庭園景觀設(shè)計(jì) 課件 4functional、5Form、6principles

Landscape

DesignStructureFunctional

DiagramsTheoryExerciseCasestudyPractice庭院景觀設(shè)計(jì)Landscape

DesignDesign

ProcessLesson4

Functional

DiagramsLesson4Landscape

DesignFunctional

DiagramsLandscape

DesignDesign

ProcessNounst-squaresExpressionstracing

paperreorganization

in

conjunction

withProportion

in

actual

practicetendency

compatible

withLesson4

Functional

DiagramsOBJECTIVESThe

designer

uses

freehand

diagrammatic

symbols

to

show

the

planrelationships

of

all

the

major

spaces

and

elements

of

the

design

to

eachother,

to

the

house,

and

to

the

site.

Each

space

is

drawn

as

a

freehandbubble

that

depicts

its

relative

size,

proportion,

and

configuration.Lesson

VocabularyLandscape

DesignDesign

ProcessLesson4

Functional

DiagramsINTRODUCTIONTo

begin

preparing

a

functional

diagram,

the

designer

should

have

a

copy

of

thedesign

program,

site

analysis,

and

base

sheet.

The

designer

should

also

have

a

rof

tracing

paper

and

a

supply

of

soft

pencils.Landscape

DesignDesign

ProcessLesson4

Functional

DiagramsThere

are

a

number

of

designfactors

that

can

be

dealt

with

duringthis

phase

of

design.

Each

of

thesefactors

is

addressed

individually

inthe

following

paragraphs,

althougheach

should

be

considered

inconjunction

with

the

others

in

actualpractice.Landscape

DesignFunctional

Diagrms1.

Size

and

ProportionFreehand

bubbleBefore

a

functional

diagram

can

be

drawn,

the

designer

should

know

theapproximate

sizes

of

the

spaces

and

elements

to

be

included

in

the

design.Landscape

DesignFunctional

Diagrams1.

Size

and

ProportionLength

and

widthEach

space

and

element

should

be

situated

on

the

site

so

that

it

relatesproperly

to

the

existing

site

conditions

and

the

site

analysis.Length

and

width

are

approximatelythe

same

in

a

space

with

equal

planproportions.Landscape

DesignFunctional

Diagrams1.

Size

and

ProportionThe

outside

entry

foyer

may

have

equal

planproportions

to

suggest

stopping

and

gatheringA

space

with

equal

proportions

may

suggest

an

inward

orientation

conductive

to

conversation.Length

and

width

are

notsimilar

in

a

space

with

unequal

plan

proportions.Landscape

DesignFunctional

Diagrams1.

Size

and

ProportionA

space

with

a

complexconfiguration

has

“pushes”

and“pulls”

in

its

edge.Landscape

DesignFunctional

Diagramsd1.

Size

and

ProportionThe

generalshape

of

a

spaceThe

configuration

of

a

spacemay

be

simple,

L-shaped,

orcomplex.

However,configuration

does

not

refer

tothe

specific

form

of

a

space,

suchas

whether

an

area

is

round,square,

curved,

or

angled.Configuration

is

similar

toproportion

in

that

it

is

concernewith

the

outline

of

a

space,although

in

more

detail.Landscape

DesignFunctional

Diagrams1.

Size

and

ProportionLandscape

DesignFunctional

Diagrams1.

Size

and

ProportionLandscape

DesignFunctional

Diagrams2.

Location1）Functional

RelationshipsEach

space

and

element

shouldbe

located

on

the

site

so

that

it

iscompatible

with

the

functions

ofadjacent

spaces

and

elements.Landscape

DesignFunctional

Diagrams2.

Location2）Available

SpaceThe

decision

as

to

where

toplace

the

various

spaces

andelements

is

also

dependent

on

theavailability

of

space.Landscape

DesignFunctional

Diagrams2.

Location3）Existing

Site

ConditionsEach

space

and

element

shouldbe

situated

on

the

site

so

that

itrelates

properly

to

the

existingsite

conditions

and

the

siteanalysis.Landscape

DesignFunctional

Diagrams3.Interregional

interactionhow

each

space

is

to

function

within

itselfThe

internal

organization

of

an

outdoorliving

and

entertaining

space

was

subdividedinto

more

specific

use

areas.Landscape

DesignFunctional

Diagrams3.Interregional

interactionLandscape

DesignFunctional

Diagrams3.Interregional

interactionEdges

and

spatial

edgesThe

outside

edge

around

a

space

can

be

established

in

different

ways.It

may

be

defined

by

a

change

of

materials

on

the

ground

plane,

slopesor

changes

in

elevation,

plant

materials,

walls,

fences,

and/or

buildings.Landscape

DesignFunctional

Diagrams3.Interregional

interactionIt

is

during

this

stage

that

the

designer

should

start

thinking

about

the

thirdimension

of

the

ground

plane.Landscape

DesignFunctional

Diagrams4.

CirculationMovement

to

and

from

the

spaceCirculation

is

concerned

with

the

accesspoints

of

spaces

along

with

a

generalizedpattern

of

movement

through

the

spaces.

Thepoints

of

entry

and

exit

can

be

located

on

thediagram

by

drawing

simple

arrows

at

thedesired

locationsFigure

8–23

Entry

and

exit

points

as

well

asthrough

circulation

should

be

shown

on

afunctional

diagram.Landscape

DesignFunctional

Diagrams4.

CirculationLandscape

DesignFunctional

Diagrams4.

CirculationGraphic

examples

of

primary

circulation.Graphic

examplesofsecondary

circulation.Landscape

DesignFunctional

Diagrams5.

Views

and

Focal

pointWhat

a

person

sees

or

doesn’t

see

from

a

space

or

a

particular

point

within

aspace

is

important

to

the

overall

organization

and

experience

of

a

design.Landscape

DesignFunctional

Diagrams5.

Views

and

Focal

PointFocal

points,

closely

associated

with

views,

are

visual

accents

or

elements

tare

unique

and

stand

out

in

contrast

to

their

surroundings,

such

as

a

gnarled

tra

water

feature,

attractive

spring

flowers,

a

piece

of

sculpture,

or

a

large

trLandscape

DesignFunctional

DiagramsLandscape

DesignFunctional

DiagramsLandscape

DesignFunctional

DiagramsLandscape

DesignFunctional

DiagramsLandscape

DesignDesign

ProcessLesson5

Form

CompositionLesson5Landscape

DesignForm

Composition庭院景觀設(shè)計(jì)Landscape

DesignDesign

ProcessLesson5

Form

CompositionOBJECTIVESForm

composition

can

be

defined

as

the

process

of

converting

theapproximate

area

outlines

of

the

functional

diagram

to

specific

forms

tocreate

visual

order.Lesson

VocabularyNouns

ExpressionsCompositionConsistencyRenaissanceProportionharmonygeometric

shapesForm

compositionLandscape

DesignDesign

ProcessLesson5

Form

CompositionINTRODUCTIONThe

general

edge

or

outline

of

each

space

in

the

functional

diagram

is

given

adefinite

location

and

shape

during

form

composition.空白描圖紙網(wǎng)格紙功能分區(qū)圖Landscape

DesignDesign

ProcessLesson5

Form

CompositionIn

addition

to

establishing

theexact

edges

of

forms

of

a

design,form

composition

also

creates

avisual

theme.

A

visual

themeprovides

a

sense

of

consistency

andharmony

because

it

is

created

by

therepetition

of

particular

formsthroughout

the

design.Landscape

DesignForm

Composition1.

the

90°rectangular

themeGrid

structuring

guideThe

approximate

shapes

of

the

concept

are

redrawn

by

following

the

90°gridas

a

structuring

guide.Landscape

DesignForm

Composition1.

the

90°rectangular

themeGrid

structuring

guideThe

directional

arrow

symbols

indicated

by

one

line

on

the

concept

planbecome

two

lines

representing

the

edges

of

the

walkway;

the

screen

symbolbecomes

a

double

line

representing

each

side

of

a

brick

wall;

and

the

focussymbol

becomes

a

small

fountain.Landscape

DesignForm

Composition1.

the

90°rectangular

themeGrid

structuring

guideAs

shapes

are

depressed

or

raisedthrough

steps

and

walls,

the

level

changesreinforce

spatial

qualities.Landscape

DesignForm

Composition2.

Arcs

and

tangents

themeTrace

around

the

edges

to

form

a

linked

series

of

arcs

and

tangentsAstraight

line

that

touches

the

edge

of

a

circle

meets

the

radius

at

90°and

itangent

line.Landscape

DesignForm

Composition2.

Arcs

and

tangents

themeTrace

around

the

edges

to

form

a

linked

series

of

arcs

and

tangentsThe

usual

finishing

touches

of

simplification

and

adding

connections

may

benecessary

to

blend

the

composition

with

surrounding

forms.Landscape

DesignForm

Composition2.

Arcs

and

tangents

themeTrace

around

the

edges

to

form

a

linked

series

of

arcs

and

tangentsRefine

the

design

by

adding

materials

and

facilities

to

match

the

client’sneeds.Landscape

DesignForm

Composition3.the

135°octagonal

themeGrid

structuring

guideWith

the

135°octagonal

theme,

it

is

possible

to

use

a

prepared

guide

patternto

structure

the

jump

from

concept

to

form.Landscape

DesignForm

Composition3.the

135°octagonal

themeGrid

structuring

guideRespect

the

pattern

and

draw

lines

parallel

to

the

underlying

grid.

Whenchanging

direction,

the

predominant

angle

should

be

135

°Landscape

DesignForm

Composition3.the

135°octagonal

themeGrid

structuring

guideAngular

themes

tend

to

be

more

dynamic

and

less

formal

than

90

°/rectangular

theme.

They

bring

a

greater

sense

of

movement

to

a

space.Landscape

DesignForm

Composition4.

the

120°hexagonal

themGrid

structuring

guideAs

a

guide

pattern,

this

theme

could

look

like

a

grid

of

60

°equilateraltriangles

or

like

a

series

of

hexagons.Landscape

DesignForm

Composition4.

the

120°hexagonal

themGrid

structuring

guideBy

superimposing

the

guide

pattern

over

the

concept

plan

shown

in

figure,

ahexagonal

layout

of

landscape

elements

can

be

delineating

the

edge

of

a

materianeed

not

lie

directly

on

top

of

a

grid

line

but

must

run

parallel

at

all

times.Landscape

DesignForm

Composition5.

Concentric

circles

and

radiiGrid

structuring

guidePrepare

a

“spiderweb”grid,

this

time

bycombining

radius

lines

withconcentric

circles.Landscape

DesignForm

Composition5.

Concentric

circles

and

radiiGrid

structuring

guideThe

lines

you

draw

may

notbe

on

top

of

a

grid

line,

butthey

must

relate

to

the

centerpoint

by

being

either

a

radialline

or

a

concentric

arc.Landscape

DesignForm

Composition5.

Concentric

circles

and

radiiGrid

structuring

guideThe

following

illustrations

show

examples

of

radius

and

concentric

circulardesigns.

Note

how

the

center

adapts

well

to

location

of

focal

elements.Landscape

DesignForm

Compositioness

oonn

cciirrcclleess6.

The

circlA

multitude

of

manipulations

is

possible

beyond

the

single

pure

circleWhen

overlapping,

adjust

the

circles

so

that

the

arcs

intersect

at

close

to

90give

the

strongest

visual

connection

between

the

circles.

Simplify

the

composiis

shown

by

omitting

lines,

outlining,

and

adding

connections

to

noncircularsurroundings.Landscape

DesignForm

Composition6.

The

circles

on

circlesA

multitude

of

manipulations

is

possible

beyond

the

single

pure

circleAvoid

small

overlaps,

which

give

rise

to

acute

angles.

Also

avoid

touchingcircles

unless

the

flow

of

the

spatial

edge

continues

in

an

S

shape.

A

reversalthe

contact

point

again

sets

up

very

sharp

angles.Landscape

DesignForm

Composition6.

The

circles

on

circlesLandscape

DesignForm

Composition7.

Elliptical

themeVisualize

ellipses

as

flattened

circlesThe

same

principles

of

form

evolution

described

in

the

section

“Circles

oncircles”

can

be

used

with

elliptical

or

oval

shapes.

Ellipses

can

be

usedalong(ovals

on

ovals)

or

they

easily

mix

with

circles.Landscape

DesignForm

Composition7.

Elliptical

themeVisualize

ellipses

as

flattened

circlesThe

ellipse

produces

a

more

dynamic

feel

than

the

circle,

yet

still

retains

thformality

of

strict

mathematical

order,

as

seen

in

the

following

examples.Landscape

DesignForm

Composition8.

The

irregular

polygonNaturalistic

formBuilding

acute

angles

into

design

should

be

avoided.

As

with

the

other

angularthemes,

acute

angles

can

give

rise

to

structures

that

are

difficult

to

build,

tpavement

that

may

crack,

to

confined

spaces

that

are

unusable,

and

to

landscapethat

are

difficult

to

maintain

or

irrigate.Landscape

DesignForm

Composition9.The

Meander

themeNaturalistic

formIn

developing

a

meander

or

free-form

design,

it

is

best

to

draw

thelines

freehand,

fairly

rapidly.Keeping

fingers

still,use

shoulder

andelbow

joints.

Strive

for

strong,smooth,

flowing

undulations

thathave

no

straight

lines

and

no

irregularblips

or

wobbles.Landscape

DesignForm

Composition9.The

Meander

themeNaturalistic

formThe

top

of

figure

shows

a

weakmeandering

line

with

indecisivewobbles.The

bottom

of

figure

shows

a

strongmeandering

line

with

smooth

decisivecurves

and

a

fluid

rhythm.Landscape

DesignForm

CompositionLandscape

DesignStructureDesign

PrinciplesUNIT6Landscape

DesignDesignPrinciples庭院景觀設(shè)計(jì)Landscape

DesignStructureDesign

PrinciplesOBJECTIVESUpon

completionof

this

unitYou

shouldbe

abletoA

number

of

basic

design

principles

give

the

designeraesthetic

guidance

during

preliminary

design.

Just

asfunctional

diagrams

help

to

provide

the

functionalorganization

for

a

design

project,

the

design

principles

aiestablishing

the

visual

and

aesthetic

organization

of

a

desLesson

VocabularyWordsguidancecompositionuncoordinatedunappealingExpressionsAid

inbe

apt

toLandscape

DesignDesign

ProcessDesign

PrinciplesThe

three

primary

designprinciples

are

order,

unity,and

rhythm,

scale

and

spacelimited.Landscape

DesignStructureDesign

PrinciplesA

residential

site

design

is

unappealing

to

the

eye

when

basicdesign

principles

are

not

used.A

residential

site

design

is

attractive

and

organized

whenbasic

principles

of

design

are

used.Landscape

DesignDesign

Principles1.

OrderOrder

is

defined

as

the

“bigpicture”

or

overall

frameworkof

a

design.

It

is

the

underlyingvisual

structure

of

a

design.Within

the

context

of

a

designtheme

or

style,

there

are

threeways

order

can

be

established

ina

design

composition:

Axissymmetry,

asymmetry,

and

mass

collection.A

consistent

visual

theme

establishes

order

in

a

design.Landscape

DesignDesign

Principles1.

Order?

AxisTypically,

what

occurs

onone

side

of

the

axis

isrepeated

by

a

mirror

imageon

the

other

side

of

theaxis

.An

example

of

a

design

that

incorporates

symmetricalbalance

aroundaaxe.Landscape

DesignDesign

Principles1.

Order?

Symmetry

and

AsymmetryThere

are

two

distinctly

different

ways

of

organizing

the

elements

of

a

desig

composition

to

achieve

order:

symmetry

and

asymmetry.

Both

approachescreate

an

overall

feeling

of

balance

in

the

design,

but

in

different

ways.

Balais

theperception

that

the

various

portions

of

the

design

are

in

equilibrium

wieach

other.Landscape

DesignDesign

Principles1.

Order?

Symmetry

and

Asymmetrye,g;seIn

the

left

examplbalance

is

lackintoo

many

of

thedesign’s

elementhave

been

locatedon

one

side

of

theproperty,

makingthis

area

seem“weighted.”

Thother

side

of

thesite

looks

very“l(fā)ight.”In

the

rightexample,

theelements

of

thedesign

have

beenplaced

so

thevisual

weight

isevenlydistributed.Each

element

andarea

of

the

designbalances

theothers.Landscape

DesignDesign

Principles1.

Order?

Symmetry

and

AsymmetryAn

asymmetrical

design

layout

does

not

have

only

one

or

two

major

vantagepoints

as

a

symmetrical

design

does.

Instead,

there

are

numerous

points

to

viethe

design,

each

with

a

different

perspective.Landscape

DesignDesign

Principles1.

Order?Mass

CollectionMass

collection

is

the

technique

of

grouping

elements

of

a

design

together.Plant

materials

should

be

massed

in

groups

to

create

order.Landscape

DesignDesign

Principles1.

Order?Mass

CollectionOne

approach

to

mass

collection

that

furnishes

an

especially

strong

perceptiof

order

is

to

establish

groups

of

similar

elements

within

the

masses

of

thecomposition.

In

planting

design,

plants

of

the

same

species

would

be

groupedwithin

the

same

mass

.Similar

plants

should

be

massed

together.