Introduction to Garden Design

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Brief History of Garden Design

Over the centuries gardeners and designers have alternately shown a desire to ‘tame’

Nature or to encourage a plant’s natural attributes and incorporate these features into

garden design.

While the style and grandeur of gardens may have changed over time, and to some extent,

turned full circle, returning to many of the classic elements of the C!th and C " th

formalism, the principles of garden design which include balance, symmetry, colour and

texture have changed little. #ltimately it is the appropriate use of various structural and

botanic elements in the correct setting that give a garden its uni$ue and complete

character.

%rchaeological evidence shows there existed during the &y'antine, (ersian and )oman

*mpires, the use of plants and garden design for purely aesthetic purposes. +t was not until

the Cth that Western *urope and *ngland, with the events of the Crusades, made contactwith oriental influences and had access to a wide selection of ornamental plants. With this

came some use of plants for noneconomic purposes. -he monastic orders of *urope

established herb gardens for medicinal and culinary purposes. -he religious were also the

scientists, so scientific study of plants and their properties along with improvements in

horticultural practices centred on the abbey and priories.

-hrough to the Cth and C/th, the gardens and gardening were for the pleasure of the

nobility and religious orders. 0lowering perennials were grown for their beauty,

incorporating the use of fruit trees, some ornamental trees and water features and meadow

land 1lawn2.

-he C3th saw the emergence of distinct formal symmetrical landscaping design on a grand

scale. -his geometric design, using parterres of box 1&uxus sp2 in circular, s$uare,

triangular and hexagonal interwoven ‘4not’ designs, grand statuary, water features, all came

together to create ‘idyllic’ contrived spaces. *xamples of such extravagant designs such as

5ersailles in 0rance, commissioned by 6ouis 7+5, designed by %ndre le Notre epitomise the

gardens of the nobility at this time.

C"th *ngland saw the evolution of a ‘new’ style of garden where Nature became the model.‘Capability’ &rown and later 8umphrey )epton created the ‘garden par4’ in *ngland’s grand

manors. 9an here saw himself as part of nature and not superior to it. :one were the

medieval 4nots, replaced by broad views with running open meadows up to the house.

;urrounding these open lawned spaces were idealised landscaped native woodlands, dammed

rivers creating water features and statuary. -he use of ‘hahas’ dissuaded stoc4 and deer

from entering too close. -hese landscapes achieved rare simplicity, depending on broad

masses of light and shade, grass and trees to create the effects.

(aralleling the gardenpar4 movement, as a conse$uence of growing urbanisation and the

emergence of a middle class brought about by the +ndustrial )evolution, and increasing

numbers of ‘plant hunters’ returning from remote regions of the with large numbers ofnever before seen exotic species, there was a need for gardeners to become designers, to

Introduction to Garden Design Page 1


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display their wealth of new trees and shrubs. -he more new varieties that could be

displayed, the better. -he ‘gardenes$ue’ style which emerged was extremely artificial.

8ere flowers were bedded out in elaborately designed beds to accentuate colour and

contrast. ;pecialty gardens such as roc4 gardens also became popular. Collection, display

and growth of exotic species were the main aims. leaving style, aesthetics and function as

peripheral obe4yll. -oo4 the lead in designing the ’cottage’ or ‘wild’ garden. -he

$uest was for natural harmonies of colour and shape in foliage and flower. +t was an

attempt to combine good sense 1in terms of site and suitability of plants2 with art? of a love

of nature combined with colour and a respect for the individual living plants combined with

natural design rather than the excesses of the formal showman’s display typified by the

‘gardenes$ue’ style. :ertrude >e4yll’s gardens at ;issinghurst bear witness to her eye for

harmony and balance with appropriate mass plantings of flowering perennials, trees and

shrubs. -he growth of the ‘cottage’ garden movement also allowed for the development ofsmall gardens, ma4ing the pleasures of gardening accessible to the ‘common man’.

-he C@Ath too4 up the principles of the 9odernism 9ovement of the=BA’s and (ost

9odernism. :ardens should in principle be based on function, utility, provide for activity

and relaxation and avoid axial planning rather having more fluid design patterns. -he garden

became an ‘outside room’ in small domestic spaces. Coupled with the above principles, the

loss of a domestic labour force and expansion of leisure pursuits outside the home have

created the need for low maintenance gardens with designs to match.

+n %ustralia, there is a much stronger ecological and environmental approach to gardening,utilising native trees and shrubs, informal mass plantings of perennials and annuals

appropriate to a particular site. ;pecialised gardens along coastal. shade, tropical, alpine or

oriental themes have also increased in post WW@ years, given access to more varieties of

native and cultivated species and our increased ability to manipulate and manage the

environmental conditions in which the plants grow. %s living spaces diminish in si'e, there

has been an emergence of the courtyard and patio garden. -he space limitations demand

precise planning to incorporate elements of texture, colour and shape of the grander garden

styles.

+f we loo4 around domestic suburban gardens we will find elements of %66 the previous

centuries’ traditions encapsulated in some way into present day design.



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ELEMENTS OF GARDEN DESIGN

9any different elements are brought together, arranged and constructed in any garden or

landscaping design. -hese are usually treated under two categories, namely hard elements

and soft elements.

Hard Elements

%ll of the nonliving and fabricated elements including

(aving, paths bric4s, pebbles, pavers, slate, stone, log rounds, gravel, asphalt,

scoria, mulch, groundcovers

*dging and steps timberDstone

:arden beds raised mounds or beds, roc4eries, terracing.

)oc4s, stone, gravel, logs

Water displays stream, pond, bog, fountain

-imber, eg pergolas, ga'ebos, seats,

0ences, trellises timber, woven panels, stone, bric4, metal, lattice, brush Eec4ing extension to home or separate space paved, or timber

Ornaments such as statues and decorative containers

+rrigation and drainage e$uipment

6ighting ground or aerial

Soft Elements

Often referred to as ‘green life’ and includes

-rees

;hrubs

Climbers and ramblers

:round covers

(erennials

%nnuals

-urf

%$uatic plants

(lanted in beds, as single specimens or potted in containers



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Garden Styles

-here are two basic styles of design from which numerous others can be developed.

Formal Style

-his is basically symmetric in form and traditional in

principle. Characterised by balance and proportion and an

ordered arrangement of elements, it is based on the creation

of mirror images on each side of one or more axes or lines of

sight. +t uses straight and curved lines to form borders of

regimented, geometric and repeated patterns. -he resultant

garden planting or landscape will appear the same or very

similar when viewed for different aspects. :ardens of this

type typically contain manicured lawns, straight paths,

clipped hedges or topiary, clearly defined borders of lowhedges or edging plants, formally arranged bedding in bloc4s

using strong colours

-his formal or contrived style is most commonly replicated in rose display beds or small

herb 4not gardens. Other garden styles that would be considered as formal in nature are

oriental gardens, classic and +talianate, formal bedding, parterres, and sun4en gardens.

:iven the labour intensive nature of the maintenance re$uirements of such a garden style it

is not recommended design for the average Fwee4endG gardener.

Informal or Natralisti! Style

-his style is asymmetrical and attempts to reflect a more

‘natural’ landscape ideal. (lants are allowed to achieve their

natural shape and spill out beyond bedding edges and onto

pathways. *ach viewing angle should provide a different scene

or picture and is therefore more difficult to achieve

successfully.

Within this style are found garden designs such as the cottage

garden, wildlife or conservation gardens, woodlands and

increasingly popular grassland gardens.

;emiformal styles utilise aspects of both above styles with

cottage gardens representing good examples. +ndividually we

are all attracted to various levels of formality of informality

when viewing a designed planting.



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"ater Gardens

While not falling into either of the above styles, water gardens can bring a calming focal

point to any garden.



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Elements of Design

#ro$ortion and S!ale

-he aim in gardens is to create a design in which all the elements are in proportion to each

other and in sympathy with their surroundings. ;everal aspects are involvedH

(roportions of space and enclosure

-his idea deals with open areas foreground, midground, bac4ground, hori'on and

s4y and how they are enclosed by soft and hard landscape elements. 0or example an

open area of lawn or paving in a house bloc4 can be made to appear large or small as a

result of the height and density of plants that enclose it.

(roportion of mass

-his is the ‘visual weight’ perceived

from the si'e relationship and density

of plants relative to the house.

(roportion of shape

+f all the plants in the garden were

rounded or coneshaped the result

would be monotonous.

(roportion of colour

;imilarly if a garden is dominated by the same tone of green, the result is

uninspiring. % mix of too many tones of green or other foliage colour may also be

unsuccessful.

Balan!e

-his is related to creating a feeling of e$uilibrium or stability. +magine a yard space divided

in half and placed on a scale. +f both sides attract the eye e$ually

then the design is balanced. -his can be achieved with formal and

informal styles.

%nity

-his is the fitting together of all the elements into a harmoniouswhole. #nity is achieved principally by the use of a landscape

character or theme. -his is best achieved by using one or a

couple of similar species as dominant plants. %nother way is to

lin4 different areas with a path constructed from the same

pavers as used around the house. Eisunity is created by trying to

incorporate too many ideas or elements in one area as they create

visual confusion. #nity is closely related to simplicity.



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Sim$li!ity

6andscape elements, particularly plants, don’t have to compete with each other for

attention. ;implicity of design similarly doesn’t mean limiting plant use. :rouping of plants

to create smooth flowing silhouettes of si'e and form is one way of achieving simplicity.

)epetitions of the same plant species, construction materials or colour are other ways of

achieving simplicity in design. +t is not necessary to have a large variety of different

species to create a well landscaped effect.

Re$etition and Rhythm

-his principle is used to create a sense of movement for the viewer. :ently rolling planting

beds and plant heights arranged in a stepped or graded effect 1low at front, medium in

middle and tall behind2 create a sense of motion.

When moving from one space to the next in a garden, the viewer should feel that the design

is moving them from one ‘room’ to another. +f the plantings flow from one area to the next,

the principle of rhythm has been applied well. 6in4ing ‘rooms’ using repetition of specieshelps achieve rhythm but also unity and simplicity.

&ontrast and A!!ents

-his principle is based on the idea that when the human eye views a

scene it is immediately drawn to one prominent feature, then ta4es

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(rinciples of (lant ;election

-he performance of plants in the landscape depends on a number of factorsH

♦ -he suitability and adaptability of the plant to the chosen site i.e. climate, soil,

microclimate.

♦

-he $uality of the plant stoc4 used.♦ -he preparation of the planting site

♦ -he planting methods used

♦ -he aftercare or maintenance practices.

(lants must be selected carefully to ensure they are suitable for andDor will adapt to the

chosen planting site and fulfil their intended function.

+n general plants assume one of two rolesH

♦ 8ave intrinsic value as individual specimens

♦ 0orm part of a massed effect.9assed planting should be the rule, with specimen or accent plants the exception. -oo many

individual specimens tend to overburden and confuse with too many focal points and details.

-he selection of plants for any situation involves careful consideration of three main

aspectsH

♦ -he suitability of the plants to the en(ironmental !onditions of the site.

9atching plants to the site conditions is the most important aspect of plant

selection. +f the plant is unable to grow well it is unli4ely to fulfil the functional or

aesthetic roles sought when planted.

-he following environmental conditions will have an impact on the plant’s survival andgrowth rate.

♦ Climate

-emperature seasonal extremes

0rost

9oisture seasonal rainfall pattern

Wind prevailing directions

6ight

%spect 1pattern of sun and shade2

♦

(ollution♦ ;oil p8, texture, structure and compaction, macro I miro nutrients

♦ Competition from existing flora and fauna

♦ &ushfire ris4

♦ *rosion problems slope, surface runoff,

♦ Erainage and waterlogging

♦ 9icroclimatic variations eg dry shade, bog, acid, heavy clay



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♦ -he fn!tions that the plants will be re$uired to perform or fulfil. -hese may

includeH

%n aesthetic function

-o help create an ‘atmosphere’ or ‘theme’

-o provide privacy

;creen a view

#tility space

-o provide recreational space for children or entertainment

-o highlight or frame a view

-o produce fruit or nuts, herbs

-o define space

-o direct traffic

-o filter air wind protection

-o reduce soil erosion

-o moderate noise

-o influence microclimate light and shade, temperature, wind, glare,humidity

♦ -he range of design features or attri)tes that the plant will provide. +n particular

you should consider the following factorsH

+ts particular features habit, si'e, leaves, flower and fragrances,

fruit and bar4

+ts rate of growth and longevity combine fast moderate growers for

rapid effect and longterm durability.

-he nature of its root system.

+f poor selections are made a number of issues may ariseH

(lants that outgrow the site may bloc4 views, crowd pathways and driveways, lift

foundations, pathways and paving or overshade other plants.

9aintenance cost may be high pruning or clearing up leaf litter

;ome plants may cause allergic reactions pollens

While fruits are desirable and can attract birds many are ornamental and create

maintenance problems near paved or turf areas. 0ast growing perennials may become wea4 wooded and prone to lose branches or have

short life cycles 1"A years2 before they need replacing.

;ome plants have invasive root systems 1;alix sp and 6i$uidambar styraciflua 2.

-rees are a more permanent fixture and expensive to remove so it is important to

get the selection right.



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(lants %ttributes to %chieve Eesign Outcomes

(lant 0orm

;i'e

:eneral shape 8abit

&ranching pattern

#lant &olor

Ear4 tones create heavy loo4 use as bac4ground to lighter greens.

-oo many dar4 greens in bac4ground ma4e area loo4 smaller

6ight greens if overused can ma4e insipid and indistinct effects. #se as

highlights or to brighten a dar4 area.

9id greens should be used predominantly adding mixtures of bluegreens, yellowgreens and dar4 or light greens.

#se yellow greens sparingly.

;ilver and pale bluegreens are excellent accents for dar4 areas and help create

illusion of distance.

;easonal colour changes such as autumn colours, new spring growth and winter

tones add a bonus to help create yearround interest.

Bar* &olor and Srfa!e

#se variations in permanent and seasonal bar4 colours to add highlights or as integral

part of design themes.

-extural characteristics of bar4 offer tactile experiences for garden user.

Flo+er &olor

9any designers use this as the main feature around which gardens are designed. +n reality

flower colour should be considered as a bonus or additional ornament once other design

principles have been incorporated into a plan, to add seasonal variation.

;ome points to 4eep in mind in the use of colourH &right colours are better planted in fore and midground as in bac4ground they can

ma4e garden loo4 smaller.

;ofter colours such as pale blue, mauve, pin4 and violet are better bac4ground tones.

Whites and pin4s ma4e the garden appear larger.

&lues are good lin4ing colours

Jellows are bright and good for lighting dar4 areas.

)eds are ’hot’ and ma4e useful accent colours if not overdone.



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Seasonal ,ariation in $lants

Eeciduous plants provide variation in foliage colour through year

When bare deciduous plants open up vistas inappropriate choice as screening plants

(lants are always in a state of change young to mature, seasonally flowering and

fruiting.

Foliage Density

Eense foliage provides privacy and screens undesirable views.

+t ma4es a garden loo4 smaller if used extensively in the bac4ground.

8elp achieve se$uential realisation.

;emipermeable plants are useful in bac4ground as eye can’t clearly perceive

boundaries but can still see distant views.

Foliage Te-tre and fragran!e

Coarse textured plants are better near the buildings and fine textured in

bac4ground to suggest distance.

Eifferent leaf types can be used as accents eg ornamental grasses.

;ensory experiences of plants located close to pathways crushed leaves

+n conclusionH

Jou need to 4now your plant well

Jou need to find out the conditions existing in the environment into which the plantis to be placed.

0rom a well planned design you need to establish the effects that are desired or

re$uired and include general maintenance re$uirements 1water, fertiliser, trimming2.

0ew plants achieve %66 that is re$uired of them compromise selections may be

needed.



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#LANTING #LAN

-he planting plan is a map of the planting site showingH

• the overall layout of the planting site

• the location of main features such as paths, ponds and seats, and

• where to plant specific trees and shrubs.

-his is an example of a simple planting plan. +t is drawn to scale with a 4ey, identifying

different features. -hese symbols are typically used in planting plans to represent

different plant forms. -he numbers are used to identify specific plant species.

SOME HINTS FOR BASI& LANDS&A#E #LANS

6andscaping is a lot of wor4 and can cost a lot of money. 0or these reasons, most doit

yourselfers go with a B to / year landscape plan. -hat way the wor4 and cost can be spread

out over a few years.

% good $lan is essential in landscaping. Without it, youKll end up wasting a lot of time and

money.

&efore you start, you should 4now what style your landscape will be and what fn!tion it will

perform for you. Jou also should have a good idea of what plants you want to incorporate in

your plan. %s a homeowner, loo4 at where you spend most of your time and really focus on

first enhancing the views from there.



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-o 4eep the costs down, you can also try to reuse some of the plants in your existing

landscape.

Getting Started

Jou can draw up your own landscape plan since the basic principles of landscape design are

not that complex. &ut there are a lot of things to consider so you might want to have alandscape pro loo4 over your plan before you start on it.

JouKll need graph paper to draw out your plan. JouKll need to measure out the si'e of your

lot, plus the dimensions of your house.

JouKll also need a pretty good idea of where the house sits in the yard in relation to the

boundaries of the property.

-o be exact, measure from one corner of the house to a couple landmar4s li4e a corner of

the yard or a gate.

TIP: We've learned to use tracing paper over our basic yard drawing at this point so you don't have to re-draw it over and over again.

Dra+ing .or O+n #lan

8ere are examples of how to draw up an informal and

formal plan.

Informal #lan

• 0rame the front of the house with taller

plants anchoring the corners with a

shade tree on one side and an ornamental

tree on the other.

• ;preading these out a couple metres will

ma4e a small house seem a bit bigger.

• Next, put in a series of mediumsi'ed shrubs along the foundation to

cover any exposed bloc4.

•

-he entry was framed on each side with a group of taller deciduousshrubs.

• #se a series of short shrubs to round off the outside edges.

• -hen fill the area in with a mass planting of perennials.

• -he finished plan shows how carefully planned the informal layout

really is, despite the random loo4 it presents.

Formal #lan

• ;tart with a low, formal hedge, trimmed in this case to a height of

metre.

• #se straight lines and s$uare corners for the hedge, nothing roundedor curved.



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• Next, frame the entry with a pair of upright, conical evergreens.

• %long the foundation, continue the geometric se$uence with a globe

shaped, mediumsi'ed shrub.

• 0or colour, fill in the middle of the beds with tall perennials that would

be visible above the hedge.

• -o finish, anchor the corners of the house with a pair of ornamental

trees, pruned to hold their shape.

+f there was an immediate need for a privacy barrier with the neighbours yard, we could put

up a @./ metre privacy fence along the boundary.

%n alternative would be a hedge of tall shrubsli4e lilacs or arborvitae, but that would

definitely ta4e longer.

% tall hedge li4e that would also be a way to soften a long featureless wall on one side of

the house.

% row of evergreens on the southDwest side of the house would provide a real nice wind

barrier in the winter.%nd a few deciduous shade trees on the north side would eventually shade the house in the

summer but drop their leaves in the winter and let the sun warm the house.

Site #re$aration

&efore commencing any planning, preparation or planting wor4s, sites need to be carefully

assessed for any potential difficulties that may be encountered or that may present limiting

factors on location and selection of species.

Consider issues such as environmental constraints, site access, location of utilities, existing

structures 1buildings, trees, planted areas2 and public access.



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Introduction to Garden Design

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