., Dunnett, N. (2008). Residential Landscape Sustainability, A

Checklist Tool. Blackwell Publishing, Oxford, UK