Horticulture Principles and Practices

sizes, it is important that trees located in their vicinity do not overshadow and make them
inconspicuous when they are fully grown (Figure 15–9).
Transition
By definition, transition is gradual change in a factor. In terms of color, transition occurs in
the radial sequence on the color wheel. In horticulture, it applies to the three-dimensional
perspective of composition of the landscape design, not just a flat or facial view. The
designer can combine elements of differing sizes, forms, texture, shape, and color to
create the effect of transition in the landscape. For example, one may arrange objects
to exhibit transition from coarse to fine textures, round to linear structural forms, or cylindrical
to globular to prostrate stem characteristics. Effective use of transition can gradually
guide the viewer to the focal point in the design and further enhance the display.
15.3.4 LANDSCAPE APPRECIATION
When people walk through a landscape, they perceive their environment through the
engagement of their senses—smell, touch, sight, and sound (not tasting, since it could be
dangerous to their health). Landscape architects design the landscape to evoke a certain
response. The senses generally interact to communicate specific feelings to viewers.
What viewers perceive is influenced by the time, place, and prevailing circumstances.
A walk in the park on a sunny day is different from a walk in the same park on a cloudy day.
On a sunny day, colors are brighter and the visual appeal of flowers is enhanced. On a hot
afternoon, one is more likely to walk in the shade and view from a distance. On a windy day,
one is likely to be influenced by the swaying of branches and leaf movements. In autumn,
the ruffle of leaves as one walks over them is likely to attract attention.
Apart from these extraneous factors, the perception of the landscape is influenced by
the individual’s state of mind and the purpose of taking a walk in the park. A happy person
responds to the sights and sounds of a park differently than someone in a sad mood.
Further, if one is walking alone, there is no distraction from conversation as would occur
if one were in the company of another. A person who is knowledgeable about landscape
design or plant botany may walk through the park with an intellectual approach.
The challenge in landscape design is to combine intuition, creativity, training, and
experience to create a design that meets the needs of the client.
15.4 FORMAL VERSUS INFORMAL GARDENS
Formal Garden
A stylized garden in which
arrangement of the
materials emphasizes
symmetry and geometry.
Informal Garden
A garden in which the
materials are located
without emphasis on
regularity and symmetry.
A garden style may be either formal or informal. Style is a function of the type of plants,
the nonplant materials (e.g., pavements, statues, patios, and walls), the arrangement of
plants, and how the overall design harmonizes with the house or building and the general
surroundings. The choice of style for a home garden is strongly influenced by the
homeowner’s personality.
Formal gardens have their origins in European culture, the Italians and French
being noted for some of the most elegant designs. These gardens tend to emphasize
geometry and symmetry (Figure 15–10). Plants are set in the landscape in predetermined
patterns. Because of the rigidity in design, formal gardens must be well maintained to
remain beautiful. Hedges should be well manicured, with their edges trimmed straight.
Frequently, the arrangements are made to be symmetrical around a focal point. They are
expensive to install and maintain. Informal gardens, on the other hand, are designed to
imitate nature by being asymmetrical, with irregularity in the way plants and other
objects are located. Straight, rigid lines are not an objective of the design (Figure 15–11).
This style originated in the Eastern cultures of Japan and China. The lack of symmetry
does not imply lack of balance in the design.
486 Chapter 15 Principles of Landscaping