DEVELOPING THE PRELIMINARY DESIGN

OBJECTIVES  Discuss why preliminary plans are important in the landscape design process.  Explain the functions of bubble diagrams.  Identify the types of ground patterns used in landscape design.  Explain the concept of form composition.  Explain the process of developing the preliminary plan for a residential landscape.

INTRODUCTION Landscape designers follow these steps of the design process when developing a design:  Client Interview and Analysis  Site Survey and Analysis  Problem Statement  Objectives  Design Concept  Preliminary Design  Final Design

INTRODUCTION The landscape designer develops a series of preliminary plans to direct his/her design ideas for a landscape project. The designer adds detail to design ideas generated in the preliminary design to create the final design.

THE PRELIMINARY DESIGN  Pulls all the considerations of the site and client together.  Consists of the designer ’ s initial solution to the problem statement.  Includes as much site specific information as possible.  Includes elements and principles of design.

THE PRELIMINARY DESIGN  Shows alternatives for implementing site components into the space of the site.  Shows the relationship and placement of plant materials and structures to be included in the design.  Developed based on the problem statement, objectives, and concept; while incorporating information from the client interview and site analysis.

PROCESS FOR DEVELOPING PRELIMINARY DESIGNS 1.Creating bubble diagrams 2.Developing the landscape use areas 3.Selecting plants 4.Reviewing and evaluating the preliminary designs with the client

CREATING BUBBLE DIAGRAMS Bubble diagrams are simple, bubble-shaped, rough sketches or drawings. They divide the site into specific use areas. They establish the spaces in the landscape and how they will be used.

CREATING BUBBLE DIAGRAMS Landscape use areas shown in bubble diagrams are defined by the client ’ s needs and existing site features. Bubble diagrams show space and site component relationships. They also help determine space requirements for each use area.

CREATING BUBBLE DIAGRAMS Help the designer show how use areas, circulation patterns, and barriers relate. Allow the designer to study the interrelationships of the site ’ s use areas. When developing, consider the following:  Site analysis  Needs and desires of the client  Topography of the site  Circulation patterns between and among use areas

CREATING BUBBLE DIAGRAMS Make several bubble diagrams to explore opportunities and alternatives for the landscape site. Keep working with diagrams until all relationships are as cohesive and desirable as possible.

DEVELOPING THE LANDSCAPE USE AREAS Landscape use areas are the major areas of a landscape site dedicated, each dedicated to a different purpose or function.  Examples include:  Public Area  Private Area  Service Area

DEVELOPING USE AREAS Complete the following during this step:  Determine the functional and aesthetical requirements for plant materials and other structures in the use area.  Recognize the lines that define the boundaries of each use area.  Select a ground pattern base on the design ’ s desired formality.

GROUND PATTERNS  Lines are created when the landscape site is divided into use areas.  Lines define the boundaries for each use area.  Lines are developed into ground patterns.

GROUND PATTERNS Three basic lines are used to develop ground patterns:  Straight Lines  Curved Lines  Arc-and-Tangent Lines

GROUND PATTERNS  Type of line that determines the style of the design.  Each type of line should be developed in a way that is pleasing and functional.  Lines should lead the viewer ’ s eyes through the landscape.  The same type of pattern should be used throughout the landscape to establish harmony and unity.

STRAIGHT-LINE GROUND PATTERNS  The basis for formal or traditional landscapes.  Includes parallel fences, sidewalks, walls of the house, and other established lines.  Form angles and make sub-spaces into a somewhat rectangular space.  Easiest type of ground pattern to develop in the landscape.

CURVED-LINE GROUND PATTERNS  The basis for informal, relaxed landscapes.  Harder to get into proportion.  Flower and shrub plantings take up more space in this pattern.  Fit the curves of nature.  Require strong and bold lines.  Can be either circular or free-flowing.

CIRCULAR CURVED LINE GROUND PATTERNS Have strong and bold lines with bold incurves and outcurves. Radius of circular lines is the same from the center point of the circle to the edge of the circle.

FREE-FLOWING CURVED LINE GROUND PATTERNS Have strong and bold lines. Is not circular enough to have a radius.

ARC-AND-TANGENT CURVED LINE GROUND PATTERNS  Combine straight lines with the freedom of curved lines.  Provide contrast and flexibility in the landscape.  Lines are dramatic and help emphasize focal points.  The most difficult ground pattern to incorporate in the landscape.

SELECTING PLANTS Plants should satisfy a specific function of the design.  Designer should know the plants ’ form, growth rate, type, age, condition, and landscape characteristics.

SELECTING PLANTS Consider plant height, width, texture, and density.  Select similar plants having the same height.  Vary heights among different types of plants.  For a coarser texture, choose large leaved plants.  For a finer texture, choose small leaved plants.  Density is determined by leaf petiole size and the branching characteristics of the plant.

FORM COMPOSITION The overall arrangement and relationship of forms and elements in the space.  Largely determined by the selection of plants. Forms and elements are arranged to create an attractive composition. Forms are generally derived partially or totally from squares, rectangles, or circles.

SQUARES & RECTANGLES  Easy forms to use and relate to one another. Parts important to form relation are:  Edge  Diagonal  Center

SQUARES & RECTANGLES Logical relations include:  Edge to Edge  Corner to Center  Edge to Diagonal

SQUARES & RECTANGLES Establish a comfortable, non-competing relationship by dividing shape into halves or thirds. This establishes a harmonious arrangement between the two shapes.

SQUARES & RECTANGLES Try to create 90-degree relationships with edges or diagonals. This creates a stable arrangement.

SQUARES & RECTANGLES Avoid relationships that involve acute angles or corner-to-corner.  Acute angles create unstable and weak relations.  They result in wasted, non-usable space.  They create areas where plant growth and maintenance is difficult.  Corner-to-corner relations create a point of uneasy tension and a visually unstable connection.

CIRCLES Significant parts in form composition include:  Center  Radius  Diameter  Extended Radius or Diameter  Tangent

CIRCLES Strong relationships are formed when other forms relate to the extended radius. This establishes a 90-degree angle at the intersection of the circle ’ s circumference and edge of the attached form.

CIRCLES Lines that don ’ t relate to the circle ’ s center or extended radius appear chaotic and haphazard. Avoid the “ broken back curve ”.  Formed when an otherwise full circle or arc is divided by a straight line form.  The arc of the circle should be completely extended, not broken down.

REVIEWING & EVALUATING THE PRELIMINARY DESIGNS Review and evaluate the plans with the client when preliminary designs are completed. This lets the designer know if the client ’ s needs and desires are satisfied.

REVIEWING & EVALUATING THE PLANS Plans should be evaluated based on their strengths and weaknesses. The plan with the best combination of the “ perfect plan ”, site advantages and disadvantages, and client ’ s needs and desires is the most suitable plan. The preliminary plan selected becomes the rough draft of the final design.

DEVELOPING THE FINAL PLAN Once the preliminary plan has been selected, the designer develops the final plan. The final plan is developed using design and graphic details. Features are applied within the parameters of the project ’ s objectives. Once developed, the designer evaluates the plan based on the degree to which the objectives were met and its feasibility to the conditions of the site.