UNIT 2_LD.pdf

UNIT II ELEMENTS IN LANDSCAPE DESIGN
01Introduction to hard and soft landscape
elements.
02Different types of hard landscape
elements.
03Plant materials: classification,
characteristics, use and application in
landscape design.
04 Water : classification, characteristics,
use and application in landscape design.
05Landform : classification, characteristics,
use and application in landscape design.

01 Introduction to hard and soft landscape
elements.
Elements of landscape design:
• Natural
• Manmade
1. NATURAL ELEMENTS
• Plants / Vegetation
• Water
• Earth forms / Landforms
• Timber
• Stone
2. MANMADE ELEMENTS
• Brick
• Metal
• Glass

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:
1.when two different materials meet on the ground plane,
2. such as the edge of a brick patio meeting an expanse of green
turf;
3. when the edge of an object is visible or contrasts with a
background,
4. such as the outline of a tree against the sky; 5. by the
placement of a material in a line, such as a fence.

Properties of Lines
The properties of lines determine how people respond to the landscape, both
emotionally and physically.
1.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.
2. Diagonal lines
Diagonal lines are straight lines with an intentional direction. Straight lines are most
often found in hardscape edges and material.
3.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.
4.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.
5.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.

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.
•It is typically the dominant visual element that spatially
organizes the landscape and often determines the style
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.
•Below picture 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.

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 3 deeply curved
undulations.
•Meandering lines 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.
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.

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.
•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.

Shrub forms
Shrub forms 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.
Groundcover forms
Groundcover forms 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.

Texture
• refers to how coarse or fine the surface of the plant or hardscape material feels or looks.
•Texture is used to provide variety, interest, and contrast.
• The plant’s foliage, flowers, bark, and overall branching pattern all have texture.
• 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,
•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 .

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.
• 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.

HARDSCAPE ELEMENTS IN LANDSCAPE
• In landscaping, plants provide the color and gives the finished look to the design.
• It is the elements of hard landscaping – the structures and surfaces – which provide the
framework.
•Whether it is the privacy afforded by walls and fences, the shelter of trellis-work, or the practical
access afforded by a well-crafted path, the hard landscape is every bit as important in creating the
overall “feel” – and contributing to the usefulness – of any garden, large or small.
• Hardscaping allows the formation of man-made landscaping features that would otherwise be
impossible due to soil erosion, some that compensate for large amounts of human traffic that
would cause wear on bare earth or grass.

BASED ON THEIR FUNCTIONS , HARDSCAPING ELEMENTS MAY BE CLASSIFIED
INTO THE FOLLOWING :
1.SEPARATING ELEMENTS Planter boxes / Tree planters Fences , walls and
retaining walls .
2. SURFACE TREATMENT Paving
3. CONNECTION Bridges ,Steps
4. FURNITURE Seating Dustbins Signage Lighting

PLANTER BOXES
•Used to divide and demarcate spaces
•Gives a sense of direction and sometimes
denotes access
•Should be carefully placed so as to not hinder
movement of pedestrians

Advantages:
•Hardscaping adds to the aesthetic beauty of the
space along with other landscaping features.
•Hardscaping can be a good remedy where the soil
stays wet for long periods of time.
•Growing of grass is troublesome in some places due
to poor condition of soil and hence hardscaping can
be a solution in some places.
•Use of hardscaping materials like gravel instead of
grass helps avoid the need for mowing, watering,
fertilizing, etc.
•In hardscaping, much maintenance is not required as
compared to other landscaping features.
•Hardscaping allows the formation of man-made
landscaping features.
Disadvantages:
•Installation or construction of hardscape elements is
quite expensive.
•Skilled labour is required in a good number for
installation and construction of hardscaping elements.
•Specific elements like sculptures, pergolas, etc. can’t
be installed in small and compact spaces.

PAVEMENTS:
• Pavement in construction is an outdoor floor or
superficial surface covering. Paving materials include
asphalt, concrete, stone such as flagstone, cobblestone,
setts, artificial stone, bricks, tiles, and sometimes wood.
• In landscape architecture pavements are part of the
hardscape and are used on sidewalks, road surfaces, patios,
courtyards, etc. ASPHALT
CONCRETE
FLAGSTONE
SETTS
TILE
COBBLE
BRICK

TYPES ON THE BASIS OF MATERIALS:
1. In-situ Paving:
CONCRETE
• It is easy to pour concrete and pattern
imprint it, which makes design patterns
versatile.
• Concrete can stand abrasive materials
and different climatic conditions.
ASPHALT
• Asphalt is flexible, built in multiple layers
and provide smooth surface to pavements.
• Asphalt pavements are load bearing and are
easy to construct and maintain.
SYNTHETIC SURFACING SYSTEMS
• Can be designed for specific purpose (e.g..
Court games, track)
• More resilient than concrete or asphalt.

2. Unit Paving:
BRICKS
• Bricks provide non-skid surface
• Bricks can be use anywhere due to their small
size, they can be laid to strong flowing curves.
TILES
• Tiles provide polished appearances
(indoor/outdoor)
GRANITE
• Granite can support heavy load
• They are durable, flexible and easy to clean
LIMESTONE
• Easy to work with.
• Rich colour and texture.
3. Soft paving:
AGGREGATES
• Economical surfacing material.
• Available in wide range of coloures.
ORGANIC MATERIALS
• Compatible with natural surroundings
• Quiet, comfortable walking surface
TURF
• Good drainage characteristics.
• Ideal for many types of recreations.

1. Flexible Pavements:
• Flexible pavements commonly have thin wearing surfaces and relatively thick aggregate
basis and subbases.
• A thick aggregate base will distribute design loads over a greater subgrade area and will
limit subgrade deformation potential.
2. Rigid Pavements
• In rigid pavements(i.e. reinforced concrete), loads are distributed internally within the
rigid pavement and transferred to the subgrade over a broad area.
• These pavements are suitable in areas that contain uniform subsoil with moderate bearing
capacities.
3. Porous Pavements:
• Porous pavements are a structured to allow precipitation runoff to drain freely though
the pavement surface and aggregate base.
• Porous pavements may perform more effectively in cold climates.

FENCES
•Structure that encloses an area, typically outdoors,
and is usually constructed from posts data connected
by boards, wire, rails or netting.
•In landscaping, fencing can be done for decorative
purposes to enhance the appearance of a property,
garden or any other space.
•The widely used materials for fencing are wood and
metal.
•Nowadays, vinyl is also used in some places.

RETAINING WALLS
•Retaining walls are often designed when the terrain is sloped and soil has to be restrained.
•In landscaping, retaining walls helps to make sure that soil is bound between the levels of a
hill side and create spectacular and
•picturesque views. It is most common in area with difficult terrain and are helpful to make
the best of different level heights in the garden.
•Retaining walls can be simple or complex – boulder walls, stone walls, wood, concrete, etc.
can be used as materials.
1. Brick:
• Bricks add maturity and a warm effect to gardens.
• They can be used establish the boundary or just to divide up your garden.
• They can also have function as well; such as the footings to a greenhouse, retaining a soil
bank, forming an edge or division, raising a planting bed and provide a level site for patio.
English Garden Bond
English Bond
Flemish Garden Bond
Flemish Bond

2. Stone:
• Lightweight, versatile, durable and
affordable.
• It frees homeowners, designers and
architects to explore new creative
directions.
3. Screen Blocks:
• It’s open design provides ventilation,
partial shading, privacy, and a decorative
break in the monotony of the wall’s
surface.

WATER FEATURES:
•In landscape architecture, a water feature is one or more items from a range of fountains,
pools, ponds, cascades, waterfalls and streams.
•A water feature may be indoor or outdoor and can be and size, from desktop water fountain
to a large indoor waterfall that covers an entire wall in a large commercial buildings.
•Water features can be made from any number of materials, including stone, granite, stainless
steel, resin, iron, and glass.
1. STILL WATER
• The container defines the form assumed by the water.
• The finish of the under water surfaces and the condition of the water at the surface
influence the ultimate effect.
2 . SPOUTING WATER
•Spouting water relies on externally applied force to direct water through a nozzle and,
working with gravity, forms a jet of some configuration. E.g. Fountain
3 . FREE-FALLING WATER
Freefalling water moes vertically without contacting any surfaces and is most often expressed
as a full sheet.
4 . FLOWING WATER
• Flowing water is constantly in contact with the container. A vertically oriented flow creates
a water fall.
5 . CASCADING WATER
• Cascading water is a combination of flowing water, falling water and dry areas.

BRIDGES:
•Pedestrian bridges are structures built in the landscape to allow movement across areas
that would otherwise be difficult or dangerous to traverse.
•Bridges become a necessary means for connecting two points in the presence of
obstacle as water, steep topography, or major roadways.

Designs for short span footbridges:
•Log footbridge
•Sawn timber footbridge
•Galloway timber footbridge
•Galloway steel footbridge
•Steel beam footbridge
•Suspension bridge

SEATINGS
:The garden is for relaxing and an important
part of relaxing is the seat, they come in all
shapes and sizes.
•Seats should be capable of snoozing in, reading
the paper, a book, sewing, or just relaxing to
take in the vista.
•Seats should be light enough to move but
strong enough to take all shapes and sizes.
• Seats can be made or metal,timber, bamboo,
wicker, rope (hammock) and concrete.

BENCHES AND FURNITURES:
•The Bench is something of a specialist in the
seat furniture.
•It doesn’t need to be straight in fact it can
wrap around a tree.
• A bench is hard and its generally made from
sturdy timbers.
•To dominate its position the bench can be
painted a bright colour to make it stand out in
its own right.

PERGOLA’S:
•It is important to provide a vertical element to a garden that can be so often just
horizontal, obviously trees and shrubs provide this naturally as the ‘soft’ element but in
terms of hard landscaping the pergola stands out as the vehicle for carrying plants
adding this vertical element.
•The difference between a pergola and arch is that a pergola is a repetition of frames
tied together.
•Pergolas can be made of
any material, the most
common is timber but they
can also be metal or
brickwork and timber.
•A pergola tends to be
square in nature with
uprights, piers, pillars and
then joists running
between the uprights

GAZEBO’S:
•A gazebo is a pavilion
structure, sometimes
octagonal or turret shaped,
often build in a park,
garden or spacious public
area.
• It may be simply be a place
to sit and admire the
garden or a view sheltered
from the weather whether
rain or shine.
•it is usually made up of
wood, bamboo ,vinyl and
metals like aluminum,
wrought iron and
•steel.

ARCHES:
•Arch is a single unit which separate
one space from another and gives
the garden a vertical element.
•It provides the glimpse of special
elements of what the next area has
to offer.

TRELLISES:
•Trellis is not a boundary fence but can be used to separate areas or it can be used next
to a structure to provide a support for climbing plants.
•Trellis is normally timber but it could incorporate a metal frame or could be plastic
covered metal grillage.
•It can be of traditional design - square or diamond shaped and contemporary with
strong horizontal lines.

TUNNELS:
•A tunnel is a multiple element which can be a
number of arches , usually rounded that
creates a framework to create a ‘tunnel of
plants’.
•It covers the pathways providing shade and
aesthetical beauty to it.
•Commonly made up of wood , metals, and pvc.

SCULPTURES:
•Sculptures are representatives or abstract
forms, especially by carving stone or wood or
by casting metal or plastic.
•They provide a focal point and placed in
selected positions can add that element of
•surprise with expression.
•Placements of a sculpture within a space
depends upon sunlight and shadow patterns.

Hardscape elements - Outdoor Lighting
1, Bollard lights
Bollard lights are a type of lighting fixture that is commonly used to illuminate
pathways and landscapes for pedestrian use and safety.

2. Flood light
A floodlight is a broad-beamed, high-intensity artificial light. They are often used to
illuminate outdoor playing fields while an outdoor sports event is being held during
low light conditions.

3. Surface facade luminaries
Two types
1. Wall mounted
2. Floor mounted

8. Street and area light luminaries

SOFTSCAPE – PLANT MATERIALS
•Planted vegetation is an essential part of our environment.
•As soon as we consciously modify the vegetation in our human home, whether to
farm, to build or to make a garden, then we create possibilities for design with
plants. When we design with plants, we design with nature.
•This is true whether we are re-building eroded slopes, re-vegetating cleared forest,
or measuring out an urban garden, because all plants are living, growing, changing
things that form part of the dynamic pattern of the natural world.
• Aesthetic pleasure is an important objective of planting design. Planting offers
enjoyable sensory experiences and creative opportunities for art and design.
•The three main purposes of planting design: functional, ecological and aesthetic.
•A successful shelter planting will thus
1. reduce wind speed and turbulence over the required distance,
2. improve, or at least not damage, the ecology of the locality and
3. make an aesthetic contribution to the place and the project.

Soft Landscaping is defined as the process of working with landscape elements
that do not involve construction. These elements include turf, trees and shrubs.
ELEMENTS:
1.Trees & Shrubs
•Provide shade
•Control of relative humidity
•Air movement
•Attainment of thermal comfort
•Ventilation
2.Lawns & Flowerbeds
•Reduce ground temperature
•Prevent glare
•Air freshness and fragnance.
3.Pools and ponds
•Humidification
•Evaporative cooling
4. Mulches
Retain moisture
Reduce surface and air temperature
Absorb heat

WATER AS A DESIGN ELEMENT
Elements of visual design
The particular characteristics of line,form,colour and texture displayed by water contribute to
the mental image it evokes.
Line:
• The edge of the water is defined by a line.
• A soft textured line can evoke unbridled(unrestrained) nature , a highly controlled line can
allude to a controlled or symbolic nature
FORM
• Water can be linear accentuating the movement and flow characteristics ex(river,stream)
• They can be compact in form implying a sense of centrality and arrival ex-pond / lake
• Their form can be a complex combination of differing characters pulling together disparate
forms.

COLOR
• Good quality of water has little color .Color is imparted by the reflections carried upon the
surface.
• Light colored containers impart clarity and purity to water .Dark containers maximize
reflections and gives the illusion of depth.
TEXTURE
• When water is moving ,its surface texture is determined by that of its container by its depth
and flow characteristics.
• Protrusions into the flow causes turbulence,which increases surface texture .
• Constrictions to flow also increase turbulence and texture.
• AS the layer of water becomes thin,even minor difference in container alignment can cause
surface textures.
• A stair stepped container can convert a smooth sheet of water to a choreography of droplets
each reflecting and create a cascade of light.

SENSUAL QUALITY
• Design processes :Processes by which one
addresses the sensual quality in the effective design
of water as an element have three points in
common,first is the design intent
• including functional aspects ,desired mood and
sensual character.
• Second is to identify appropriate water effects to
achieve the desired character ,mood and function.

•Third, is to shape the container and the environmental context to achieve these effects.
• In the figure, shows the fountain intended to enhance the street character on one side
• While providing visual amenity, screening and evaporative cooling to the dining court. It
also masks the street noise from the court.
• Street side is a visual statement providing little sound .
• The court is series of water falls producing enough sound to mask the street noise.
• It also provides aeration enhance evaporation and cooling effect. It enhances the passers
by to stop and touch the water.

WATER AS MOVEMENT
• Still (unmoving water) is reflective both visually and psychologically .It invites
contemplation.
• It is serene but fragile,slightest breeze dissolves its visual effect.
• Moving water on the other hand can be subtle and dynamic .
• It can move almost imperceptibly or can rush like a torrent. It can make scarcely audible
sounds or loud splattering ones.
WATER AS ALLUSION AND SYMBOL
• Moving water alludes to instability, movement towards a state of equilibrium and
unresolved gravity. Still water conveys resolution,(promise) stability and peacefulness.
• Natural landforms like river does not often belong to the city.
• The architectonic representation of mountain or stream ,river,flood plain and braides
stream can make reference to this natural environment compatible with urban context.

POOLS
Pools are bodies of still water. poole function mainly as reflecting surfaces,they must have
adequate depth and should be dark in colour. Water level should be close to the grade.
• Ponds are bodies of still water with naturalistic line quality, often reinforced by naturalized
plantings. They are located at the lowest elevation of the landform to reinforce the equilibrium
with gravity.
CHANNELS
Channels are conduits of flowing water. They are linear in form .The sensual effect of the
channel depends on the volume of water, its rate of flow and the channel size, shape and
steepness. Slick channels produce smooth flows ,rough ones create turbulence. Obstructions
in the channel create turbulence. Constriction to the flow also create turbulence and increases
the velocity. As turbulkance increases,so does the level of sound generated.

CASCADES AND WATER FALLS
• Cascades and water falls involve falling water. The effect of falling water hich varies
with the volume of water and the rate of flow and the condition of the edge over which
the water fall and the surface terminating the fall.
• As the volume of water increases flow tends to be more regular and the effects of other
variations (such as the character of the edge become less pronounced.
• Water falling over a smooth edge forms a sheet like cascade, flowing over a rough edge,
water is turbulent and aerated. As volume, velocity and edge coarseness combine,
transparent sheets give way to frothing blankets. When water falls freely, the greater its
volume and distance of fall , the more intense its impact upon striking the surface.
• If falling water hits a hard surface such as concrete the noise is loud, harsh splat. If it
falls instead into the pool of water , the sound is deeper in tone and more muted.

LAND FORM
❖Land is the solid part of the surface to the earth; its three-dimensional relief is called
topography or- landform.
❖This form develops as ecological, cultural, and technological forces operate, over time, on
the earth's surface.
❖The severity of the forces, the resistance of the surface, and the relative time those forces
operate determine that form.
There are numerous landform considerations in design. Some of the relevant concerns are
landform as line and enclosure, slope considerations, drainage characteristics, and
comfort issues. Landform as Lin The perceptual effects of landform are
LANDFORM AS LINE
❖The perceptual effects of landform are highly affected by the type or character of line
these forms impart to the landscape.
❖ For example, an angular line usually imparts a feeling of energy, power, and boldness.
❖On the other hand, a sinuous line evokes a sense of calmness, passivity, and restfulness .
The designer can modify site landform in a very "architectonic" manner, or conversely in a
more "naturalistic" one .

❖ Architectonic landforms utilize the quality of line
(straight lines with sharp angles) that are usually
associated with architecture. Therefore the forms
feel very structured or contrived.
❖Such landform can easily give the feeling of
oneness with architectural elements of the site,
and can intensify their power as the entire scene
becomes, in a sense, architectural.
❖ Naturalistic landforms utilize the evolving lines of
nature and can soften the feeling of a place. If
they establish themselves as a system that
interacts with the architectonic forms of the
buildings, then the dynamic interplay of
opposites, the compliment through contrast, can
be quite powerful.
❖On the other hand, if they fail to attain their own
integrity, these forms can become overpowered
by the architecture of the place.

LANDFORM AS ENCLOSURE
❖Landform can contribute to spatial character.
❖Flat, level landscapes give the feeling of' expansiveness. 'To achieve spatial articulation in
these landscapes, the designer must either reshape the land, or supplement the landform
with plant material, area walls, or some other elements that block or screen the vision.
❖Conversely, landforms that fill a portion of the vertical plane have the ability to enclose
space. The degree of' enclosure imparted by these forms correlates to the amount of the
vertical cone of vision that is occupied by the landform.
❖ Thus enclosure is a factor of the height of the form and the position of the observer. As
ridgelines rise above the eye, the landform blocks the vision, that is, it closes the view. The
space enclosed that can be viewed is called the view shed. As the spacing of the forms that
create the visual edge increases, the view shed enlarges, and the landscape becomes more
expansive .
❖It is said to have a larger scale and a coarser grain. As the dimension decreases, the space
becomes smaller, more psychologically sheltered, and more private in its feeling. Such
landforms create spaces that are smaller and more personally scaled and are said to be finer
grained.

❖Ridgelines and promontories are zones of' little enclosure.They are quite expansive.
'They offer long panoramic views and are themselves highly visible from distant areas.
❖Valleys, on the other hand, afford reduced view sheds, but have a feeling of centrality as
views from the surrounding slopes are focused downward into the valley.

SITE AND DESIGN SLOPES
As site slopes increase, so too does their impact to design. For example, Figure below shows the
relative areas of impact as one creates a flat surface (on which to place a building) and then
modifies the landform so that water will flow around (rather than through) the building, without
creating excessively steep, erosive slopes.
While the actual dimensions of the regarded area would vary with allowable design slopes, it is
evident that existing site slopes are a major development concern. Site material and use also
have slope implications.
There is a range of minimum and maximum allowable slopes, as well as a range of desired
slopes, associated with each material use combination. Numerous desk references and books of
"standards" have exhaustive lists of these design slopes.

SLOPE-ASPECT OR SLOPE-ORIENTATION.
The slope and direction of the land surface,
referred to as slope-aspector slope-orientation,
along with the vertical angle and planar direction
of the sun's rays, determine the relative amount
of incoming solar radiation that is incident on the
ground surface at any given time. slope-aspect
functions to distribute a given amount of the
sun's energy into a relatively smaller or larger
area, based on this relationship.

UNIT 2_LD.pdf

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UNIT 2_LD.pdf